[1]
R. Altman, ‘Music For Films’, in Silent Film Sound, New York: Columbia University Press, 2004, pp. 249–271.
[2]
R. Altman, The American Film Musical. Bloomington: Indiana University Press, 1987.
[3]
M. Chion and C. Gorbman, Audio-Vision: Sound on Screen. New York: Columbia University Press, 1994.
[4]
N. Cook, ‘Models of Multimedia’, in Analysing Musical Multimedia, Oxford [England]: Clarendon Press, 1997, pp. 98–129.
[5]
D. Goldmark, Tunes for ’Toons: Music and the Hollywood Cartoon. Berkeley: University of California Press, 2005.
[6]
C. Gorbman, Unheard Melodies: Narrative Film Music. London: BFI, 1987.
[7]
M. Mera and D. Burnand, European Film Music. Aldershot: Ashgate, 2006.
[8]
P. Powrie and R. J. Stilwell, Changing Tunes: The Use of Pre-Existing Music in Film. Aldershot, Hants, England: Ashgate, 2006 [Online]. Available: https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/edit/10.4324/9781315095882/changing-tunes-use-pre-existing-music-film-robynn-stilwell
[9]
J. Brown, ‘Music in Film and Television’, in An Introduction to Music Studies, Cambridge: Cambridge University Press, 2009, pp. 201–218.
[10]
J. Brown, ‘Music in Film and Television’, in An Introduction to Music Studies, Cambridge, UK: Cambridge University Press, 2009, pp. 201–218 [Online]. Available: https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Product/Index/2007214?page=0&startBookmarkId=-1
[11]
K. M. Kalinak, Film Music: A Very Short Introduction. New York: Oxford University Press, 2010.
[12]
K. M. Kalinak, Film Music: A Very Short Introduction. New York: Oxford University Press, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=497617
[13]
R. S. Brown, Overtones and Undertones: Reading Film Music. University of California Press, 1994.
[14]
R. S. Brown, ‘Actions/Interactions: The Source Beyond the Source’, in Overtones and Undertones: Reading Film Music, University of California Press, 1994, pp. 67–92 [Online]. Available: https://www-fulcrum-org.ezproxy01.rhul.ac.uk/concern/monographs/z316q2161
[15]
J. Buhler, D. Neumeyer, and R. Deemer, Hearing the Movies: Music and Sound in Film History. New York: Oxford University Press, 2010.
[16]
M. Chion and C. Gorbman, Audio-Vision: Sound on Screen. New York: Columbia University Press, 1994.
[17]
K. J. Donnelly, ‘“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, Edinburgh: Edinburgh University Press, 2001, pp. 16–61.
[18]
G. Heldt, ‘Film-Music Theory’, in The Cambridge Companion to Film Music, M. Cooke and F. Ford, Eds. Cambridge: Cambridge University Press, 2016, pp. 97–113 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286810060002671&institutionId=2671&customerId=2670
[19]
G. Heldt, ‘Film-Music Theory’, in The Cambridge Companion to Film Music, M. Cooke and F. Ford, Eds. Cambridge: Cambridge University Press, 2016, pp. 97–113 [Online]. Available: https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781
[20]
G. Heldt, Music and Levels of Narration in Film: Steps Across the Border. Bristol, UK: Intellect, 2013 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13278235420002671&institutionId=2671&customerId=2670
[21]
G. Heldt, ‘The Conceptual Toolkit: Music and Levels of Narration’, in Music and Levels of Narration in Film: Steps Across the Border, Bristol, UK: Intellect, 2013.
[22]
J. Smith, ‘Bridging the Gap: Reconsidering the Border between Diegetic and Nondiegetic Music’, Music and the Moving Image, vol. 2, no. 1, pp. 1–25, 2009 [Online]. Available: http://www.jstor.org/stable/10.5406/musimoviimag.2.1.0001
[23]
R. J. Stilwell, ‘The Fantastical Gap between Diegetic and Nondiegetic’, in Beyond the Soundtrack: Representing Music in Cinema, Berkeley: University of California Press, 2007, pp. 184–202.
[24]
R. J. Stilwell, ‘The Fantastical Gap Between Diegetic and Nondiegetic’, in Beyond the Soundtrack: Representing Music in Cinema, University of California Press, 2007, pp. 184–202 [Online]. Available: https://www-fulcrum-org.ezproxy01.rhul.ac.uk/concern/monographs/1j92g782p
[25]
B. Winters, ‘The Non-Diegetic Fallacy: Film, Music, and Narrative Space’, Music & Letters, vol. 91, no. 2, pp. 224–244, 2010 [Online]. Available: http://www.jstor.org/stable/40871578
[26]
M. Cooke, ‘The Silent Cinema’, in A History of Film Music, Cambridge: Cambridge University Press, 2008, pp. 1–42.
[27]
R. Altman, ‘Music For Films’, in Silent Film Sound, New York: Columbia University Press, 2004, pp. 249–271.
[28]
F. Lang, A. Abel, and B. Helm, ‘Metropolis’. Kino, [S.l.], 2010.
[29]
‘Metropolis | Box of Broadcasts’. FilmFour, 1927 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000FC741?bcast=116788570
[30]
J. Brown and A. Davison, ‘Overture’, in The Sounds of the Silents in Britain, New York: Oxford University Press, 2013, pp. 1–16 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13278222410002671&institutionId=2671&customerId=2670
[31]
J. Brown and A. Davison, ‘Overture’, in The Sounds of the Silents in Britain, New York: Oxford University Press, 2013, pp. 1–12.
[32]
J. Buhler, D. Neumeyer, and R. Deemer, Hearing the Movies: Music and Sound in Film History. New York: Oxford University Press, 2010.
[33]
J. B. Lampe, J. S. Zamecnik, J. C. Breil, W. C. Simon, M. Lake, and D. Goldmark, Sounds for the Silents: Photoplay Music From the Days of Early Cinema. Mineola, New York: Dover Publications, 2013.
[34]
C. Martin, ‘Playing the Pictures’, The Film Index, pp. 26–27, 1819 [Online]. Available: http://archive.org/stream/filmindex06film#page/n693/mode/2up
[35]
L. R. Harrison, ‘Jackass Music’, Moving Picture World, pp. 125–125, 1911 [Online]. Available: http://archive.org/stream/moviwor08chal#page/124/mode/2up
[36]
E. J. Luz, ‘The Toning Method’, Moving Picture News, pp. 29–29, 1912 [Online]. Available: http://archive.org/stream/movingpicturenew06unse#page/n627/mode/2up
[37]
W. T. George, Playing to Pictures: A Guide to Pianists and Conductors of Motion Picture Theatres. London: E.T. Heron & Co., 1914 [Online]. Available: http://www.victorianpopularculture.amdigital.co.uk/Documents/Details/EXEBD_33687
[38]
‘The Dickson Experimental Sound Film’. 2008 [Online]. Available: https://www.youtube.com/watch?v=Y6b0wpBTR1s&feature=youtu.be
[39]
J. Buhler, D. Neumeyer, and R. Deemer, ‘The Transition to Sound Film (1926–1932)’, in Hearing the Movies: Music and Sound in Film History, New York: Oxford University Press, 2010.
[40]
M. Slowik, ‘“The Plasterers” and Early Sound Cinema Aesthetics’, Music, Sound, and the Moving Image, vol. 4, no. 1, pp. 55–75, 2010 [Online]. Available: http://muse.jhu.edu/article/387882
[41]
K. Spring, ‘Pop Go the Warner Bros., et al.: Marketing Film Songs during the Coming of Sound’, Cinema Journal, vol. 48, no. 1, pp. 68–89, 2008, doi: 10.1353/cj.0.0066.
[42]
A. Crosland and A. Jolson, ‘The Jazz Singer’. Warner Home Entertainment, 2007.
[43]
J. Whale and B. Karloff, ‘Frankenstein’. Universal, 2008.
[44]
Tod Browning, ‘Dracula’. Universal, 2002 [Online]. Available: 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
[45]
R. Altman and S. Handzo, ‘The Sound of Sound: A Brief History of the Reproduction of Sound in Movie Theaters’, Cinéaste, vol. 21, no. 1, pp. 68–71, 1995 [Online]. Available: http://www.jstor.org/stable/41688110
[46]
J. Buhler and H. Lewis, ‘Evolving Practices for Film Music and Sound, 1925–1935’, in The Cambridge Companion to Film Music, M. Cooke and F. Ford, Eds. Cambridge: Cambridge University Press, 2016, pp. 7–28.
[47]
J. Buhler and H. Lewis, ‘Evolving Practices for Film Music and Sound, 1925–1935’, in The Cambridge Companion to Film Music, M. Cooke and F. Ford, Eds. Cambridge: Cambridge University Press, 2016, pp. 7–28 [Online]. Available: https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781
[48]
R. Spadoni, ‘The Uncanny Body of Early Sound Film’, The Velvet Light Trap, vol. 51, no. 1, pp. 4–16, 2003, doi: 10.1353/vlt.2003.0011.
[49]
K. Spring, Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema. New York: Oxford University Press, 2013 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286809550002671&institutionId=2671&customerId=2670
[50]
M. Slowik, After the Silents: Hollywood Film Music in the Early Sound Era, 1926-1934. New York: Columbia University Press, 2014.
[51]
M. J. Slowik, ‘Hollywood Film Music in the Early Sound Era, 1926-1934’. 2012 [Online]. Available: https://www.google.co.uk/_/chrome/newtab?rlz=1C1CHBD_en-gbGB785GB785&ie=UTF-8
[52]
M. Curtiz, ‘Casablanca’. Warner Home Video, 2004.
[53]
‘Casablanca | Box of Broadcasts’. ITV3, 2018 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/001C11A0?bcast=126670270
[54]
C. Gorbman, Unheard Melodies: Narrative Film Music. London: BFI, 1987.
[55]
M. C. Cooper, ‘King Kong’. Universal, [S.l.], 2001.
[56]
‘King Kong | Box of Braodcasts’. BBC4, 2013 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/000217D1?bcast=101317175
[57]
M. Curtiz, ‘The Adventures of Robin Hood’. Warner Home Video, 2009.
[58]
M. Curtiz, ‘The Adventures of Robin Hood | Box of Broadcasts’. Channel 5, 2014 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0056511F?bcast=114756158
[59]
G. Lucas, M. Hamill, H. Ford, and C. Fisher, ‘Star Wars Trilogy: The Empire Strikes Back’. Twentieth Century Fox, [S.l.], 2004.
[60]
‘The Empire Strikes Back | Box of Broadcasts’. ITV London, 2018 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/00117ADA?bcast=128101233
[61]
T. W. Adorno and H. Eisler, Composing for the Films. London: Athlone, 1994.
[62]
P. Franklin, ‘Returning to Casablanca’, in The Cambridge Companion to Film Music, M. Cooke and F. Ford, Eds. Cambridge: Cambridge University Press, 2016, pp. 126–137 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13286810060002671&institutionId=2671&customerId=2670
[63]
P. Franklin, ‘Returning to Casablanca’, in The Cambridge Companion to Film Music, M. Cooke and F. Ford, Eds. Cambridge: Cambridge University Press, 2016, pp. 126–137 [Online]. Available: https://doi-org.ezproxy01.rhul.ac.uk/10.1017/9781316146781
[64]
K. Kalinak, Settling the Score: Music and the Classical Hollywood Film. University of Wisconsin Press, 1992.
[65]
J. Smith, ‘Unheard Melodies? A Critique of Psychoanalytic Theories of Film Music’, in Post-Theory: Reconstructing Film Studies, Madison: University of Wisconsin Press, 1996, pp. 230–247.
[66]
B. Winters, Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide, vol. 6. Lanham, Md: Scarecrow Press, 2007.
[67]
B. Winters, Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide, vol. v.6. Blue Ridge Summit: Scarecrow Press, 2007 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1365247
[68]
R. Rodman, ‘"Coperettas,” "Detecterns,” and Space Operas: Music and Genre Hybridization in American Television’, in Music in Television: Channels of Listening, New York: Routledge, 2011, pp. 35–56.
[69]
R. Rodman, ‘"Coperettas,” "Detecterns,” and Space Operas: Music and Genre Hybridization in American Television’, in Music in Television: Channels of Listening, New York: Routledge, 2011, pp. 35–56 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668779
[70]
K. J. Donnelly, ‘Music for Television 1: Music for Television Drama’, in The Spectre of Sound: Music in Film and Television, BFI, 2005, pp. 110–133.
[71]
D. Huron, ‘Music in Advertising: An Analytic Paradigm’, The Musical Quarterly, vol. 73, no. 4, pp. 557–574, 1989 [Online]. Available: http://www.jstor.org/stable/741819
[72]
A. Davison, ‘Title Sequences for Contemporary Television Serials’, in The Oxford Handbook of New Audiovisual Aesthetics, J. Richardson and C. Gorbman, Eds. New York, NY: Oxford University Press, 2013, pp. 146–167.
[73]
A. Davison, ‘Title Sequences for Contemporary Television Serials’, in The Oxford Handbook of New Audiovisual Aesthetics Less... Moreaudiovisualaestheticsimmersionparticipationsensorysemioticcinematiccyberspaceaudio-visionaural dimension, pp. 146–167 [Online]. Available: http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199733866.001.0001/oxfordhb-9780199733866
[74]
K. J. Donnelly, The Spectre of Sound: Music in Film and Television. London: BFI, 2005.
[75]
J. K. Halfyard, Sounds of Fear and Wonder: Music in Cult TV. London: I.B. Tauris, 2016 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4890500
[76]
Fred Steiner, ‘Keeping Score of the Scores: Music for Star Trek’, The Quarterly Journal of the Library of Congress, vol. 40, no. 1, 1983 [Online]. Available: https://www.jstor.org/stable/29781960?seq=1#metadata_info_tab_contents
[77]
Tim Summers, ‘Star Trek and the Musical Depiction of the Alien Other’, Music, Sound, and the Moving Image, vol. 7, no. 1, pp. 19–52, 2013 [Online]. Available: https://muse.jhu.edu/article/514829
[78]
J. Smith, ‘Popular Songs and Comic Allusion in Contemporary Cinema’, in Soundtrack Available: Essays on Film and Popular Music, Durham [N.C.]: Duke University Press, 2001, pp. 407–430.
[79]
J. Smith, ‘Popular Songs and Comic Allusion in Contemporary Cinema’, in Soundtrack Available: Essays on Film and Popular Music, Durham, [N.C.]: Duke University Press, 2001, pp. 407–430 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1167529
[80]
R. S. Denisoff and G. Plasketes, ‘Synergy in 1980s Film and Music: Formula for Success or Industry Mythology?’, Film History, vol. 4, no. 3, pp. 257–276, 1990 [Online]. Available: http://www.jstor.org/stable/3815137
[81]
Guido Heldt, ‘“... There’s No Music Playing, and It’s Not Snowing”: Songs and Self-Reflexivity in Curtisland’, Music, Sound, and the Moving Image, vol. 6, no. 1, pp. 73–91, 2012 [Online]. Available: https://muse.jhu.edu/article/481181
[82]
I. Inglis, Popular Music and Film. London: Wallflower, 2003.
[83]
A. Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge, 2001.
[84]
A. Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=178428
[85]
J. Mundy, Popular Music on Screen: From Hollywood Musical to Music Video. Manchester: Manchester University Press, 1999.
[86]
M. Priewe, ‘The Power of Conformity: Music, Sound, and Vision in Back to the Future’, European journal of American studies, vol. 12, no. 4, 2017, doi: 10.4000/ejas.12409.
[87]
J. Romney and A. Wootton, Celluloid Jukebox: Popular Music and Movies Since the 50s. London: BFI, 1995.
[88]
A. Shail, R. Stoate, and British Film Institute, Back to the Future. Basingstoke: Palgrave Macmillan, 2010.
[89]
J. Smith, Sounds of Commerce: Marketing Popular Film Music. Columbia U.P., 1998.
[90]
J. Smith, ‘"The Tunes They Are A-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film’, in The Oxford Handbook of Film Music Studies, D. Neumeyer, Ed. Oxford: Oxford University Press, 2015, pp. 270–290.
[91]
J. Smith, ‘"The Tunes They Are A-Changing”: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film’, in The Oxford Handbook of Film Music Studies, D. Neumeyer, Ed. Oxford University Press, 2013, pp. 270–290 [Online]. Available: https://www-oxfordhandbooks-com.ezproxy01.rhul.ac.uk/view/10.1093/oxfordhb/9780195328493.001.0001/oxfordhb-9780195328493
[92]
P. R. Wojcik and A. Knight, Soundtrack Available: Essays on Film and Popular Music. Durham [N.C.]: Duke University Press, 2001.
[93]
P. R. Wojcik and A. Knight, Soundtrack Available: Essays on Film and Popular Music. Durham, [N.C.]: Duke University Press, 2001 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1167529
[94]
‘Scott Pilgrim vs the World | Box of Broadcasts’. Channel 4, 2010 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/02FA5FBF?bcast=122280015
[95]
D. Kulezic-Wilson, ‘Sound Design is the New Score’, Music, Sound, and the Moving Image, vol. 2, no. 2, pp. 127–131, 2009 [Online]. Available: https://muse.jhu.edu/article/269098
[96]
A. McQueen, ‘“Bring the Noise!”: Sonic Intensified Continuity in the Films of Edgar Wright’, Music, Sound, and the Moving Image, vol. 7, no. 2, pp. 141–165, 2014 [Online]. Available: https://muse.jhu.edu/article/536550
[97]
M. Kerins, ‘The Look of 5.1: Visual Aesthetics’, in Beyond Dolby (Stereo): Cinema in the Digital Sound Age, Bloomington: Indiana University Press, 2011, pp. 84–112.
[98]
M. Kerins, ‘The Look of 5.1: Visual Aesthetics’, in Beyond Dolby (Stereo): Cinema in the Digital Sound Age, Bloomington: Indiana University Press, 2010, pp. 84–112 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=624327
[99]
H. Hanson, ‘Sound Affects: Post-production Sound, Soundscapes and Sound Design in Hollywood’s Studio Era’, Music, Sound, and the Moving Image, vol. 1, no. 1, pp. 27–49, 2009 [Online]. Available: https://muse.jhu.edu/article/268999
[100]
J. Smith, ‘The Sound of Intensified Continuity’, in The Oxford Handbook of New Audiovisual Aesthetics, J. Richardson and C. Gorbman, Eds. New York, NY: Oxford University Press, 2013, pp. 331–356.
[101]
J. Smith, ‘The Sound of Intensified Continuity’, in The Oxford Handbook of New Audiovisual Aesthetics, J. Richardson and C. Gorbman, Eds. New York, NY: Oxford University Press, 2013, pp. 331–356 [Online]. Available: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13404802860002671&institutionId=2671&customerId=2670
[102]
W. Whittington, ‘Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age’, in The Oxford Handbook of Sound and Image in Digital Media, New York: Oxford University Press, 2013, pp. 61–74.
[103]
W. Whittington, ‘Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age’, in The Oxford Handbook of Sound and Image in Digital Media, New York: Oxford University Press, 2013, pp. 61–74 [Online]. Available: https://www-oxfordhandbooks-com.ezproxy01.rhul.ac.uk/view/10.1093/oxfordhb/9780199757640.001.0001/oxfordhb-9780199757640
[104]
J. Godsall, ‘Listening to Beethoven in and Through the King’s Speech | The Avid Listener’. [Online]. Available: https://theavidlistenerblog.com/2020/07/27/listening-to-beethoven-in-and-through-the-kings-speech/
[105]
J. Godsall, Reeled In: Pre-Existing Music in Narrative Film. London: Routledge, 2018.
[106]
C. Gorbman, ‘Auteur Music’, in Beyond the Soundtrack Representing Music in Cinema, Berkeley: University of California Press, 2007, pp. 149–162 [Online]. Available: 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
[107]
C. Gorbman, ‘Auteur Music’, in Beyond the Soundtrack: Representing Music in Cinema, Berkeley: University of California Press, 2007, pp. 149–162 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=922914
[108]
L. Howard, ‘The Popular Reception of Samuel Barber’s “Adagio for Strings”’, American Music, vol. 25, no. 1, 2007, doi: 10.2307/40071643.
[109]
J. Hubbert, ‘The Compilation Soundtrack From the 1960s to the Present’, in The Oxford handbook of film music studies, D. Neumeyer, Ed. Oxford: Oxford University Press, 2015, pp. 291–318.
[110]
J. Hubbert, ‘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 [Online]. Available: http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780195328493.001.0001/oxfordhb-9780195328493
[111]
P. Powrie and R. J. Stilwell, Changing Tunes: The Use of Pre-Existing Music in Film. Aldershot, Hants, England: Ashgate, 2006.
[112]
K. McQuiston, We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. New York: Oxford University Press, 2013.
[113]
K. McQuiston, We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. Oxford: Oxford University Press, 2013 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4842477
[114]
P. Jenkins, ‘Wonder Woman’. Warner Bros. Home Ent, 2017.
[115]
J. Buhler, ‘Gender, Sexuality and the Soundtrack’, in The Oxford Handbook of Film Music Studies, D. Neumeyer, Ed. Oxford: Oxford University Press, 2015, pp. 366–382.
[116]
J. Buhler, ‘Gender, Sexuality and the Soundtrack’, in The Oxford Handbook of Film Music Studies, D. Neumeyer, Ed. Oxford University Press, 2013, pp. 366–382 [Online]. Available: https://www-oxfordhandbooks-com.ezproxy01.rhul.ac.uk/view/10.1093/oxfordhb/9780195328493.001.0001/oxfordhb-9780195328493
[117]
‘The Hunger Games | Box of Broadcasts’. FilmFour, 2019 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/02E3193E?bcast=128242272
[118]
P. Morrison, ‘Little Ashes’. Kaleidoscope Home Entertainment Ltd. KAL8024, 2010.
[119]
‘Rebecca | Box of Broadcasts’. BBC2 England, 2016 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0001C654?bcast=123041682
[120]
A. Hitchcock, ‘Rebecca’. Fremantle Home Entertainment, S.l., 2007.
[121]
Z. Snyder, ‘Sucker Punch’. Warner Home Video, Burbank, CA, 2011.
[122]
P. Franklin, ‘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, New York: Oxford University Press, 2011, pp. 62–85 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3054209
[123]
J. Halfyard and V. Hancock, ‘Scoring Fantasy Girls: Music and Female Agency in Indiana Jones and the Mummy Films’, in The Music of Fantasy Cinema, J. K. Halfyard, Ed. Sheffield UK: Equinox Publishing Ltd, 2014, pp. 175–192.
[124]
Catherine Haworth, ‘Introduction: Gender, Sexuality, and the Soundtrack’, Music, Sound, and the Moving Image, vol. 6, no. 2, pp. 113–135, 2012 [Online]. Available: https://muse.jhu.edu/article/495229
[125]
J. Joe, ‘The Cocktail Siren in David Lynch’s Blue Velvet’, in Music of the Sirens, Bloomington: Indiana University Press, 2006, pp. 349–370 [Online]. Available: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=288364
[126]
A. Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge, 2001.
[127]
A. Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge, 2001 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=178428
[128]
N. Lerner, ‘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, London: J. Libbey/Perfect Beat Publications, 2004, pp. 96–108.
[129]
Miguel Mera, ‘Outing the Score: Music, Narrative, and Collaborative Process in Little Ashes’, Music, Sound, and the Moving Image, vol. 6, no. 1, pp. 93–109, 2012 [Online]. Available: https://muse.jhu.edu/article/481182
[130]
J. Getman, ‘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, 2015 [Online]. Available: https://deepblue.lib.umich.edu/bitstream/handle/2027.42/113404/jgetman_1.pdf?sequence=1&isAllowed=y
[131]
L. Mulvey, ‘Introduction: Visual Pleasure and Narrative Cinema’, in Understanding Sound Tracks Through Film Theory, Oxford: Oxford University Press, 2015, pp. 173–179.
[132]
L. Mulvey, ‘Introduction: Visual Pleasure and Narrative Cinema’, in Understanding Sound Tracks Through Film Theory, 2015, pp. 173–179 [Online]. Available: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3056445
[133]
Sergio Leone, ‘Once Upon a Time in the West’. Paramount, S.l., 2004 [Online]. Available: 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
[134]
‘Once Upon a Time in the West (1968)’. FilmFour, 2011 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/0009752F?bcast=66666992
[135]
C. Frayling, Spaghetti Westerns: Cowboys and Europeans From Karl May to Sergio Leone, Rev. ed. London: I. B. Tauris, 1998.
[136]
Fred M Wilcox, ‘Forbidden Planet’. Warner Home Video S.l., 2007 [Online]. Available: 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
[137]
‘Forbidden Planet (1956)’. BBC2 England, 2017 [Online]. Available: https://learningonscreen.ac.uk/ondemand/index.php/prog/006BC44F?bcast=124842967
[138]
Sergei Eisenstein, ‘Alexander Nevsky’. Eureka, S.l.., 2000 [Online]. Available: 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
[139]
T. W. Adorno and H. Eisler, Composing for the Films, New ed. Athlone P., 1994.
[140]
Royal S. Brown, Overtones and Undertones Reading Film Music. Berkeley: University of California Press, 1994 [Online]. Available: 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
[141]
R. S. Brown and American Council of Learned Societies, Overtones and Undertones: Reading Film Music. Berkeley: University of California Press, 1994 [Online]. Available: http://hdl.handle.net/2027/heb.08124
[142]
N. Cook, Analysing Musical Multimedia. Oxford [England]: Clarendon Press, 1997.
[143]
M. Cooke, A History of Film Music. Cambridge: Cambridge University Press, 2008.
[144]
Sergei Eisenstein, The Film Sense. London: Faber and Faber, 1968 [Online]. Available: 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
[145]
R. Leydon, ‘Forbidden Planet: Effects and Affects in the Electro Avant Garde’, in Off the Planet: Music, Sound and Science Fiction Cinema, London: J. Libbey/Perfect Beat Publications, 2004, pp. 61–76.
[146]
S. Prock, ‘Strange Voices: Subjectivity and Gender in Forbidden Planet’s Soundscape of Tomorrow’, Journal of the Society for American Music, vol. 8, no. 03, pp. 371–400, 2014, doi: 10.1017/S1752196314000248.
[147]
J. E. Wierzbicki, Louis and Bebe Barron’s Forbidden Planet: A Film Score Guide, vol. no. 4. Lanham, Md: Scarecrow Press, 2005.
