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Chion, M. (1994). Audio-vision: Sound on screen. C. Gorbman, Trans. New York: Columbia University Press. |
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Diegesis (2005). In Oxford English Dictionary Online Oxford: Oxford University Press. |
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Ekman, I. 2005, Meaningful noise: Understanding sound effects in computer games. Paper presented at Digital Arts and Cultures, Kopenhagen. |
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van Elferen, I. (2011). ¡un forastero! Issues of virtuality and diegesis in videogame music. Music and the Moving Image, 4(2), 30–39. |
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Grieb, M. (2002). Run lara run. In G. King & T. Krzywinska (Eds), Screenplay: Cinema/Videogames/Interfaces (pp. 157–170). London: Wallflower Press. |
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Grimshaw, M., Lindley, C. A., & Nacke, L. 2008, October 22–23, Sound and immersion in the first-person shooter: Mixed measurement of the player's sonic experience. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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Kromand, D. 2008, October 22, Sound and the diegesis in survival-horror games. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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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 Unpublished thesis master's, Bournemouth University.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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Taylor, L. N. (2002). Video games: Perspective, point-of-view, and immersion. Unpublished thesis master's, University of Florida. |
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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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Whalen, Z. (2004). Play along -- an approach to videogame music. Game Studies, 4(1). Retrieved February 20, 2005, from http://www.gamestudies.org/0401/whalen/ |
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