Abel, R., & Altman, R. (2001). The sounds of early cinema. Indiana University Press.
Altman, R. (2004). Silent film sound: Vol. Film and culture. Columbia University Press.
Altman, R. & American Film Institute. (1992). Sound theory, sound practice: Vol. AFI film readers. Routledge.
Annabel Cohen. (2001a). Music as a Source of Emotion in Film. In Music and emotion: theory and research: Vol. Series in affective science. Oxford University Press.
Bordwell, D., Thompson, K., & Smith, J. (2019). Film art: an introduction (Twelfth edition, International student edition). McGraw-Hill Education.
Brown, R. S. (1994a). Overtones and undertones: reading film music. University of California Press.
Brown, R. S. (1994b). Overtones and undertones: reading film music. University of California Press.
Bruce, G. (1985). Bernard Herrmann: film music and narrative: Vol. Studies in cinema. UMI Research Press.
Buhler, J., Flinn, C., & Neumeyer, D. (2000). Music and cinema: Vol. Music/culture. University Press of New England.
Chion, M., & Gorbman, C. (1994). Audio-vision: sound on screen. Columbia University Press.
Citron, M. J. (2000). Opera on screen. Yale University Press.
Claudia Gorbman. (n.d.-a). Scoring the Indian: Music in the Liberal Western. In Western Music and Its Others : Difference, Representation, and Appropriatio...: EBSCOhost. 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
Claudia Gorbman. (2000). Scoring the Indian: Music in the Liberal Western. In Western music and its others: difference, representation, and appropriation in music. University of California Press.
Conrad, P. (2000). The Hitchcock murders. Faber.
Conrich, I., & Tincknell, E. (2006). Film’s musical moments: Vol. Music and the moving image. Edinburgh University Press.
Cooke, M. (2008). A history of film music. Cambridge University Press. http://www.loc.gov/catdir/enhancements/fy0833/2008019383-t.html
Cooke, M., & Ford, F. (Eds.). (2016). The Cambridge companion to film music. Cambridge University Press.
Daniel Grimley. (n.d.-b). Hidden Places: Hyper-realism in Bjork’s Vespertine and Dancer in the Dark. Twentieth - Century Music, 2(1). 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, & Jeff Smith. (2017). Film art: an introduction (Eleventh edition). McGraw-Hill Education.
Davison, A. (2004). Hollywood theory, non-Hollywood practice: cinema soundtracks in the 1980s and 1990s: Vol. Ashgate popular and folk music series. Ashgate.
Dean W. Duncan. (2003). Charms that soothe: classical music and the narrative film: Vol. Communications and media studies. Fordham University Press. http://www.loc.gov/catdir/toc/ecip044/2003011363.html
Donnelly, K. J. (2001). Film music: critical approaches. Edinburgh University Press.
Flinn, C. (1992). Strains of utopia: gender, nostalgia, and Hollywood film music. Princeton University Press.
Goldmark, D., Kramer, L., & Leppert, R. D. (2007). Beyond the soundtrack: representing music in cinema. University of California Press.
Gorbman, C. (1987). Unheard melodies: narrative film music. Indiana University Press.
Hickman, R. (2017). Reel music: exploring 100 years of film music (Second edition). W. W. Norton & Company.
Inglis, I. (2003). Popular music and film. Wallflower.
Jeff Smith. (1996a). Unheard Melodies?  A Critique of Psychoanalytic Theories of Film Music. In Post-theory: reconstructing film studies: Vol. Wisconsin studies in film. University of Wisconsin Press.
Kassabian, A. (2001a). Hearing film: tracking identifications in contemporary Hollywood film music. Routledge. 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. Routledge.
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://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. Routledge.
Kramer, L. (2007a). Why classical music still matters. University of California Press.
Kramer, L. (2007b). Why classical music still matters. University of California Press. https://oxfordbrookes.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=OxfBrookes&isbn=9780520933644&uid=^u
L. Geraghty, R. Janicker. (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. http://www.nottingham.ac.uk/scope/documents/2004/november-2004/geraghty-janicker.pdf
Lastra, J. (2000). Sound technology and the American cinema: perception, representation, modernity: Vol. Film and culture. Columbia University Press.
Lawrence Grossberg. (2003). Cinema, Postmodernity and Authenticity. In Movie music: the film reader: Vol. In focus. Routledge.
Lawrence Kramer. (1996b). From the Other to the Abject: Music as a Cultural Trope. In Classical music and postmodern knowledge. University of California Press.
Listening to Ravel, Watching Un coeur en hiver: Cinematic Subjectivity and the Music-film. (2004). Twentieth-Century Music, 1(2). 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., & Stilwell, R. J. (2000). Musicals: Hollywood and beyond. Intellect.
Neumeyer, D. (Ed.). (2014). The Oxford handbook of film music studies. Oxford University Press. https://oxfordbrookes.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=OxfBrookes&isbn=9780199338474&uid=^u
O’Brien, C. (2005). Cinema’s conversion to sound: technology and film style in France and the U.S. Indiana University Press. https://oxfordbrookes.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=OxfBrookes&isbn=9780253111128&uid=^u
Peter Franklin. (2001b). King Kong and Film on Music: Out of the Fog. In Film music: critical approaches. Edinburgh University Press.
Powrie, P., & Stilwell, R. J. (2006). Changing tunes: the use of pre-existing music in film. Ashgate.
Richard Dyer. (2002). Entertainment and Utopia. In Only entertainment (2nd ed). Routledge. https://ebookcentral-proquest-com.oxfordbrookes.idm.oclc.org/lib/brookes/detail.action?docID=237341
Sergi, G. (2004). The Dolby era: film sound in contemporary Hollywood: Vol. Inside popular film. Manchester University Press.
Smith, J. (1998). The sounds of commerce: marketing popular film music: Vol. Film and culture. Columbia University Press.
Spadoni, R. (2007). Uncanny bodies: the coming of sound film and the origins of the horror genre. University of California Press.
Sullivan, J. (2006). Hitchcock’s music. Yale University Press. http://www.loc.gov/catdir/toc/ecip0611/2006010348.html
Susan McClary. (2007). Minima Romantica. In Beyond the soundtrack: representing music in cinema. University of California Press.
Tagg, P., & Clarida, B. (2003). Ten little title tunes: towards a musicology of the mass media. Mass Media Music Scholars’ Press.
Vernallis, C. (2013). The Oxford handbook of new audiovisual aesthetics (J. Richardson & C. Gorbman, Eds.). Oxford University Press.
Vernallis, C., Herzog, A., & Richardson, J. (Eds.). (2015). The Oxford handbook of sound and image in digital media. Oxford University Press.
Winters, Ben. (2008). Corporeality, Musical Heartbeats, and Cinematic Emotion. Music, Sound & the Moving Image, 2(1), 3–25. 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), 224–244. http://search.ebscohost.com.oxfordbrookes.idm.oclc.org/login.aspx?direct=true&db=a9h&AN=53299064&site=ehost-live
Wojcik, P. R., & Knight, A. (2001). Soundtrack available: essays on film and popular music. Duke University Press.