Könyvek, tanulmánykötetek, folyóirat-összeállítások
Abel, Richard – Altman, Rick (eds.): The Sounds of Early Cinema. Bloomington: Indiana University Press, 2001.
Altman, Rick (ed.): Sound Theory, Sound Practice. London – New York: Routledge, 1992.
Beck, Jay – Grajeda, Tony (eds.): Lowering the Boom. Critical Studies in Film Sound. Urbana – Chicago: University of Illinois Press, 2008.
Belton, John – Weis, Elisabeth (eds.): Film Sound: Theory and Practice. New York: Columbia University Press, 1985.
Brown, Royal S.: Overtones and Undertones: Reading Film Music. Berkeley: University of California Press, 1994.
Buhler, James – Neumeyer, David – Deemer, Rob: Hearing the Movies: Music and Sound in Film History. Oxford – New York: Oxford University Press, 2010.
Chion, Michel: L’audio-Vision. Son Et Image Au Cinema. Paris: Armand Colin, 2005. [Angolul: Chion, Michel: Audio-Vision. Sound on Screen. (trans. Claudia Gorbman) New York: Columbia University Press, 1994. [Magyarul részlet: 3. fejezet: Chion, Michel: Vonalak és pontok. (trans. Huszár Linda) Apertúra (2011 õsz) http:apertura.hu/2011/osz/chion_vonalak_es_pontok]
Chion, Michel:Un Art Sonore, Le Cinéma: Histoire, Esthétique, Poétique. Paris: Cahiers du Cinéma, 2003. [Angolul: Chion, Michel: //Film, a Sound Art//. (trans. Claudia Gorbman) New York: Columbia University Press, 2009.]
Chion, Michel : La Voix au Cinéma. Paris: Cahiers du Cinéma, 1982. [Angolul: Chion, Michel: //The Voice in Cinema.// (trans. Claudia Gorbman) New York: Columbia University Press, 1999.]
Cinema/Sound. Yale French Studies (1980)no. 60.
Donnelly, K. J.: Occult Aesthetics. Synchronization in Sound Film. Oxford – New York: Oxford University Press, 2014.
Flückiger, Barbara: Sound Design. Die virtuelle Klangwelt des Films. Marburg: Schüren Presse, 2001.
Gorbman, Claudia: Unheard Melodies: Narrative Film Music. Bloomington – Indianapolis: Indiana University Press, 1987.
Gorbman, Caludia – Richardson, John – Vernallis, Carol (eds.): The Oxford Handbook of New Audiovisual Aesthetics. Oxford – New York: Oxford University Press, 2013.
Harper, Graeme (ed.): Sound and Music in Film and Visual Media: A Critical Overview.New York – London:Bloomsbury Academic, 2009.
Hayward, Philip (ed.): Terror Tracks: Music, Sound and Horror Cinema. London: Equinox, 2009.
Hayward, Philip (ed.): Off the Planet: Music, Sound, and Science Fiction Cinema. Eastleigh: John Libbey Publishing, 2004.
Herzog, Amy – Richardson, John – Vernallis, Carol (eds.): The Oxford Handbook of Sound and Image in Digital Media. Oxford – New York: Oxford University Press, 2013.
Jaeckle, Jeff (ed.): Film Dialogue. New York: Columbia University Press, 2013.
Kalinak, Kathryn: Film Music: A Very Short Introduction. Oxford: Oxford University Press, 2010. [Magyarul: //Filmzene: Nagyon rövid bevezetés// (trans. Rácz Judit). Budapest: Rózsavölgyi és Társa, 2014.]
Kalinak, Kathryn (ed.): Music in the Western. Notes from the Frontier. New York: Routledge, 2012.
Kalinak, Kathryn: Settling the Score: Music and the Classical Hollywood Film. Wisconsin: University of Wisconsin Press, 1992.
Kalinak, Kathryn (ed.): Sound: Dialogue, Music, and Effects. Rutgers University Press, 2015.
Kassabian, Anahid: Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge, 2000.
Kerins, Mark: Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Bloomingon – Indianapolis: Indiana University Press, 2010.
Kozloff, Sarah: Invisible Storytellers: Voice-Over Narration in American Fiction Film. Berkeley: University of California Press, 1989.
Kozloff, Sarah: Overhearing Film Dialogue. Berkeley: University of California Press, 2000.
Lastra, James: Sound Technology and the American Cinema: Perception, Representation, Modernity. New York: Columbia University Press, 2000.
Lerner, Neil (ed.): Music in the Horror Film: Listening to Fear. New York: Routledge, 2010.
LoBrutto, Vincent: Sound-on-Film. Interviews with Creators of Film Sound. Westport – Connecticut: Praeger, 1994.
Marks, Martin Miller: Music and the Silent Film: Contexts and Case Studies, 1895–1924. Oxford: Oxford University Press, 1997.
Nasta, Dominique: Meaning in Film: Relevant Structures in Soundtrack and Narrative. Bern: Peter Lang, 1992.
Nasta, Dominique – Huvelle, Didier (eds.): Le son en perspective: nouvelles recherches = New perspectives in sound studies. Bern – Oxford: Peter Lang, 2004.
Neumeyer, David (ed.): The Oxford Handbook of Film Music Studies. Oxford – New York: Oxford University Press, 2014.
O’Brien, Charles: Cinema’s Conversion to Sound: Technology and Film Style in France and the U.S. Bloomington: Indiana University Press, 2005.
Pendergast, Roy M.: Film Music: A Neglected Art. New York: Norton, 1977. (2nd ed. 1992)
Sergi, Gianluca: The Dolby Era: Film Sound in Contemporary Hollywood. Manchester: Manchester University Press, 2004.
Sider, Larry – Freeman, Diane – Sider, Jerry (eds.): Soundscape. The School of Sound Lectures, 1998–2001. London – New York: Wallflower Press, 2003.
Smith, Jeff. The Sounds of Commerce: Marketing Popular Film Music. New York: Columbia University Press, 1998.
Slobin, Mark (ed.): Global Soundtracks. Worlds of Film Music. Middletown – Connecticut: Wesleyan University Press, 2008.
Slowik, Michael: After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934. New York: Columbia University Press, 2014.
Sound on Screen. Cinephile 6 (Spring 2010) no. 1.
van Leeuwen, Theo: Speech, Music, Sound. London: Macmillan, 1999.
Whittington, William: Sound Design & Science Fiction. Austin: University of Texas Press, 2007.
Tanulmányok, cikkek, filmelemzések
Altman, Rick: Four and a Half Film Fallacies. In: Altman, Rick (ed.): Sound Theory, Sound Practice. London – New York: Routledge, 1992. pp. 35–45.
Altman, Rick: Introduction: Sound/History. In: Altman, Rick (ed.): Sound Theory, Sound Practice. London – New York: Routledge, 1992. pp. 113–125.
Balázs Béla: A hangosfilm. In: A látható ember – A film szelleme. Budapest: Palatinus, 2005. pp. 175–199.
Bordwell, David: Fundamental Aesthetics of Sound in Cinema. In: Belton, John – Weis, Elisabeth (eds.): Film Sound: Theory and Practice. New York: Columbia University Press, 1985. pp. 189–199.
Booth, Greg: The Bollywood Sound. In: Slobin, Mark (ed.): Global Soundtracks. Worlds of Film Music. Middletown – Connecticut: Wesleyan University Press, 2008. pp. 85–113.
Branigan, Edward: Sound, Epistemology, Film. In: Allen, Richard – Smith, Murray (eds.): Film Theory and Philosophy. New York: Oxford University Press, 1997. 95–125. [Magyarul: Branigan, Edward: Hang, episztemológia, film. (trans. Kocsis Katalin) Apertúra (2007 tél) http:apertura.hu/2007/tel/branigan]
Branigan, Edward: Soundtrack in Mind. Projections 4 (2010) no. 1. pp. 41–67.
Bresson, Robert: Látás és hallás. In: Bresson: Feljegyzések a Filmművészetről. Budapest: Osiris, 1998. pp. 42–47.
Burch, Noel: On the Structural Use of Sound. In: Belton, John – Weis, Elisabeth (eds.): Film Sound: Theory and Practice. New York: Columbia University Press, 1985. pp. 200–209.
Clair, René: The Art of Sound. In: Belton, John – Weis, Elisabeth (eds.): Film Sound: Theory and Practice. New York: Columbia University Press, 1985. pp. 92–95.
Cohen, Annabel J.: Music as a Source of Emotion in Film. In: Juslin, Patrik N. – Sloboda, John A. (eds.): Handbook of Music and Emotion: Theory, Research, Applications. Oxford: Oxford University Press, 2010.
Coulthard, Lisa: From a Whisper to a Scream: Music in the Films of Michael Haneke. Music and the Moving Image 5 (Fall 2012) no. 3. pp. 1–10.
Costantini, Gustavo: Walter Murch Interviewed by Gustavo Costantini. The Soundtrack 3 (2010) no. 1. pp. 33–46.
Doane, Mary Ann: The Voice in the Cinema: The Articulation of Body and Space. In: Cohen, Marshall – Braudy, Leo (eds.): Film Theory and Criticism. New York: Oxford University Press, 1992. pp. 363–375. [Magyarul: Doane, Mary Ann: A film hangja. Test és tér artikulációja. (trans. Fürstner Klára – Pataki Katalin) Apertúra (2006 tavasz http:apertura.hu/2006/tavasz/doane/index.html]
Elsaesser, Thomas – Hagener, Malte: Cinema as Ear – Acoustics and Space. In: Film Theory: an Introduction Through the Senses. New York: Routledge, 2010. pp. 129–148. [Magyarul: Elsaesser–Hagener:A film mint fül: hang és tér. (trans. Andorka György) //Metropolis// 19 (2015) no. 2. pp. 8–21.]
Fahlenbrach, Kathrin: Emotions in Sound: Audiovisual Metaphors in the Sound Design of Narrative Films. Projections 2 (2008) no. 2. pp. 85–103. [Magyarul: Fahlenbrach:Hangban kifejezett érzelmek. Audiovizuális metaforák a narratív filmek hangtervezésében. (trans. Czifra Réka) //Metropolis// 19 (2015) no. 2. pp. 22–33.]
Füzi Izabella: A hang funkciói Balázs filmesztétikájában a hangos váltás kontextusában. Apertúra (2011 õsz) http:apertura.hu/2011/osz/fuzi_a_hang_funkcioi_balazs_filmesztetikajaban_a_hangos_valtas_kontextusaban
Goldmark, Daniel: Pixar and the Animated Soundtrack. In: Gorbman, Caludia – Richardson, John – Vernallis, Carol (eds.): The Oxford Handbook of New Audiovisual Aesthetics. Oxford – New York: Oxford University Press, 2013. pp. 213–226.
Gorbman, Claudia: Narrative Film Music. Yale French Studies (1980) no. 60. pp. 183–203.
Jordan, Randolph: Audiovisual Ecology in the Cinema. Cinephile 6 (Spring 2010) no. 1. pp. 25–32.
Kara, Selmin: The Sonic Summons. Meditations on Nature and Anempathetic Sound in Digital Documentaries. In: Herzog, Amy – Richardson, John – Vernallis, Carol (eds.): The Oxford Handbook of Sound and Image in Digital Media. Oxford – New York: Oxford University Press, 2013. pp. 582–597.
Kassabian, Anahid: The End of Diegesis As We Know It? In: Gorbman, Caludia – Richardson, John – Vernallis, Carol (eds.): The Oxford Handbook of New Audiovisual Aesthetics. Oxford – New York: Oxford University Press, 2013. pp. 89–106.
Kovács András Bálint: A hang. In: Kovács: Mozgóképelemzés. Budapest: Palatinus, 2009. pp. 50–61.
Metz, Christian: Aural Objects. In: Belton, John – Weis, Elisabeth (eds.): Film Sound: Theory and Practice. New York: Columbia University Press, 1985. pp. 154–161.
Neumeyer, David: Diegetic/Nondiegetic: A Theoretical Model. Music and the Moving Image 2 (Spring 2009) no. 1. pp. 26–39.
O’Rawe, Des: The Great Secret: Silence, Cinema and Modernism. Screen 47 (2006) no. 4. pp. 395–405.
Percheron, Daniel: Sound in Cinema and its Relationship to Image and Diegesis. Yale French Studies (1980) no. 60. pp. 16–23.
Smith, Jeff: The Sound of Intensified Continuity. In: Gorbman, Caludia – Richardson, John – Vernallis, Carol (eds.): The Oxford Handbook of New Audiovisual Aesthetics. Oxford – New York: Oxford University Press, 2013. pp. 331–356.
Spring, Katherine: Walk This Way: The Pedagogical Value of Soundwalking to the Study of Film Sound. Music and the Moving Image 5 (Summer 2012) no. 2. pp. 34–42.
Vincze Teréz:A lelkiismeret hangja. Hang és haptikus érzékelés a Saul fia című filmben.Metropolis 19 (2015) no. 2. pp. 58–69.
Walus, Bartlomiej P.: Modular Structures in Film Music: The Answer to Synchronization Problems? The Journal of Film Music 4 (2011) no. 2. pp. 125–154.
Whittington, William: Lost in Sensation: Reevaluating the Role of Cinematic Sound in the Digital Age. In: Herzog, Amy – Richardson, John – Vernallis, Carol (eds.): The Oxford Handbook of Sound and Image in Digital Media. Oxford – New York: Oxford University Press, 2013. pp. 61–74.
Wierzbicki, James: Soundtrack ‘Design’ in Hitchcock’s Thriller Sextet. The New Soundtrack 1 (2011) no. 2. pp. 157–175.
William, Johnson: The Liberation of Echo. A New Hearing for Film Sound. Film Quarterly 38 (Summer 1985) no. 4. pp. 2–13.
Wright, Benjamin: What Do We Hear? The Pluralism of Sound Design in Hollywood Sound Production. The New Soundtrack 3 (Fall 2013) no. 2. pp. 137–157.
Zentay Nóra Fanni: A kép-hang aszinkronitás tendenciái a késõmodernista filmben.Metropolis 19 (2015) no. 2. pp. 34–56.
Bibliográfiai esszé
Stilwel, Robynn J.: Music in Films: A Critical Review of Literature, 1980–1996. The Journal of Film Music 1 (2002) no. 1. pp. 19–61.
Online bibliográfiák
http:www.filmsound.org/bibliography/littlist.htm
http:www.sonicobjects.com/index.php/resources/more/reading/
