Bibliography for MU2304: Issues in Sound, Music And The Moving Image BETA

Adorno, T. W., & Eisler, H. (1994a). Composing for the Films. Athlone.

Adorno, T. W., & Eisler, H. (1994b). Composing for the Films (New ed). Athlone P.

Altman, R. (1987). The American Film Musical. Indiana University Press.

Altman, R. (2004a). Music For Films. In Silent Film Sound (pp. 249–271). Columbia University Press.

Altman, R. (2004b). Music For Films. In Silent Film Sound (pp. 249–271). Columbia University Press.

Altman, R., & Handzo, S. (1995). The Sound of Sound: A Brief History of the Reproduction of Sound in Movie Theaters. Cinéaste, 21(1), 68–71. http://www.jstor.org/stable/41688110

Brown, J. (2009a). Music in Film and Television. In An Introduction to Music Studies (pp. 201–218). Cambridge University Press.

Brown, J. (2009b). Music in Film and Television. In An Introduction to Music Studies (pp. 201–218). Cambridge University Press. https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Product/Index/2007214?page=0&startBookmarkId=-1

Brown, J., & Davison, A. (2013a). Overture. In The Sounds of the Silents in Britain (pp. 1–16). Oxford University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13278222410002671&institutionId=2671&customerId=2670

Brown, J., & Davison, A. (2013b). Overture. In The Sounds of the Silents in Britain (pp. 1–12). Oxford University Press.

Brown, R. S. (1994a). Actions/Interactions: The Source Beyond the Source. In Overtones and Undertones: Reading Film Music (pp. 67–92). University of California Press. https://www-fulcrum-org.ezproxy01.rhul.ac.uk/concern/monographs/z316q2161

Brown, R. S. (1994b). Overtones and Undertones: Reading Film Music. University of California Press.

Brown, R. S. & American Council of Learned Societies. (1994). Overtones and Undertones: Reading Film Music. University of California Press. http://hdl.handle.net/2027/heb.08124

Buhler, J. (2013). Gender, Sexuality and the Soundtrack. In D. Neumeyer (Ed.), The Oxford Handbook of Film Music Studies (pp. 366–382). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780195328493.001.0001

Buhler, J. (2015). Gender, Sexuality and the Soundtrack. In D. Neumeyer (Ed.), The Oxford Handbook of Film Music Studies (pp. 366–382). Oxford University Press.

Buhler, J., & Lewis, H. (2016a). Evolving Practices for Film Music and Sound, 1925–1935. In M. Cooke & F. Ford (Eds.), The Cambridge Companion to Film Music (pp. 7–28). Cambridge University Press.

Buhler, J., & Lewis, H. (2016b). Evolving Practices for Film Music and Sound, 1925–1935. In M. Cooke & F. Ford (Eds.), The Cambridge Companion to Film Music (pp. 7–28). Cambridge University Press. https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781

Buhler, J., Neumeyer, D., & Deemer, R. (2010a). Hearing the Movies: Music and Sound in Film History. Oxford University Press.

Buhler, J., Neumeyer, D., & Deemer, R. (2010b). Hearing the Movies: Music and Sound in Film History. Oxford University Press.

Buhler, J., Neumeyer, D., & Deemer, R. (2010c). The Transition to Sound Film (1926–1932). In Hearing the Movies: Music and Sound in Film History. Oxford University Press.

Casablanca | Box of Broadcasts. (2018). ITV3. https://learningonscreen.ac.uk/ondemand/index.php/prog/001C11A0?bcast=126670270

Catherine Haworth. (2012). Introduction: Gender, Sexuality, and the Soundtrack. Music, Sound, and the Moving Image, 6(2), 113–135. https://muse.jhu.edu/article/495229

Chion, M., & Gorbman, C. (1994a). Audio-Vision: Sound on Screen. Columbia University Press.

Chion, M., & Gorbman, C. (1994b). Audio-Vision: Sound on Screen. Columbia University Press.

Cook, N. (1997a). Analysing Musical Multimedia. Clarendon Press.

Cook, N. (1997b). Models of Multimedia. In Analysing Musical Multimedia (pp. 98–129). Clarendon Press.

Cooke, M. (2008a). A History of Film Music. Cambridge University Press.

Cooke, M. (2008b). The Silent Cinema. In A History of Film Music (pp. 1–42). Cambridge University Press.

Cooper, M. C. (2001). King Kong. Universal.

Crosland, A., & Jolson, A. (2007). The Jazz Singer. Warner Home Entertainment.

Curtiz, M. (2004). Casablanca. Warner Home Video.

Curtiz, M. (2009). The Adventures of Robin Hood. Warner Home Video.

Curtiz, M. (2014). The Adventures of Robin Hood | Box of Broadcasts. Channel 5. https://learningonscreen.ac.uk/ondemand/index.php/prog/0056511F?bcast=114756158

Davison, A. (n.d.). Title Sequences for Contemporary Television Serials. In The Oxford Handbook of New Audiovisual Aesthetics                      Less... Moreaudiovisualaestheticsimmersionparticipationsensorysemioticcinematiccyberspaceaudio-visionaural dimension (pp. 146–167). http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199733866.001.0001/oxfordhb-9780199733866

Davison, A. (2013). Title Sequences for Contemporary Television Serials. In J. Richardson & C. Gorbman (Eds.), The Oxford Handbook of New Audiovisual Aesthetics (pp. 146–167). Oxford University Press.

Denisoff, R. S., & Plasketes, G. (1990). Synergy in 1980s Film and Music: Formula for Success or Industry Mythology? Film History, 4(3), 257–276. http://www.jstor.org/stable/3815137

Donnelly, K. J. (2001). ‘Analytical and Interpretive Approaches to Film Music (I): Analysing the Music’ and ‘Analytical and Interpretive Approaches to Film Music (II): Analysing Interactions of Music and Film’. In Film Music: Critical Approaches (pp. 16–61). Edinburgh University Press.

Donnelly, K. J. (2005a). Music for Television 1: Music for Television Drama. In The Spectre of Sound: Music in Film and Television (pp. 110–133). BFI.

Donnelly, K. J. (2005b). The Spectre of Sound: Music in Film and Television. BFI.

Forbidden Planet (1956). (2017). BBC2 England. https://learningonscreen.ac.uk/ondemand/index.php/prog/006BC44F?bcast=124842967

Franklin, P. (2011). Into the Mists . . . Subjective Realms (and the Undoing of Men?): Film’s Critique of Music. In Seeing Through Music: Gender and Modernism in Classic Hollywood Film Scores (pp. 62–85). Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3054209

Franklin, P. (2016a). Returning to Casablanca. In M. Cooke & F. Ford (Eds.), The Cambridge Companion to Film Music (pp. 126–137). Cambridge University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286810060002671&institutionId=2671&customerId=2670

Franklin, P. (2016b). Returning to Casablanca. In M. Cooke & F. Ford (Eds.), The Cambridge Companion to Film Music (pp. 126–137). Cambridge University Press. https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781

Frayling, C. (1998). Spaghetti Westerns: Cowboys and Europeans From Karl May to Sergio Leone (Rev. ed). I. B. Tauris.

Fred M Wilcox. (2007). Forbidden Planet. Warner Home Video S.l. https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2127630590002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,Forbidden%20Planet%20%20U,AND&sortby=date&mode=advanced&offset=0

Fred Steiner. (1983). Keeping Score of the Scores: Music for Star Trek. The Quarterly Journal of the Library of Congress, 40(1). https://www.jstor.org/stable/29781960?seq=1#metadata_info_tab_contents

George, W. T. (1914). Playing to Pictures: A Guide to Pianists and Conductors of Motion Picture Theatres. E.T. Heron & Co. http://www.victorianpopularculture.amdigital.co.uk/Documents/Details/EXEBD_33687

Getman, J. (2015). The Venus Drug: Gender in the Music of Star Trek. In Music, Race, and Gender in the Original Series of Star Trek (1966-1969). University of Michigan. https://deepblue.lib.umich.edu/bitstream/handle/2027.42/113404/jgetman_1.pdf?sequence=1&isAllowed=y

Godsall, J. (n.d.). Listening to Beethoven in and Through the King’s Speech | The Avid Listener. https://theavidlistenerblog.com/2020/07/27/listening-to-beethoven-in-and-through-the-kings-speech/

Godsall, J. (2018). Reeled In: Pre-Existing Music in Narrative Film. Routledge.

Goldmark, D. (2005). Tunes for ’Toons: Music and the Hollywood Cartoon. University of California Press.

Gorbman, C. (1987a). Unheard Melodies: Narrative Film Music. BFI.

Gorbman, C. (1987b). Unheard Melodies: Narrative Film Music. BFI.

Gorbman, C. (2007a). Auteur Music. In Beyond the Soundtrack Representing Music in Cinema (pp. 149–162). University of California Press. https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS5147133170002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,Beyond%20the%20Soundtrack:%20Representing%20Music%20in%20Cinema&sortby=rank

Gorbman, C. (2007b). Auteur Music. In Beyond the Soundtrack: Representing Music in Cinema (pp. 149–162). University of California Press. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=922914

Guido Heldt. (2012). ‘... There’s No Music Playing, and It’s Not Snowing’: Songs and Self-Reflexivity in Curtisland. Music, Sound, and the Moving Image, 6(1), 73–91. https://muse.jhu.edu/article/481181

Halfyard, J., & Hancock, V. (2014). Scoring Fantasy Girls: Music and Female Agency in Indiana Jones and the Mummy Films. In J. K. Halfyard (Ed.), The Music of Fantasy Cinema (pp. 175–192). Equinox Publishing Ltd.

Halfyard, J. K. (2016). Sounds of Fear and Wonder: Music in Cult TV. I.B. Tauris. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4890500

Hanson, H. (2009). Sound Affects: Post-production Sound, Soundscapes and Sound Design in Hollywood’s Studio Era. Music, Sound, and the Moving Image, 1(1), 27–49. https://muse.jhu.edu/article/268999

Harrison, L. R. (1911). Jackass Music. Moving Picture World, 125–125. http://archive.org/stream/moviwor08chal#page/124/mode/2up

Heldt, G. (2013a). Music and Levels of Narration in Film: Steps Across the Border. Intellect. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13278235420002671&institutionId=2671&customerId=2670

Heldt, G. (2013b). The Conceptual Toolkit: Music and Levels of Narration. In Music and Levels of Narration in Film: Steps Across the Border. Intellect.

Heldt, G. (2016a). Film-Music Theory. In M. Cooke & F. Ford (Eds.), The Cambridge Companion to Film Music (pp. 97–113). Cambridge University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286810060002671&institutionId=2671&customerId=2670

Heldt, G. (2016b). Film-Music Theory. In M. Cooke & F. Ford (Eds.), The Cambridge Companion to Film Music (pp. 97–113). Cambridge University Press. https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781

Hitchcock, A. (2007). Rebecca. Fremantle Home Entertainment.

Howard, L. (2007). The Popular Reception of Samuel Barber’s ‘Adagio for Strings’. American Music, 25(1). https://doi.org/10.2307/40071643

Hubbert, J. (n.d.). The Compilation Soundtrack From the 1960s to the Present. In The Oxford Handbook of Film Music Studies                      film music studiessilent film erasound film erafilm soundtrackThe Ten CommandmentsCecil B. DeMille12 MonkeysTerry Gilliamvideo game music (pp. 291–318). http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780195328493.001.0001/oxfordhb-9780195328493

Hubbert, J. (2015). The Compilation Soundtrack From the 1960s to the Present. In D. Neumeyer (Ed.), The Oxford handbook of film music studies (pp. 291–318). Oxford University Press.

Huron, D. (1989). Music in Advertising: An Analytic Paradigm. The Musical Quarterly, 73(4), 557–574. http://www.jstor.org/stable/741819

Inglis, I. (2003). Popular Music and Film. Wallflower.

Jenkins, P. (2017). Wonder Woman. Warner Bros. Home Ent.

Joe, J. (2006). The Cocktail Siren in David Lynch’s Blue Velvet. In Music of the Sirens (pp. 349–370). Indiana University Press. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=288364

Kalinak, K. (1992). Settling the Score: Music and the Classical Hollywood Film. University of Wisconsin Press.

Kalinak, K. M. (2010a). Film Music: A Very Short Introduction. Oxford University Press.

Kalinak, K. M. (2010b). Film Music: A Very Short Introduction. Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=497617

Kassabian, A. (2001a). Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge.

Kassabian, A. (2001b). Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=178428

Kassabian, A. (2001c). Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge.

Kassabian, A. (2001d). Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=178428

Kerins, M. (2010). The Look of 5.1: Visual Aesthetics. In Beyond Dolby (Stereo): Cinema in the Digital Sound Age (pp. 84–112). Indiana University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=624327

Kerins, M. (2011). The Look of 5.1: Visual Aesthetics. In Beyond Dolby (Stereo): Cinema in the Digital Sound Age (pp. 84–112). Indiana University Press.

King Kong | Box of Braodcasts. (2013). BBC4. https://learningonscreen.ac.uk/ondemand/index.php/prog/000217D1?bcast=101317175

Kulezic-Wilson, D. (2009). Sound Design is the New Score. Music, Sound, and the Moving Image, 2(2), 127–131. https://muse.jhu.edu/article/269098

Lampe, J. B., Zamecnik, J. S., Breil, J. C., Simon, W. C., Lake, M., & Goldmark, D. (2013). Sounds for the Silents: Photoplay Music From the Days of Early Cinema. Dover Publications.

Lang, F., Abel, A., & Helm, B. (2010). Metropolis (2 disc special edition). Kino.

Lerner, N. (2004). Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams’s Scores for Star Wars and Close Encounters of the Third Kind. In Off the Planet: Music, Sound and Science Fiction Cinema (pp. 96–108). J. Libbey/Perfect Beat Publications.

Leydon, R. (2004). Forbidden Planet: Effects and Affects in the Electro Avant Garde. In Off the Planet: Music, Sound and Science Fiction Cinema (pp. 61–76). J. Libbey/Perfect Beat Publications.

Lucas, G., Hamill, M., Ford, H., & Fisher, C. (2004). Star Wars Trilogy: The Empire Strikes Back. Twentieth Century Fox.

Luz, E. J. (1912). The Toning Method. Moving Picture News, 29–29. http://archive.org/stream/movingpicturenew06unse#page/n627/mode/2up

Martin, C. (1819). Playing the Pictures. The Film Index, 26–27. http://archive.org/stream/filmindex06film#page/n693/mode/2up

McQueen, A. (2014). ‘Bring the Noise!’: Sonic Intensified Continuity in the Films of Edgar Wright. Music, Sound, and the Moving Image, 7(2), 141–165. https://muse.jhu.edu/article/536550

McQuiston, K. (2013a). We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. Oxford University Press.

McQuiston, K. (2013b). We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4842477

Mera, M., & Burnand, D. (2006). European Film Music. Ashgate.

Metropolis | Box of Broadcasts. (1927). FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/000FC741?bcast=116788570

Miguel Mera. (2012). Outing the Score: Music, Narrative, and Collaborative Process in Little Ashes. Music, Sound, and the Moving Image, 6(1), 93–109. https://muse.jhu.edu/article/481182

Morrison, P. (2010). Little Ashes. Kaleidoscope Home Entertainment Ltd. KAL8024.

Mulvey, L. (2015a). Introduction: Visual Pleasure and Narrative Cinema. In Understanding Sound Tracks Through Film Theory (pp. 173–179). Oxford University Press.

Mulvey, L. (2015b). Introduction: Visual Pleasure and Narrative Cinema. In Understanding Sound Tracks Through Film Theory (pp. 173–179). https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3056445

Mundy, J. (1999). Popular Music on Screen: From Hollywood Musical to Music Video. Manchester University Press.

Once Upon a Time in the West (1968). (2011). FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/0009752F?bcast=66666992

Powrie, P., & Stilwell, R. J. (2006a). Changing Tunes: The Use of Pre-Existing Music in Film. Ashgate. https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/edit/10.4324/9781315095882/changing-tunes-use-pre-existing-music-film-robynn-stilwell

Powrie, P., & Stilwell, R. J. (2006b). Changing Tunes: The Use of Pre-Existing Music in Film. Ashgate.

Priewe, M. (2017). The Power of Conformity: Music, Sound, and Vision in Back to the Future. European Journal of American Studies, 12(4). https://doi.org/10.4000/ejas.12409

Prock, S. (2014). Strange Voices: Subjectivity and Gender in Forbidden Planet’s Soundscape of Tomorrow. Journal of the Society for American Music, 8(03), 371–400. https://doi.org/10.1017/S1752196314000248

Rebecca | Box of Broadcasts. (2016). BBC2 England. https://learningonscreen.ac.uk/ondemand/index.php/prog/0001C654?bcast=123041682

Rodman, R. (2011a). "Coperettas,” "Detecterns,” and Space Operas: Music and Genre Hybridization in American Television. In Music in Television: Channels of Listening (pp. 35–56). Routledge.

Rodman, R. (2011b). "Coperettas,” "Detecterns,” and Space Operas: Music and Genre Hybridization in American Television. In Music in Television: Channels of Listening (pp. 35–56). Routledge. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668779

Romney, J., & Wootton, A. (1995). Celluloid Jukebox: Popular Music and Movies Since the 50s. BFI.

Royal S. Brown. (1994). Overtones and Undertones Reading Film Music. University of California Press. https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS5147131100002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,Overtones%20and%20Undertones:%20Reading%20Film%20Music&sortby=rank&offset=0

Scott Pilgrim vs the World | Box of Broadcasts. (2010). Channel 4. https://learningonscreen.ac.uk/ondemand/index.php/prog/02FA5FBF?bcast=122280015

Sergei Eisenstein. (1968). The Film Sense. Faber and Faber. https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2123905630002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,The%20Film%20Sense&offset=0

Sergei Eisenstein. (2000). Alexander Nevsky. Eureka. https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2122809910002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&tab=tab2&query=any,contains,Alexander%20Nevsky&sortby=rank

Sergio Leone. (2004). Once Upon a Time in the West. Paramount. https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2127708710002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&isFrbr=true&tab=tab2&query=any,contains,once%20upon%20a%20time%20in%20the%20west,AND&sortby=date&facet=frbrgroupid,include,298630503&mode=advanced&offset=0

Shail, A., Stoate, R., & British Film Institute. (2010). Back to the Future. Palgrave Macmillan.

Slowik, M. (2010). ‘The Plasterers’ and Early Sound Cinema Aesthetics. Music, Sound, and the Moving Image, 4(1), 55–75. http://muse.jhu.edu/article/387882

Slowik, M. (2014). After the Silents: Hollywood Film Music in the Early Sound Era, 1926-1934. Columbia University Press.

Slowik, M. J. (2012). Hollywood Film Music in the Early Sound Era, 1926-1934. https://www.google.co.uk/_/chrome/newtab?rlz=1C1CHBD_en-gbGB785GB785&ie=UTF-8

Smith, J. (1996). Unheard Melodies? A Critique of Psychoanalytic Theories of Film Music. In Post-Theory: Reconstructing Film Studies (pp. 230–247). University of Wisconsin Press.

Smith, J. (1998). Sounds of Commerce: Marketing Popular Film Music. Columbia U.P.

Smith, J. (2001a). Popular Songs and Comic Allusion in Contemporary Cinema. In Soundtrack Available: Essays on Film and Popular Music (pp. 407–430). Duke University Press.

Smith, J. (2001b). Popular Songs and Comic Allusion in Contemporary Cinema. In Soundtrack Available: Essays on Film and Popular Music (pp. 407–430). Duke University Press. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1167529

Smith, J. (2009). Bridging the Gap: Reconsidering the Border between Diegetic and Nondiegetic Music. Music and the Moving Image, 2(1), 1–25. http://www.jstor.org/stable/10.5406/musimoviimag.2.1.0001

Smith, J. (2013a). The Sound of Intensified Continuity. In J. Richardson & C. Gorbman (Eds.), The Oxford Handbook of New Audiovisual Aesthetics (pp. 331–356). Oxford University Press.

Smith, J. (2013b). The Sound of Intensified Continuity. In J. Richardson & C. Gorbman (Eds.), The Oxford Handbook of New Audiovisual Aesthetics (pp. 331–356). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199733866.001.0001

Smith, J. (2013c). "The Tunes They Are A-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film. In D. Neumeyer (Ed.), The Oxford Handbook of Film Music Studies (pp. 270–290). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780195328493.001.0001

Smith, J. (2015). "The Tunes They Are A-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film. In D. Neumeyer (Ed.), The Oxford Handbook of Film Music Studies (pp. 270–290). Oxford University Press.

Snyder, Z. (2011). Sucker Punch. Warner Home Video.

Spadoni, R. (2003). The Uncanny Body of Early Sound Film. The Velvet Light Trap, 51(1), 4–16. https://doi.org/10.1353/vlt.2003.0011

Spring, K. (2008). Pop Go the Warner Bros., et al.: Marketing Film Songs during the Coming of Sound. Cinema Journal, 48(1), 68–89. https://doi.org/10.1353/cj.0.0066

Spring, K. (2013). Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema. Oxford University Press. http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286809550002671&institutionId=2671&customerId=2670

Stilwell, R. J. (2007a). The Fantastical Gap between Diegetic and Nondiegetic. In Beyond the Soundtrack: Representing Music in Cinema (pp. 184–202). University of California Press.

Stilwell, R. J. (2007b). The Fantastical Gap Between Diegetic and Nondiegetic. In Beyond the Soundtrack: Representing Music in Cinema (pp. 184–202). University of California Press. https://www-fulcrum-org.ezproxy01.rhul.ac.uk/concern/monographs/1j92g782p

The Dickson Experimental Sound Film. (2008). https://www.youtube.com/watch?v=Y6b0wpBTR1s&feature=youtu.be

The Empire Strikes Back | Box of Broadcasts. (2018). ITV London. https://learningonscreen.ac.uk/ondemand/index.php/prog/00117ADA?bcast=128101233

The Hunger Games | Box of Broadcasts. (2019). FilmFour. https://learningonscreen.ac.uk/ondemand/index.php/prog/02E3193E?bcast=128242272

Tim Summers. (2013). Star Trek and the Musical Depiction of the Alien Other. Music, Sound, and the Moving Image, 7(1), 19–52. https://muse.jhu.edu/article/514829

Tod Browning. (2002). Dracula. Universal. https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2128079440002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_ALL&adaptor=Local%20Search%20Engine&isFrbr=true&tab=tab1&query=any,contains,Dracula&sortby=date&facet=frbrgroupid,include,1288048949&offset=0

Whale, J., & Karloff, B. (2008). Frankenstein. Universal.

Whittington, W. (2013a). Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age. In The Oxford Handbook of Sound and Image in Digital Media (pp. 61–74). Oxford University Press.

Whittington, W. (2013b). Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age. In The Oxford Handbook of Sound and Image in Digital Media (pp. 61–74). Oxford University Press. https://www-oxfordhandbooks-com.ezproxy01.rhul.ac.uk/view/10.1093/oxfordhb/9780199757640.001.0001/oxfordhb-9780199757640

Wierzbicki, J. E. (2005). Louis and Bebe Barron’s Forbidden Planet: A Film Score Guide: Vol. no. 4. Scarecrow Press.

Winters, B. (2007a). Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide (Vol. 6). Scarecrow Press.

Winters, B. (2007b). Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide: Vol. v.6. Scarecrow Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1365247

Winters, B. (2010). The Non-Diegetic Fallacy: Film, Music, and Narrative Space. Music & Letters, 91(2), 224–244. http://www.jstor.org/stable/40871578

Wojcik, P. R., & Knight, A. (2001a). Soundtrack Available: Essays on Film and Popular Music. Duke University Press.

Wojcik, P. R., & Knight, A. (2001b). Soundtrack Available: Essays on Film and Popular Music. Duke University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1167529