| 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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| Added by: Mark Grimshaw-Aagaard 24/11/2008, 11:12 |
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| "The collapse of the barrier between the diegetic and non-diegetic soundscape is a strategy to build a horror atmosphere." |
| "The soundscape of Silent Hill 2 operates within a framework of uncertainty that constantly holds the player between knowledge and ignorance." |
| The lack of a barrier between diegetic/nondiegetic sounds "purposefully hinders an efficient transfer of affordance". |
| Mala, E. 2008, November 24. The sound of horror. Newsweek. |
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| Added by: Mark Grimshaw-Aagaard 20/11/2008, 10:46 |
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| "In Asian thrillers, the visual is so powerful that sound is rendered almost inconsequential. Perhaps not coincidentally, Asian horror is often rooted in vision..." |
| Moncrieff, S., Venkatesh, S., & Dorai, C. 2003, July 6–9, Horror film genre typing and scene labelling via audio analysis. Paper presented at International Conference on Multimedia and Expo. |
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| Added by: Mark Grimshaw-Aagaard 15/12/2008, 03:11 |
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| "The manipulation of sound energy represents a concrete and commonly used method to convey horror themes and to heighten the impact of on-screen events." |
| Affect events are indexical by nature with a "high level of semantic association between the sound energy and affect events" and this "can be extended to attribute a semantic correlation between affect events and the broader thematic content of the film." |
| Naito, T. 2005. Interview with Hideo Nakata, specter director. Kateigaho, Winter. |
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| Added by: Mark Grimshaw-Aagaard 20/11/2008, 10:45 |
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"Other people tend to use different sounds altogether to express horror, but I can increase the perception of it to the maximum by utilizing a very quiet sound." (Mala 2008) cf
Mala, E. 2008, November 24. The sound of horror. Newsweek. |
