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 [Electronic resource]. 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 [Electronic resource]. 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 [Electronic resource]. 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. [Electronic resource]. 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.