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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). The material heterogeneity of recorded sound. In R. Altman (Ed), Sound Theory Sound Practice (pp. 15–31). New York: Routledge. |
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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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| Bridgett, R. (2002). Problems with the film music model. Retrieved November 25, 2021, from http://web.archive.org/ ... ign.org.uk/problems.htm |
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| Bridgett, R. (2003). Subtlety and silence. Retrieved September 9, 2003, from http://www3.sympatico.c ... evelop-Oct2002-Pg28.jpg |
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| Bridgett, R. (2003). The first stage of sound design is ... well ... er ... design. Retrieved November 25, 2021, from http://web.archive.org/ ... esign.org.uk/design.htm |
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| Bridgett, R. (2010). From the shadows of film sound: Cinematic production & creative process in video game audio. |
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| Hayward, P. (Ed.). (2004). Off the planet: Music, sound and science fiction cinema. London: John Libbey. |
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| Lastra, J. (2000). Sound technology and the American cinema: Perception, representation, modernity. New York: Columbia University Press. |
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| LoBrutto, V. (1994). Sound-on-film: Interviews with creators of film sound. Westport, CT: Praeger. |
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| 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 Unpublished thesis master's, Bournemouth University. |
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| Truppin, A. (1992). And then there was sound: The films of Andrei Tarkovsky. In R. Altman (Ed), Sound Theory Sound Practice (pp. 235–248). New York: Routledge. |
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