Music, Sound, and the Moving Image

References

Altman, Rick (1987) The American Film Musical. Bloomington: Indiana University Press. Google Scholar

Barthes, Roland (1977) ‘The Grain of the Voice’. In: Heath, Stephen (ed. and trans.). Image, Music, Text. London: Fontana, pp.179-189. Google Scholar

Benveniste, Émile ([1959] 1971) ‘The Correlations of Tense in the French Verb’. In: Problems in General Linguistics. Trans. Mary Elizabeth Meek. Miami: University of Miami Press, pp.205-215. Google Scholar

Branigan, Ed (1975) ‘Formal Permutations of the Point-of-View Shot’, Screen, 16 (3), pp.54-64. Google Scholar

Bratman, David (2010) ‘Liquid Tolkien: Music, Tolkien, Middle-earth, and More Music’. In: Eden, Bradford Lee (ed.). Middle-Earth Minstrel: Essays on Music in Tolkien. Jefferson, NC and London: McFarland and Co., pp.140-170. Google Scholar

Brill, Mark (2019) ‘The Consecration of the Marginalized: Pasolini’s Use of J.S. Bach in Accattone (1961) and Il Vangelo Secondo Matteo (1964)’, Bach, 50 (2), pp.220-253. Google Scholar

Brinton, III, Joseph P. (1947) ‘Subjective Camera or Subjective Audience?’, Hollywood Quarterly, 2, pp.359-366. Google Scholar

Brown, Royal S. (1994) Undertones and Overtones: Reading Film Music. Berkeley: University of California Press. Google Scholar

Buhler, James (2014a) ‘Ontological, Formal, and Critical Theories of Film Music and Sound’, In: Neumeyer, David (ed.). The Oxford Handbook of Film Music Studies. Oxford: Oxford University Press, pp.188-225. Google Scholar

Buhler, James (2014b) ‘Psychoanalysis, Apparatus Theory, and Subjectivity’. In: Neumeyer, David (ed.). The Oxford Handbook of Film Music Studies. Oxford: Oxford University Press, pp.383-417. Google Scholar

Buhler, James (2019) Theories of the Soundtrack. Oxford: Oxford University Press. Google Scholar

Casetti, Francesco (2008) Eye of the Century. Film, Experience, Modernity. New York: Columbia University Press. Google Scholar

Castelvecchi, Stefano (2020) ‘On “Diegesis” and “Diegetic”: Words and Concepts’, Journal of the American Musicological Society, 73 (1), pp.149-171. Google Scholar

Chion, Michel (1999) The Voice in Cinema, trans. Claudia Gorbman. New York: Columbia University Press. Google Scholar

Dolar, Mladan (2006) A Voice and Nothing More. Boston: MIT Press. Google Scholar

Genette, Gérard (1980) Narrative Discourse: An Essay in Method, trans. Jane E. Lewin. Ithaca: Cornell University Press. Google Scholar

Gledhill, Christine (1980) ‘Klute 1: A Contemporary Film Noir and Feminist Criticism’. In: Kaplan, E. Ann (ed.). Women in Film Noir. London: BFI Publishing, pp.6-21. Google Scholar

Gorbman, Claudia (1987) Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press. Google Scholar

Gorbman, Claudia (2011) ‘Artless Singing’, Music, Sound, and the Moving Image, 5 (2), pp.157-171. Google Scholar

Greig, Donald (2021, in print) ‘“Somewhat of an Affectation”: Bach, Vivaldi and the Early Films of Pier Paolo Pasolini’, Music & Letters. Google Scholar

Hatten, Robert S. (1994) Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press. Google Scholar

Heldt, Guido (2013) Music and Levels of Narration in Film: Steps Across the Border. Chicago: Chicago of University Press. Google Scholar

Hiney, Tom, & MacShane, Frank (eds) (2000) The Raymond Chandler Papers. New York: Atlantic Monthly Press. Google Scholar

Hoover, C. Guy (ed.) (1914) The Assembly Hymn and Song Collection: Designed for Use in Chapel, Assembly, Convocation, or General Exercises of Schools, Normals, Colleges and Universities, 3rd edition. Pittsburg, KS: Educational Pub. Co. Google Scholar

Kalinak, Kathryn (1992) Settling the Score: Music and the Classical Hollywood Film. Madison: University of Wisconsin. Google Scholar

McLean, Adrienne L. (1993) ‘“It’s Only That I Do What I Love and Love What I Do”: “Film Noir” and the Musical Woman’, Cinema Journal, 33 (1), pp.3-16. Google Scholar

Metz, Christian (1973) ‘Current Problems of Film Theory: Christian Metz on Jean Mitry’s L’Esthétique et Psychologie du Cinéma, Vol II’, Screen, 14 (1-2), pp.40-88. Google Scholar

Metz, Christian (1982) ‘Story/Discourse: A Note on Two Kinds of Voyeurism’. In: Psychoanalysis and Cinema: The Imaginary Signifer, trans. Celia Britton, Annwyl Williams, Ben Brewster & Alfred Guzzetti. London: Macmillan Press, pp.91-98. Google Scholar

Metz, Christian (2016) Impersonal Enunciation, or the Place of Film, trans. Cormac Deane. New York: Columbia University Press. Google Scholar

Mitry, Jean (1998) The Aesthetics and Psychology of the Cinema. trans. Christopher King. London: Athlone Press. Google Scholar

Morricone, Ennio & Miceli, Sergio (2013) Composing for the Cinema: The Theory and Praxis of Music in Film, trans. Gillian B. Anderson. Lanham: Scarecrow Press. Google Scholar

Neumeyer, David (2015) Meaning and Interpretation of Music in Cinema. Bloomington: Indiana University Press. Google Scholar

Nowell-Smith, Geoffrey (1977) ‘Dossier on Melodrama: Minnelli and Melodrama’, Screen, 18 (2) pp.113-118. Google Scholar

Platte, Nathan (2015) ‘Postwar Hollywood, 1947-1967’. In: Kalinak, Kathryn (ed.). Sound: Dialogue, Music, and Effects. Piscataway: Rutgers University Press, pp.59-82. Google Scholar

Rosenbaum, Jonathan (2007) ‘The Voice and the Eye: A Commentary on the Heart of Darkness Script’. In: Discovering Orson Welles. Berkeley: University of California Press, pp.28-49. Google Scholar

Simon, Jean-Paul (1983) ‘Énonciation et narration: Gnarus, auctor et Protée’, Communications, 38, pp.155-191. Google Scholar

Stein, Alexander (2007) ‘The Sound of Memory: Music and Acoustic Origins’, American Imago, 64, pp.59-85. Google Scholar

Stilwell, Robynn J. (2007) ‘The Fantastical Gap Between Diegetic and Non-diegetic’. In: Goldmark, Daniel, Kramer, Lawrence & Leppert, Richard (eds). Beyond the Soundtrack: Representing Music in Cinema. Berkeley and Los Angeles: University of California Press, pp.184-202. Google Scholar

Vernet, Marc (1989) ‘The Look at the Camera’, Cinema Journal, 28 (2) pp.48-63. Google Scholar

Media Cited

Accattone, Pier Paolo Pasolini, Italy, 1961. Google Scholar

The Big Sleep, Howard Hawks, USA, 1946. Google Scholar

The Blair Witch Project, Daniel Myrick and Eduardo Sánchez, USA, 1999. Google Scholar

Blazing Saddles, Mel Brooks, USA, 1974. Google Scholar

Blow-Up, Michelangelo Antonioni, UK/USA/Italy, 1966. Google Scholar

Boychoir, François Girard, USA, 2014. Google Scholar

Cannibal Holocaust, Ruggero Deodato, Italy, 1980. Google Scholar

Casino, Martin Scorsese, USA, 1995. Google Scholar

Christmas Holiday, Robert Siodmak, USA, 1944. Google Scholar

Citizen Kane, Orson Welles, USA, 1941. Google Scholar

The Clock (aka Under the Clock), Vincente Minnelli, USA, 1945. Google Scholar

The Constant Nymph, Edmund Goulding, USA, 1943. Google Scholar

Crimson Tide, Tony Scott, USA, 1995. Google Scholar

Dark Passage, Delmer Daves, USA, 1947. Google Scholar

Deadpool 2, David Leitch, USA, 2018. Google Scholar

Detour, Edgar G. Ulmer, USA, 1945. Google Scholar

Dr. Jekyll & Mr. Hyde, Rouben Mamoulian, USA, 1932. Google Scholar

Dr. Jekyll and Mr. Hyde, Victor Fleming, USA, 1941. Google Scholar

Executive Suite, Robert Wise, USA, 1954. Google Scholar

The Falcon Takes Over, Irving Reis, USA, 1942. Google Scholar

Galaxy Quest, Dean Parisot, USA, 1999. Google Scholar

Get Out, Jordan Peele, USA, 2017. Google Scholar

Gilda, Charles Vidor, USA, 1946. Google Scholar

Gladiator, Ridley Scott, USA/UK, 2000. Google Scholar

The Great Dictator, Charlie Chaplin, USA, 1940. Google Scholar

The Greatest Story Ever Told, George Stevens, USA, 1965. Google Scholar

High Anxiety, Mel Brooks, USA, 1977. Google Scholar

The Hunt for Red October, John McTiernan, USA, 1990. Google Scholar

I’ve Always Loved You, Frank Borzage, USA, 1946. Google Scholar

Il Vangelo secondo Matteo (The Gospel According to Matthew), Italy, Pier Paolo Pasolini, 1964. Google Scholar

Imitation of Life, Douglas Sirk, USA, 1959. Google Scholar

In a Lonely Place, Nicholas Ray, USA, 1950. Google Scholar

It, Andy Muschietti, USA, 2017. Google Scholar

Jurassic World: Fallen Kingdom, J.A. Bayona, USA, 2018. Google Scholar

The Killers, Robert Siodmak, USA, 1946. Google Scholar

King of Kings, Nicholas Ray, USA, 1961. Google Scholar

Kursk (aka The Command and Kursk: The Last Mission), Thomas Vinterberg, Belgium/Luxembourg, 2019. Google Scholar

La Roue, Abel Gance, France, 1922. Google Scholar

The Lady from Shanghai, Orson Welles, USA, 1947. Google Scholar

Lady in the Lake, Robert Montgomery, USA, 1947. Google Scholar

The Last Laugh, F.W. Murnau, Germany, 1924. Google Scholar

The Leather Pushers, USA, 1922. Google Scholar

Les choristes (The Chorus), Christophe Barratier, France/Germany/Switzerland, 2004. Google Scholar

Letter from an Unknown Woman, Max Ophüls, USA, 1948. Google Scholar

Magnificent Obsession, Douglas Sirk, USA, 1954. Google Scholar

Mine Own Executioner, Anthony Kimmins, UK, 1947. Google Scholar

Monty Python’s Life of Brian, Terry Jones, UK, 1979. Google Scholar

Murder, My Sweet (aka Farewell, My Lovely), Edward Dmytryk, USA, 1944. Google Scholar

Muriel’s Wedding, P.J. Hogan, Australia, 1994. Google Scholar

The Omen, Richard Donner, UK/USA, 1976. Google Scholar

On Dangerous Ground, Nicholas Ray, USA, 1951. Google Scholar

On the Beach, Stanley Kramer, USA, 1959. Google Scholar

Once Upon a Time in the West, Sergio Leone, Italy/USA, 1968. Google Scholar

Out of the Past, Jacques Tourneur, USA, 1949. Google Scholar

Paranormal Activity, Oren Peli, USA, 2007. Google Scholar

Poltergeist, Tobe Hooper, USA, 1982. Google Scholar

Psycho, Alfred Hitchcock, USA, 1960. Google Scholar

REC, Jaume Balagueró and Paco Plaza, Spain, 2007. Google Scholar

Road to Bali, Hal Walker, USA, 1952. Google Scholar

The Robe, Henry Koster, USA, 1953. Google Scholar

Rocky, John G. Avildsen, USA, 1976. Google Scholar

Rocky II, Sylvester Stallone, USA, 1979. Google Scholar

The Seventh Veil, Compton Bennett, UK, 1945. Google Scholar

The Song of Bernadette, Henry King, USA, 1943. Google Scholar

Star Wars: The Rise of Skywalker, J.J. Abrams, USA, 2019. Google Scholar

Sunset Boulevard, Billy Wilder, USA, 1950. Google Scholar

Suspiria, Luca Guadagnino, Italy/USA, 2018. Google Scholar

The Terminator, James Cameron, USA, 1984. Google Scholar

Terminator 2: Judgement Day, James Cameron, USA, 1991. Google Scholar

The Testament of Dr. Mabuse, Fritz Lang, Germany, 1933. Google Scholar

They Live by Night, Nicholas Ray, USA, 1947. Google Scholar

Time to Kill, Herbert I. Leeds, USA, 1942. Google Scholar

To Have and Have Not, Howard Hawks, USA, 1944. Google Scholar

Troy, Wolfgang Petersen, USA/UK/Malta, 2004. Google Scholar

V/H/S, Ti West, Joe Swanberg, David Buckner, Adam Wingard, and Glenn McQuaid, USA, 2012. Google Scholar

Variety, Ewald Andre Dupont, Germany, 1925. Google Scholar

The Vikings, Richard Fleischer, USA, 1958. Google Scholar

The Witch, Robert Eggers, USA/Canada, 2015. Google Scholar

The Women, George Cukor, USA, 1939. Google Scholar

Wuthering Heights, William Wyler, USA, 1939. Google Scholar