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Abel, R. and Altman, R. (2001) The sounds of early cinema. Bloomington, Ind: Indiana University Press.
Altman, R. (2004) Silent film sound. New York: Columbia University Press.
Altman, R. and American Film Institute (1992) Sound theory, sound practice. New York: Routledge.
Annabel Cohen (2001) ‘Music as a Source of Emotion in Film’, in Music and emotion: theory and research. Oxford: Oxford University Press.
Bordwell, D. and Thompson, K. (2013) Film art: an introduction. Tenth edition, McGraw-Hill international edition. New York: McGraw-Hill.
Brown, R. S. (1994a) Overtones and undertones: reading film music. Berkeley,CA: University of California Press.
Brown, R. S. (1994b) Overtones and undertones: reading film music. Berkeley,CA: University of California Press.
Bruce, G. (1985) Bernard Herrmann: film music and narrative. Ann Arbor, Mich: UMI Research Press.
Buhler, J., Flinn, C. and Neumeyer, D. (2000) Music and cinema. Hanover, NH: University Press of New England.
Cambridge University Press (2016) The Cambridge companion to film music. Edited by M. Cooke and F. Ford. Cambridge: Cambridge University Press. Available at: https://oxfordbrookes.idm.oclc.org/login?url=http://dx.doi.org/10.1017/9781316146781.
Chion, M. and Gorbman, C. (1994) Audio-vision: sound on screen. New York: Columbia University Press.
Citron, M. J. (2000) Opera on screen. New Haven, Conn: Yale University Press.
Claudia Gorbman (2000) ‘Scoring the Indian: Music in the Liberal Western’, in Western music and its others: difference, representation, and appropriation in music. Berkeley: University of California Press.
Claudia Gorbman (no date) ‘Scoring the Indian: Music in the Liberal Western’, in Western Music and Its Others : Difference, Representation, and Appropriatio...: EBSCOhost. Available at: http://web.b.ebscohost.com.oxfordbrookes.idm.oclc.org/ehost/detail/detail?sid=5b9427e1-74ab-45a8-a0cc-447757a7cd02%40sessionmgr198&crlhashurl=login.aspx%253fdirect%253dtrue%2526scope%253dsite%2526db%253dnlebk%2526db%253dnlabk%2526AN%253d66372&hid=110&vid=0&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=66372&db=nlebk.
Conrad, P. (2000) The Hitchcock murders. London: Faber.
Conrich, I. and Tincknell, E. (2006) Film’s musical moments. Edinburgh: Edinburgh University Press.
Cooke, M. (2008) A history of film music. Cambridge: Cambridge University Press. Available at: http://www.loc.gov/catdir/enhancements/fy0833/2008019383-t.html.
Cooke, M. and Ford, F. (eds) (2016) The Cambridge companion to film music. Cambridge: Cambridge University Press.
Daniel Grimley (no date) ‘Hidden Places: Hyper-realism in Bjork’s Vespertine and Dancer in the Dark’, Twentieth - Century Music, 2(1). Available at: https://www-cambridge-org.oxfordbrookes.idm.oclc.org/core/services/aop-cambridge-core/content/view/8BA0100F2761D02779F10CA89943AA0B/S1478572205000186b.pdf/hidden-places-hyper-realism-in-bjork-s-vespertine-and-dancer-in-the-dark.pdf.
David Bordwell, Kristin Thompson and Jeff Smith (2017) Film art: an introduction. Eleventh edition. New York, NY: McGraw-Hill Education.
Davison, A. (2004) Hollywood theory, non-Hollywood practice: cinema soundtracks in the 1980s and 1990s. Aldershot: Ashgate.
Dean W. Duncan (2003) Charms that soothe: classical music and the narrative film. New York: Fordham University Press. Available at: http://www.loc.gov/catdir/toc/ecip044/2003011363.html.
Donnelly, K. J. (2001) Film music: critical approaches. Edinburgh: Edinburgh University Press.
Flinn, C. (1992) Strains of utopia: gender, nostalgia, and Hollywood film music. Princeton, N.J.: Princeton University Press.
Goldmark, D., Kramer, L. and Leppert, R. D. (2007) Beyond the soundtrack: representing music in cinema. Berkeley, Calif: University of California Press.
Gorbman, C. (1987) Unheard melodies: narrative film music. Bloomington: Indiana University Press.
Hickman, R. (2017) Reel music: exploring 100 years of film music. Second edition. New York: W. W. Norton & Company.
Inglis, I. (2003) Popular music and film. London: Wallflower.
Jeff Smith (1996) ‘Unheard Melodies?  A Critique of Psychoanalytic Theories of Film Music’, in Post-theory: reconstructing film studies. Madison: University of Wisconsin Press.
Kassabian, A. (2001a) Hearing film: tracking identifications in contemporary Hollywood film music. London: Routledge. Available at: https://oxfordbrookes.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=70539.
Kassabian, A. (2001b) Hearing film: tracking identifications in contemporary Hollywood film music. London: Routledge.
Kassabian, A. (2001c) Hearing film: tracking identifications in contemporary Hollywood film music. London: Routledge.
Kassabian, A. (2001d) Hearing film: tracking identifications in contemporary Hollywood film music. London: Routledge. Available at: https://oxfordbrookes.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=70539.
Kevin Donnelly (1998) ‘The Classical Film Score Forever? Batman, Batman Returns and Post-Classical Film Music’, in Contemporary Hollywood cinema. London: Routledge.
Kramer, L. (2007a) Why classical music still matters. Berkeley, Calif: University of California Press.
Kramer, L. (2007b) Why classical music still matters. Berkeley, Calif: University of California Press. Available at: https://oxfordbrookes.idm.oclc.org/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780520933644.
Lastra, J. (2000) Sound technology and the American cinema: perception, representation, modernity. New York: Columbia University Press.
Lawrence Grossberg (2003) ‘Cinema, Postmodernity and Authenticity’, in Movie music: the film reader. London: Routledge.
Lawrence Kramer (1996) ‘From the Other to the Abject: Music as a Cultural Trope’, in Classical music and postmodern knowledge. Berkeley: University of California Press.
L. Geraghty (2004) ‘`“Now that’s what I Call a Close encounter!” : the Role of the Alien in Science Fiction Film, 1977-2001’’, Scope: An Online Journal of Film Studies. Available at: http://www.nottingham.ac.uk/scope/documents/2004/november-2004/geraghty-janicker.pdf.
‘Listening to Ravel, Watching Un coeur en hiver: Cinematic Subjectivity and the Music-film’ (2004) Twentieth-century music, 1(2). Available at: https://www-cambridge-org.oxfordbrookes.idm.oclc.org/core/services/aop-cambridge-core/content/view/038D2F335E52091A22E24AE58057D67A/S1478572205000149a.pdf/listening-to-ravel-watching-un-coeur-en-hiver-cinematic-subjectivity-and-the-music-film.pdf.
Marshall, B. and Stilwell, R. J. (2000) Musicals: Hollywood and beyond. Exeter, England: Intellect.
Neumeyer, D. (ed.) (2014) The Oxford handbook of film music studies. Oxford: Oxford University Press. Available at: https://www-dawsonera-com.oxfordbrookes.idm.oclc.org/abstract/9780199338474.
O’Brien, C. (2005) Cinema’s conversion to sound: technology and film style in France and the U.S. Bloomington, Ind: Indiana University Press. Available at: https://oxfordbrookes.idm.oclc.org/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780253111128.
Peter Franklin (2001) ‘King Kong and Film on Music: Out of the Fog’, in Film music: critical approaches. Edinburgh: Edinburgh University Press.
Powrie, P. and Stilwell, R. J. (2006) Changing tunes: the use of pre-existing music in film. Aldershot: Ashgate.
Richard Dyer (2002) ‘Entertainment and Utopia’, in Only entertainment. 2nd ed. London: Routledge.
Sergi, G. (2004) The Dolby era: film sound in contemporary Hollywood. Manchester: Manchester University Press.
Smith, J. (1998) The sounds of commerce: marketing popular film music. New York: Columbia University Press.
Spadoni, R. (2007) Uncanny bodies: the coming of sound film and the origins of the horror genre. Berkeley, Calif: University of California Press.
Sullivan, J. (2006) Hitchcock’s music. New Haven, Conn: Yale University Press. Available at: http://www.loc.gov/catdir/toc/ecip0611/2006010348.html.
Susan McClary (2007) ‘Minima Romantica’, in Beyond the soundtrack: representing music in cinema. Berkeley, Calif: University of California Press.
Tagg, P. and Clarida, B. (2003) Ten little title tunes: towards a musicology of the mass media. New York: Mass Media Music Scholars’ Press.
Vernallis, C. (2013) The Oxford handbook of new audiovisual aesthetics. Edited by J. Richardson and C. Gorbman. Oxford: Oxford University Press.
Vernallis, C., Herzog, A. and Richardson, J. (eds) (2015) The Oxford handbook of sound and image in digital media. New York: Oxford University Press.
Winters, Ben (2008) ‘Corporeality, Musical Heartbeats, and Cinematic Emotion.’, Music, Sound & the Moving Image, 2(1), pp. 3–25. Available at: http://search.ebscohost.com.oxfordbrookes.idm.oclc.org/login.aspx?direct=true&db=aft&AN=505303674&site=ehost-live.
Winters, Ben (2010) ‘The Non-diegetic Fallacy: Film, Music, and Narrative Space.’, Music & Letters, 91(2), pp. 224–244. Available at: http://search.ebscohost.com.oxfordbrookes.idm.oclc.org/login.aspx?direct=true&db=a9h&AN=53299064&site=ehost-live.
Wojcik, P. R. and Knight, A. (2001) Soundtrack available: essays on film and popular music. Durham, [N.C.]: Duke University Press.