| Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press. |
 
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| Altman, R. (Ed.). (1992). Sound theory sound practice. New York: Routledge. |
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| Altman, R. (1992). Afterword: A baker's dozen terms for sound analysis. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 249–253). New York: Routledge. |
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| Altman, R. (1992). General introduction: Cinema as event. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 1–14). New York: Routledge. |
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| Altman, R. (1992). Introduction: Four and a half film fallacies. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 35–45). New York: Routledge. |
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| Altman, R. (1992). Introduction: Sound/history. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 113–125). New York: Routledge. |
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| Altman, R. (1992). Introduction: Sound's dark corners. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 171–177). New York: Routledge. |
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| Altman, R. (1992). Sound space. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 46–64). New York: Routledge. |
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| Altman, R. (1992). The material heterogeneity of recorded sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 15–31). New York: Routledge. |
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| Andersen, A. This is how the fantastical sound of Game Of Thrones is made. Retrieved August 13, 2014, from http://www.asoundeffect ... und-of-game-of-thrones/ |
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| Anderson, J. D. (1996). The reality of illusion: An ecological approach to cognitive film theory. Carbondale and Edwardsville: Southern Illinois University Press. |
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| Balázs, B. (1952). The theory of the film: Sound. Retrieved January 16, 2006, from http://atc.berkeley.edu ... adings/Humon_Belazs.pdf |
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| Ball, S. K. V. M. (2006). The uncanny in Japanese and American horror film: Hideo Nakata's Ringu and Gore Verbinski's Ring. Unpublished thesis master's, North Carolina State University, Raleigh, NC. |
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| Bather, N. (2004). The darkness of Mordor: The sound of evil in The Lord of the Rings. Screen Education, 37, 167–170. |
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| Belton, J. (1992). 1950s magnetic sound: The frozen revolution. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 154–167). New York: Routledge. |
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| Bernds, E. The state of the art – 1928. Retrieved February 12, 2006, from http://www.filmsound.or ... tory/sound1928part1.htm |
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| Bernds, E. (1999). Mr. Bernds goes to Hollywood: My early life and career in sound recording at Columbia with Frank Capra and others. Lanham MD: Scarecrow Press. |
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| Bessell, D. (2002). What's that funny noise? An examination of the role of music in Cool Boarders 2, Alien Trilogy and Medievil 2. In G. King & T. Krzywinska (Eds), Screenplay: Cinema/Videogames/Interfaces (pp. 136–144). London: Wallflower Press. |
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| Bird, B. (Director) (2004). The Incredibles [Film]. J. Walker (Producer). USA: Disney/Pixar Animation Studios. |
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| Bridgett, R. (1999). The aesthetics of film music: From romanticism to modernism. Retrieved March 8, 2004, from http://www3.sympatico.ca/qualish/music.htm |
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| Added by: Mark Grimshaw-Aagaard 6/2/20, 9:07 AM |
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