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Michael Giacchino. (n.d.). Retrieved February 10, 2006, from http://www.michaelgiacchino.com/credits.html   
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 10/02/2006, 12:33
Palmer, I. J. (2002). How realistic is the sound design in the D-Day landing sequence in Saving Private Ryan? Unpublished thesis master's, Bournemouth University.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 11/03/2006, 10:12
Introduces and discusses the concept of authenticity in particular:

"'Authentic Timbre' - Sounds that are accurate to their diegetic source.
'Authentic Choreography' - Sound that is designed to be accurate to a situation." 		 
Despite the title of the dissertation, "We will not be discussing realism and sound in Saving Private Ryan."

The reason given is that SPR does not make use of Chion's acoustic discomfort to heighten sense of realism -- SPR's sounds are crisp and detailed hence has no sense of realism. (???)

Expands Chion's argument that verisimilitude (belief that sound is real) is more worthy than authenticity. 		 
Mentions the Hollywood "law of enlarged firearm calibre."

e.g. Terminator 2's shotgun sound is comprised mainly of two cannons. 		 
Discusses the use of gunshot ricochet in films mentioning its status as cliché in Westerns.  

John Broomhall (head of Audio Infogrames) states that the sound in Medal of Honor was based on SPR's audio (Medal of Honor series 1999-2012).
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