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Displaying 1 - 20 of 48 (Bibliography: WIKINDX Master Bibliography)
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Diegesis. (2003-2006). Wikipedia, Retrieved January 12, 2006, from http://en.wikipedia.org/wiki/Diegetic  
Last edited by: Mark Grimshaw-Aagaard 5/15/06, 12:44 PM
Diegesis.(2005). In Oxford English Dictionary Online Oxford: Oxford University Press.  
Last edited by: Mark Grimshaw-Aagaard 2/1/06, 4:16 PM
Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press.  
Last edited by: Mark Grimshaw-Aagaard 1/6/07, 7:09 AM
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.  
Added by: Mark Grimshaw-Aagaard 11/4/04, 12:57 PM
Altman, R. (1992). General introduction: Cinema as event. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 1–14). New York: Routledge.  
Last edited by: Mark Grimshaw-Aagaard 4/18/05, 4:26 PM
Altman, R. (1992). Introduction: Sound/history. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 113–125). New York: Routledge.  
Added by: Mark Grimshaw-Aagaard 10/26/04, 11:56 AM
Altman, R. (1992). Introduction: Sound's dark corners. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 171–177). New York: Routledge.  
Last edited by: Mark Grimshaw-Aagaard 1/27/06, 9:51 AM
Altman, R. (1992). The material heterogeneity of recorded sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 15–31). New York: Routledge.  
Added by: Mark Grimshaw-Aagaard 10/14/04, 12:19 PM
Altman, R. (1992). Sound space. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 46–64). New York: Routledge.  
Added by: Mark Grimshaw-Aagaard 2/16/06, 8:28 AM
Altman, R. (Ed.). (1992). Sound theory sound practice. New York: Routledge.  
Added by: Mark Grimshaw-Aagaard 12/14/04, 9:18 PM
Anderson, J. D. (1996). The reality of illusion: An ecological approach to cognitive film theory. Carbondale and Edwardsville: Southern Illinois University Press.  
Last edited by: Mark Grimshaw-Aagaard 10/28/16, 6:06 PM
Bather, N. (2004). The darkness of Mordor: The sound of evil in The Lord of the Rings. Screen Education, 37, 167–170.  
Last edited by: Mark Grimshaw-Aagaard 4/11/06, 10:47 AM
Belton, J. (1992). 1950s magnetic sound: The frozen revolution. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 154–167). New York: Routledge.  
Added by: Mark Grimshaw-Aagaard 10/26/04, 2:44 PM
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.  
Last edited by: Mark Grimshaw-Aagaard 2/12/06, 10:23 AM
Bernds, E. The state of the art – 1928. Retrieved February 12, 2006, from http://www.filmsound.or ... tory/sound1928part1.htm  
Added by: Mark Grimshaw-Aagaard 2/12/06, 10:28 AM
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.  
Added by: Mark Grimshaw-Aagaard 10/4/04, 5:07 PM
Bridgett, R. (1999). The aesthetics of film music: From romanticism to modernism. Retrieved March 8, 2004, from http://www3.sympatico.ca/qualish/music.htm  
Added by: Mark Grimshaw-Aagaard 6/2/20, 9:07 AM
Bridgett, R. (2002). Citizen kane: Acoustic sound as expressionist device. Retrieved March 8, 2004, from http://www3.sympatico.ca/qualish/kane.htm  
Added by: Mark Grimshaw-Aagaard 5/6/08, 3:43 PM
Bridgett, R. (2002). Problems with the film music model. Retrieved November 25, 2021, from http://web.archive.org/ ... ign.org.uk/problems.htm  
Last edited by: Mark Grimshaw-Aagaard 10/25/21, 1:36 PM
Bridgett, R. (2003). Subtlety and silence. Retrieved September 9, 2003, from http://www3.sympatico.c ... evelop-Oct2002-Pg28.jpg  
Added by: Mark Grimshaw-Aagaard 9/6/04, 5:31 PM
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WIKINDX 6.5.0 | Total resources: 1143 | Username: -- | Bibliography: WIKINDX Master Bibliography | Style: American Psychological Association (APA)