BIBLIOGRAPHY - Radio Drama - Sound - Film Sound
|
Andrew Crisell, Understanding Radio, Routledge, 1994 - and see Chapter 7 for radio drama - ESSENTIAL READING |
| NOTE: The most important overall discussion, establishing the key topics, and especially clearly argued. This remains the most important work on radio theory - a monument. It has only dated in relation to the use of semiotics as a theory base (a very minor quibble). Tight, concise and informative, and the work of a profound thinker on radio. Also stimulating, provocative and agenda-setting. |
| Shingler, Martin and Wieringa, Cindy, On Air. Methods and Meanings of Radio (London: Arnold, 1998) - ESSENTIAL READING |
| This book is excitingly organised - back-and-forth between Wieringa's chapters on radio production, and Shingler's theory chapters. At all times thoughtful interpretations of complex issues, insightful, and building up to a clear methodology. This reaches back into previous decades of radio theory, with a necessary wide base. The sections on radio drama are critical and deeply reflectful interpretations. Shingler sets up a dialectic with Crisell's book at times. It is very useful for student essays to work from this rich dialogue. Shingler's writing is especially lucid and elegant. |
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Lewis, Peter, ed., 1981, Radio Drama, London: Longman - ESSENTIAL READING Drakakis, John, ed., 1981, British Radio Drama, Cambridge: Cambridge University Press - ESSENTIAL READING |
|
These two collections of essays started the academic study of radio drama spectacularly. Most of the writing has not dated, and the theories and criticisms are fresh. Essential reading in parts, especially Gray, Frances, 1981, 'The nature of radio drama', chapter 4 in Lewis, 1981, on reception theory and the radio play. Beware of a very odd spat, condemning the arrival of stereo production for radio drama, which makes one aware of the 1970s, the period these writings come from. (This was mostly written by Jonathan Raban and David Wade, radio critic first of the B.B.C. weekly publication, The Listener and then of The Times. Here is David Wade raging against the coming of stereo in radio drama: "But why was it ever felt necessary to do so? The placing effect attempts to compensate for the blindness of radio as a medium, yet - as I hope I have shown - that blindness was and still is one of radio drama's greatest assets." (Wade, in Drakakis, 1981, 243).) Drakakis's own historical summary of radio drama is masterful, and John Tydeman's account of production still fresh - he was Head of BBC Radio Drama and a great stylist in production.
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| Crook, Tim, Radio Drama, 1999, London: Routledge - ESSENTIAL READING |
Lots to discover here in fast-moving chapters with a wealth of research and a breadth of vision by Tim Crook.
Also a really valuable complement to other books, as this also covers commercial radio and radio drama.
Agenda-setting in some areas. Always provocative and sets you thinking, and wanting to discover more. It's up to the reader to make all this work together.
| Rodger, Ian, Radio Drama, 1982, London: Macmillan |
"Since its beginnings radio has been an important if sometimes neglected medium for the performance of an enormous variety of plays.
It has had a significant place as a form of apprenticeship for many writers and producers, in this fascinating book the author looks at the
development of radio drama from the 1920's to the early 1960's. He asssesses the work of the pioneer producers and feature writers,
Val Gielgud. Tyrone Guthrie, Francis Dillon D.G. Brisdon Louis Macniece. etc. "
Rodger looks at the development of radio drama from the 1920s to the early 1960s and assesses the work of the pioneer producers and feature writers.
This is a personal view of a BBC radio drama producer, indispensable
and insightful.
| Ash, William, The Way to Write Radio Drama, Elm Tree, 1985 |
Only a starter for writers. When this book is searched for the number and range of radio drama techniques discussed, it is disappointing.
| Nisbett, Alec, Sound Studio: Audio Techniques for Radio, Television, Film and Recording, Elsevier Science & Technology, 7th Revised edition |
"This book covers the virtual studio, 5.1 surround sound, hard drive mixers and multichannel recorders, and DVD and CD-RW.
It provides information on audio techniques and covers the
philosophy behind the techniques."
Alan Beck
Beck, Alan, 1985, 'Radio Drama "Playspeak", Speech and Drama, 34 (No 2) 15-20
at http://www.savoyhill.co.uk/playspeak/playspeak1.html
Beck, Alan, 1997a, Radio Acting, London: A & C Black. ISBN 0-7136-4631-4. Available on Amazon. CLICK HERE.
Beck, Alan, 1997b, 'Fictional soundscapes', World Forum for Acoustic Ecology (WFAE) at http://interact.uoregon.edu/mediaLit/wfae/library/articles/beck_list_radioplays.pdf
Beck, Alan, 1997c, 'Developing students' voices for radio plays', Speech and Drama, Vol 46, no 1, Spring, 29-45.
Beck, Alan, 1998, 'Point-of-listening in radio drama', Sound Journal, electronic publication (Now available on this Alan Beck site. Sound Journal has been deleted from its original site.)
at http://www.savoyhill.co.uk/pointoflistening/pointoflistening.htm
[Beck, Alan, 1999a, Radio Theory Site, including Glossary, electronic publication, http://speke.ukc.ac.uk/sais/RSN/index.html (No longer available. It has been deleted from the original site.)]
Beck, Alan, 1999b, 'Is radio blind or invisible? A call for a wider debate on listening-in', World Forum for Acoustic Ecology (WFAE)
at
also at - http://interact.uoregon.edu/MediaLit/WFAE/library/articles/beck_blindness.pdf
Beck, Alan, 1999c, 'Danger' talk for German Radio November 1999
at http://www.savoyhill.co.uk/danger/danger.html
Beck, Alan, 2000, Cognitive Mapping and Radio Drama by Alan Beck - Consciousness, Literature and the Arts, Volume 1 Number 2, July 2000 - monograph
at http://www.savoyhill.co.uk/cognitive/index.html
also at http://blackboard.lincoln.ac.uk/bbcswebdav/users/dmeyerdinkgrafe/archive/cog.html
Beck, Alan, 2001a, 'The Invisible Play' - B.B.C. Radio Drama 1922-1928 - online book published by Sound Journal
at http://www.savoyhill.co.uk/invisibleplay/index.html
Beck, Alan, 2001b, 'Playing By Ear: new ways of teaching and researching radio drama, Studies in Theatre Production
at http://www.savoyhill.co.uk/playingbyear/index.html
Beck, Alan, 2002, The Death of Radio? An Essay in Radio Philosophy for the Digital Age. Online book. Published by Sound Journal
at http://www.savoyhill.co.uk/deathofradio/
Beck, Alan, 2002, 'How sound is radio drama research?', address, Fourth Radio Drama Conference, 9 February 2002
at http://www.savoyhill.co.uk/soundresearch2002/soundresearch2002.html
Beck, Alan, 2004, 'You've Got to Hide Your Love away: Gay Radio, Past and Present', chapter 8 in Crisell, Andrew, ed., More Than A Music Box.
Radio Cultures and Communities in a Multi-Media World, 2004, Oxford: Berghahn Books. Reprinted in Crisell, Andrew ed., 2009,
Radio : Critical Concepts in Media and Cultural Studies, 3 vols, Routledge. - CLICK HERE FOR EXCERPTS
Beck, Alan, 2005, The unspeakable act: 'performing' AIDS deaths - monograph for AIDS CULTURES
at http://www.savoyhill.co.uk/unspeakable/unspeakable.html
Beck, Alan, Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres (ONGOING PROJECT - started in 2005)
at http://www.savoyhill.co.uk/technique/
(ONGOING PROJECT - started in 2005)
at http://www.savoyhill.co.uk/soap/
Beck, Alan, Background atmos sound files - freely available (ONGOING PROJECT - started in 2005)
at http://www.savoyhill.co.uk/technique/soundfilesintro.html
To Alan Beck's Radio Hub at http://www.savoyhill.co.uk/
Thorpe, Adam, 'The best plays you've never seen.
Where can you find celebrated dramatists, A-list actors and inventive plots tackling Siberian camps and noisy sex?
On radio, of course', The Guardian, July 5, 2003
| Guralnick, E.S., 1996, Sight Unseen, Beckett, Pinter, Stoppard and Other Contemporary Dramatists on Radio, Athens, Ohio USA: Ohio University Press. |
Deep and thorough research into these most famous radio plays and dramatists - the canon of radio drama.
Consolidates quite a lot of previous scholarship.
Curious that this fine academic did not relate all this to production processes.
See Zilliacus, Clas, 1976, Beckett and broadcasting,
Âbo: Âbo Akademi for examplary research on this for
Beckett.
Imison, Richard, 1965, 'Drama at the B.B.C.', Plays and Players. 13 (3), 9-12.
NOTE: Peter Lewis without an 'M' (Lewis 1977, 1981) is different from Peter M. Lewis (Lewis 1989, 1991, 2004)
| Lewis, Peter M., 1991, 'Referable words in radio drama', chapter 2 in Scannell, Paddy, ed., 1991, Broadcast Talk, London: Sage - ESSENTIAL READING |
| Lewis, Peter, 2004, 'Opening and closing doors: radio drama in the BBC1', Radio Journal, (3) 161-176 - ESSENTIAL READING |
Paired articles across the decades - participant-observer research (sitting in on BBC meetings)
- of BBC radio drama at two crucial changes within the BBC.
| Crook, Peter, 'International Radio Drama - Social, Economic and Literary Contexts' at http://www.irdp.co.uk/radiodrama.htm |
| Garner, Ken, ''Putting the drama into dramatisation: in search of the source of current British Radio Drama', Sound Journal. CLICK HERE |
Cazeaux, Clive, 'Phenomenology and radio drama', British Journal of Aesthetics, 2005, 45, 57-74
| Huwiler, E. (2005) 'Storytelling by sound: a theoretical frame for radio drama analysis', The Radio Journal, Vol 3, number 1 |
|
Stanton, William, 'The invisible theatre of radio drama', Critical Quarterly, Volume 46, Number 4, December 2004, pp. 94-107(14) ABSTRACT: A radio play is a transitory and invisible performance that may take place, as Martin Esslin has suggested, 'in a field of internal vision' ('The Mind as a Stage', Theatre Quarterly, 1:3, 1971, 7). I am interested both in theory and, as a writer of radio drama, in the nature of this vision and its relations to dreams and the unconscious; which brings us pretty rapidly to Freud and issues raised by some poststructural reworkings of his thought. This leads me to some questions about the adequacy of such theory. |
Gray II, Richard J., 2008, Performing War: Vichyite Ideology from Across the Sea in Camille Morel's Poetic Radio Dramatic Work France!..Présent!..
Poème épique Radiophonique et Théâtral en un acte et deux tableaux, InterCulture 5.3 (October) at http://dih.fsu.edu/interculture/volume5_3/Gray_Performing_War.pdf
|
Richard Wortley: 'SOME REFLECTIONS ON A LIFETIME IN RADIO' http://web.ukonline.co.uk/suttonelms/richardwortley2.html |
| Jerry Stearns, Radio Sound Effects. A Theoretical Outline. An assembly of elementary tips about the use of sound effects in the creation of audio theater. No longer available online. |
| Yuri Rasovsky, 'Making Audio Plays: An Overview. This is a summary of the way audio plays are made, who makes them, with what, and where.' http://www.natf.org/wad/overview.htm |
Rattigan, Dermot, Theatre of Sound: Radio and the Dramatic Imagination, Carysfort Press, 2000 ISBN: 0-9534-2572-4
Hill, Mary Louise, Review. Theatre of Sound: Radio and the Dramatic Imagination, author Dermot Rattigan, Theatre Journal, Volume 56, Number 2, May 2004
Crisell, Andrew, Radio Journal: International Studies in Broadcast & Audio Media; 2003, Vol. 1 Issue 1, p78, review,
Theatre of Sound: Radio and the Dramatic Imagination, author Dermot Rattigan
OLDER ITEMS ON RADIO DRAMA
USA
Riley,
Donald W., Handbook of Radio Drama Techniques, Edwards brothers,
inc, 1938
Lawton, Sherman Paxton, Radio Drama, Expression Company, 1938
Barnouw, Erik, Radio drama in action: twenty-five plays of
a changing world, Farrar & Rinehart, Inc., 1945
Brooke, Pamela, Communicating through story characters: radio
social drama, Institute for International Research, 1995
World Forum for Acoustic Ecology, journal at http://interact.uoregon.edu/MediaLit/WFAE/journal/index.html
World Forum for Acoustic Ecology, (library) articles at http://interact.uoregon.edu/MediaLit/WFAE/library/articles/index.html
Rick Altmann, Sound Theory . Sound Practice (Routledge 1992) pp 15-34 'The Material Heterogeneity of Recorded Sound'
Gary Ferrington, 'Keep Your Ear-Lids Open' Journal of Visual Literacy (1994)
at http://interact.uoregon.edu/Medialit/wfae/library/articles/ferrington_earlids.pdf
(in the World Forum for Acoustic Ecology (WFAE) Library)
Gary Ferrington, 'Audio Design: Creating Multi-Sensory Images For The Mind' in Journal of Visual Literary (1993)
at http://interact.uoregon.edu/Medialit/wfae/library/articles/ferrington_design.pdf
(in the World Forum for Acoustic Ecology (WFAE) Library)
Gary Ferrington - other articles in the World Forum for Acoustic Ecology (WFAE) Library
at http://interact.uoregon.edu/MediaLit/WFAE/library/articles/index.html
Druker, Don. “Listening to the Radio.” Theatre Journal 43:3 (October 1991): 325-336.
Beck, Alan, 2002, The
Death of Radio? An Essay in Radio Philosophy for the Digital
Age. Online book. Published by Sound Journal
Section 6 No 1 hierarchy
of sound (6.11) - No 2 the 'economy rule' (6.13) - No 3 sonic
continuity in broadcast (6.17) - No 4 the verbocentric (6.23)
SOME OTHER ISSUES
Lewis, Peter, ed., 1977, Papers of the Durham Radio Literature Conference, Durham: Durham University Printing Unit. Reissued as one volume, 1979.
The papers of the original radio drama conference that started academic studies properly. Interesting about Dylan Thomas especially.
McWhinnie, Donald, 1959, The Art of Radio, London: Faber and Faber.
A famous study of radio drama by the renowned radio drama producer (of Beckett's 'All That Fall' among other plays).
Pownall, David, 1998, Radio Plays. An Epiphanous Use of the Microphone, Beef, Ploughboy Monday, Flos, Kitty Wilkinson, Under the Table, London: Oberon Books.
Some brilliant radio play scripts by one of the foremost and prolific current radio drama playwrights.
Gough, Lucy, 2000, Crossing the Bar, Head, Our Lady of Shadows, Bridgend, Wales: Seren, Poetry Wales Press Ltd., Wyndham Street, Bridgend, Wales.
Scripts by one of the most important radio dramatists current.
See LUCY GOUGH SITE at http://www.lucy.gough.care4free.net/Biog.htm
See a further list of plays at http://web.ukonline.co.uk/suttonelms/lgough.html
Sieveking, L., 1934, The Stuff of Radio, London: Cassell and Co.
The first main book by a BBC radio drama producer, celebrating the new radio drama suite at Broadcasting House
and describing his live productions using all the facilities. With some scripts.
| Grant, Stefan-Brook, 'Samuel Beckett's Radio Plays. Music of the Absurd' at http://www.samuel-beckett.net/titleStef.html A Thesis Presented to the Department of British and American Studies the University of Oslo in Partial Fulfilment of the Requirements for the Cand. Philol. Degree Spring Term 2000 |
| Bibliography on Samuel Beckett at http://www.samuel-beckett.net/biblio.html |
Gale, Steven H "Book Review: Sight Unseen: Beckett, Pinter,
Stoppard, and Other Contemporary Dramatists on Radio"
Theatre Journal - Volume 50, Number 3, October 1998, pp. 401-402
Oppenheim, Lois and Allbright, Daniel, editors, 1998, Samuel Beckett and the Arts: Music, Visual Arts, and Non-Print Media, Garland Press.
Perloff, Marjorie, 'The Silence that is not Silence: Acoustic Art in Samuel Beckett's 'Embers', 1998,
forthcoming in Lois Oppenheim, ed. Samuel Beckett and the Visual Arts: Music, Visual Arts, and Non-Print Media. N.Y.: Garland Publishing,
and also http://wings.buffalo.edu/epc/authors/perloff/beckett.html
Zilliacus, C., 1976, Beckett and Broadcasting. A study of the works of Samuel Beckett for and in radio and television, Aso: Abo Akademi.
On 'Embers' (French title 'Cendres'), see also http://www.scd.univ-paris3.fr/Bibliogr/beckett/Cendres.htm
Guralnick, E.S., 1996, Sight Unseen, Beckett, Pinter, Stoppard
and Other Contemporary Dramatists on Radio, Athens, Ohio USA:
Ohio University Press.
FURTHER
Eckersley, 1998, Prospero's Wireless, Myles Books, Elmview,
East Dean Radio drama, Lockerley, Romsey, Hants. SO51 OJQ, UK.
Esslin, Martin, 1964, The National Theatre of the Air, BBC Lunch-time
lectures, Second Series 4. London: B.B.C. Publications.
Esslin, Martin, 1971, 'The mind as stage', Theatre Quarterly,
1 (3), 5-11.
Felton, Felix, 1949, The Radio-play: its techniques and possibilities,
London: Sylvan Press.
Online list of an individual's favourite past radio plays at http://web.ukonline.co.uk/suttonelms/others-old.html
'Writing Drama for the BBC', October 1997 at http://www.dirkmaggs.dswilliams.co.uk/Writing%20Drama%20For%20BBC%20Radio.htm
Val Gielgud's British Radio Drama, 1922-1956: A Survey (Harrap,
1957)
Radio and broadcasting
Hendy, David, Radio in the Global Age (Cambridge: Polity Press, 2000)
Barnard, Stephen, 2000, Studying Radio, London: Arnold
Radio - technical
Rumsey, Francis and McCormick, Tim, 2002, Sound and Recording:
An Introduction, London: Focal Press
Talbot-Smith, Michael, 2004, Sound Engineer's Pocket Book, London:
Focal Press
| Bull, Michael and Back, Les, The Auditory Culture Reader, 2003, New York: Berg |
| Sonnenschein, David, Sound Design. The Expressive Power of Music, Voice, and Sound Effects in Cinema, 2001, McNaughton & Gunn, Michigan. |
| Kahn, Douglas and Gregory Whitehead (Eds.). Wireless Imagination: Sound, Radio, and the Avant-Garde, Cambridge, MA: The MIT Press, 1992 |
| Chion, Michel. Audio-Vision: Sound on Screen, New York, NY: Columbia University Press, 1994 |
| Strauss, Neil, (ed.) Radiotext(e), New York, NY: Semiotext(e), 1993 |
| Barry Truax Internet Site - HANDBOOK FOR ACOUSTIC ECOLOGY - at http://www.sfu.ca/~truax/index.html |
| Barry Truax articles at http://www.sfu.ca/~truax/cvpub.html |
ACOUSTIC COMMUNICATION & SOUNDSCAPE STUDIES (from Barry Truax site) at http://www.sfu.ca/sonic-studio/courses/ACbib.html
Barry Truax publications at http://www.sfu.ca/~truax/cvpub.html
Interview with Barry Truax at http://www.sfu.ca/~truax/barry.html
WFAE website: http://interact.uoregon.edu/MediaLit/WFAE/home/
Soundscape: The Journal of Acoustic Ecology at http://interact.uoregon.edu/MediaLit/WFAE/journal/index.html
Acoustic Ecology Research Group - this web site appears to have been deleted
The Acoustic Ecology Institute articles at http://www.acousticecology.org/soundbites1.html
WORLD SOUNDSCAPE PROJECT - SOUND REFERENCES IN LITERATURE at http://www.sfu.ca/sonic-studio/srs/index3.html
Browse the collection by AUTHOR at http://www.sfu.ca/sonic-studio/srs/Author.html
Acoustic Ecology and the Soundscape Bibliography at Leonardo Online - http://leonardo.info/isast/spec.projects/acousticecologybib.html
Sound theory and experimental sound
| 'Audio: Theory, Criticism, and Aesthetics' Course - An examination of theories of aurality, psycho-acoustics and the development of the audio aesthetic in art, theater, installations, radio, film, television, and multi-media. at http://www.unc.edu/~jimlee/141syl01.htm |
Here are chapters from certain basic film theory books which outline some of the primary material effects and narrative functions of the soundtrack throughout the history of the cinema.
But there are further problems which need explanations more extended than those below.
There is a hierarchical model in film of privileging the image (visual track) over the soundtrack. LINKS ARE TO AMAZON.
| THE CINEMA AS ART, Ralph Stevenson & J.R.Debrix chapter 7, pg.174 : The Fifth Dimension (AMAZON LINK) |
| FILM WORLD, Ivor Montagu Part I - Film As Science : Sound pg.57 |
| THEORY OF FILM PRACTICE by Noel Burch Part II - Dialectics : On The Structural Use Of Sound pg.90 (AMAZON LINK) |
| ELEMENTS OF FILM, Lee R. Bobker chapter 3 : Sound pg.82 (AMAZON LINK) |
| THE FILM IDEA, Stanley Solomon chapter 10 pg.185 : The Sound Film (AMAZON LINK) |
| HOW TO READ A FILM, James Monaco (see book's index) (AMAZON LINK) |
| FILM ART - AN INTRODUCTION by David Bordwell & Kristin Thompson Sound In The Cinema pg.189 (AMAZON LINK) |
| "Sound Thinking", Jonathan Rosenbaum (article) |
| "The Second Coming Of Sound", Charles Schreger (article) |
| Sound Theory/Sound Practice (BFI film readers), Rick Altman (AMAZON LINK) |
| Filmsound.org - Learning Space dedicated to the Art of Film Sound Design at http://filmsound.org/ |
| Soundscape: School of Sound Lectures 1998-2001, Larry Sider (AMAZON LINK) |
| Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, Larry Sonnenschein (AMAZON LINK) |
| Audio-Vision : Sound on Screen, Michel Chion (AMAZON LINK) |
| Audio-Vision: Sound on Screen, Michel Chion also at http://a.aaaarg.org/text/3102/audio-vision - you have to sign in to AAAARG.ORG as a member (free membership) |
| Weis, Elisabeth and Belton, John, eds. Film Sound: Theory and Practice, NY: Columbia UP, 1985 |
| FILM-PHILOSOPHY - online journal |
Rick Altman
| Altman, Rick, ed. Sound Theory Sound Practice. NY: Routledge, 1992 |
| Altman, Rick, McGraw Jones and Sonia Tatroe. "Inventing the Cinema Soundtrack: Hollywood’s Multiplane Soundsystem." Music and Cinema. Ed. James Buhler, Caryl Flinn, and David Neumeyer. Hanover: Wesleyan UP, 2000. 339-359 |
| Altman, Rick, "Film Sound: All Of It." Spec. issue of Iris 27 (1999a): 31-48 |
| Altman, Rick, "Moving Image, Moving Target." Music, Sound and the Moving Image 1.1 (2007): 5-9 |
| Altman, Rick, "Sound Studies: A Field Whose Time Has Come." Spec. issue of Iris 27 (1999): 3-4 |
| Altman, Rick, "The Evolution of Sound Technology." Weis and Belton 44-54 |
| Altman, Rick, "The Sound of Sound: A Brief History of the Reproduction of Sound in Movie Theatres." Spec. issue of Cinéaste 21.1-2 (1995): 68-71 |
| Altman, Rick, Film/Genre. London: BFI, 1999 |
| Altman, Rick, Interview. The Velvet Light Trap 51 (2003): 67-72 |
| Altman, Rick, Introduction. Spec. issue of Yale French Studies 60 (1980): 3-15 |
| Arick, Michael. "In Stereo! The Sound of Money." Sight and Sound Winter 1987-88: 35-43 |
| Barnett, Kyle, et al. "Panel discussion on film sound/music: Jim Buhler, Anahid Kassabain, David Neumeyer, and Robyn Stilwell." Velvet Light Trap 51 (2003): 73-91 |
| Barthes, Roland. Image, Music, Text. NY: Hill and Wang, 1977 |
| Beck, Jay and Frank Le Gac, 'Sound Resources on the Internet', special issue of Iris 27 (1999): 142-148 |
| Beck, Jay and Frank Le Gac, 'Citing the Sound: The Conversation, Blow Out, and the Mythical Ontology of the Soundtrack in '70s Film', Journal of Popular Film and Television 29.4 (2002): 156-163 |
| Belton, John, 'Magnetic Sound: The Frozen Revolution', Altman, 1992, 154-167. |
| Belton, John, American Cinema/American Culture. NY: McGraw-Hill, 1994. |
| Biddiscombe, Ross. "Heard But Not Seen." Creation Oct. 1999: 36-38. |
| Brown, Royal S. Overtones and Undertones: Reading Film Music. Berkeley: U of CA P, 1994. |
| Burtt, Ben. "Ben Burtt - Sound Designer of Star Wars." Filmsound. Ed. Sven E. Carlsson. 1999. 15 Oct. 2005 http://www.filmsound.org/starwars/burttinterview.htm |
| Carlsson, Sven E., comp. "Sound Design of Star Wars." Filmsound. Ed. Sven E.Carlsson. 1999. 31 Nov. 2005 http://www.filmsound.org/starwars |
| Chatterji, Shoma, 'Silence Juxtaposed Against Sound in Contemporary Indian Cinema, Sider, Freeman and Sider 103-111. |
|
Coffey, John, et al. "An Open Letter from your Sound Department."
Filmsound. Ed. Sven E. Carlsson. 1999. 4 Oct. 2005 http://www.filmsound.org/productionsound/openletter.html Coleman, Todd, 'Sync or Swim: Sound Comes of Age', special issue of Hollywood Reporter 4 Feb. 1991: 4-5 |
| Coleman, Todd, The Ever Expanding Sonic Envelope', special issue of Hollywood Reporter 4 Feb. 1991: 10-12 |
| Crafton, Donald. The Talkies: America's Transition to Sound, 1926-1931. U of CA P, 1997. |
| Darby, William, and Jack Du Bois. American Film Music: Major Composers, Techniques, Trends, 1915-1990. Jefferson: McFarland, 1990. |
| Davison, Annette, 'Up in Flames': Love, Control and Collaboration in the Soundtrack to Wild at Heart', The Cinema of David Lynch. Ed. Erica Sheen and Annette Davison. London: Wallflower, 2004, 119-135. |
| Davison, Annette, Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. Aldershot: Ashgate, 2004 |
| Dickinson, Kay, ed. Movie Music: The Film Reader. London: Routledge, 2003 |
| Doane, Mary Ann. "Ideology and the Practice of Sound Editing and Mixing', in Weis, Elisabeth and Belton, John, eds. Film Sound: Theory and Practice, NY: Columbia UP, 1985, 54-62 |
| Donnelly, K.J. "The Classical Film Score Forever? Batman, Batman Returns and Post-Classical Film Music." Neale and Smith 142-155. |
| Dreher, Carl, 'Recording, Re-recording and Editing of Sound', Journal - Society of Motion Picture Engineers 16.6 (1931a): 756-765. |
| Dreher, Carl, 'Sound Personnel and Organization." Recording Sound for Motion Pictures. Ed. Lester Cowan. NY: McGraw-Hill, 1931b. 340-354. |
|
Droney, Maureen. "A Year of Living Animatedly."
Mix Online. 31 May 2006. http://mixonline.com/mag/audio_randy_thom/ |
| Dyer, Richard. "Making Star Wars Sing Again." Film Score Monthly June 1999: 18-21 |
| Franklin, Peter and Robynn Stilwell, eds. The Cambridge Companion to Film Music.Cambridge: Cambridge UP, 2009 |
| Gentry, Rick. "Alan Splet and Sound Effects for Dune." American Cinematographer 65.12 (1984): 62-71. |
| Gomery, Douglas, 'Hollywood as Industry', in Hill and Church Gibson 245-255. |
| Gomery, Douglas, 'The Coming of Sound: Technological Change in the American Film Industry, Weis, Elisabeth and Belton, John, eds. Film Sound: Theory and Practice, NY: Columbia UP, 1985, 5-24 |
| Gomery, Douglas, The Coming of Sound: A History. London: Routledge, 2005. |
| Gorbman, Claudia. "The State of Film Music Criticism." Spec. issue of Cinéaste 21.1-2 (1995): 72-75. |
| Gorbman, Claudia. Unheard Melodies: Narrative Film Music. London: BFI, 1987. |
| Gross, Larry. "Big and Loud." Action/Spectacle Cinema: A Sight and Sound Reader. Ed . José Arroyo. London: BFI, 2000. 3-9. |
| Handzo, Stephen. "A Narrative Glossary of Film Sound Technology." Weis, Elisabeth and Belton, John, eds. Film Sound: Theory and Practice, NY: Columbia UP, 1985, 383-426. |
| Hanson, Helen. "Sound Affects: Post-production Sound, Soundscapes and Sound Design in Hollywood's Studio Era." Music, Sound, and the Moving Image 1.1 (2007): 27-51. |
| Hanson, Helen. "Sounds of the City: the Sonic Fabric of Film Noir." The Cambridge Companion to Film Music. Ed. Peter Franklin and Robyn Stilwell. Cambridge: Cambridge UP, 2009 |
| Hardesty, Mary. "Sound Advice." Spec. issue of Hollywood Reporter 16 May 1995: D-16-D-17. |
| Hillier, Jim. Introduction. American Independent Cinema: A Sight and Sound Reader. Ed. Jim Hillier. London: BFI, 2001. ix-xvii. |
|
Hilton, Kevin. "Walter Murch: The Sound Film Man."
Studio-Sound. 28 Oct. 2005 http://www.studio-sound.com/archive/may98/i_waltermurch.html |
| Hollinger, Karen. "Film Noir, Voice-Over and the Femme Fatale." Film Noir Reader. Eds. Alain Silver and James Ursini. 4th Ed. NY: Limelight Editions, 2003. 243-261. |
| Hrudicka, Cathryn. “Sound and Silence: Sound Designers as Storytelling Partners”. Filmwaves 15 (2001): 62-65. |
| Jarrett, Michael. "Sound Doctrine: An Interview with Walter Murch." Film Quarterly 53.3 (2000): 2-11. |
| Hill, John and Gibson, Pamela Church, eds. The Oxford Guide to Film Studies. NY: Oxford UP, 1998. |
| Jordan, Randolph. “Sound in the Cinema and Beyond”. Offscreen 11.8 (2007): 1-16. |
| Kalinak, Kathryn. Settling the Score: Music and the Classical Hollywood Film. Madison: U of WI P, 1992. |
| Kenny, Tom. Sound for Picture: An Inside Look at Audio Production for Film and Television. CA: MixBooks, 2000. |
| Kozloff, Sarah. Invisible Storytellers: Voice-over Narration in American Fiction Film. Berkeley: U of CA P, 1988. |
| Kozloff, Sarah, Overhearing Film Dialogue. Berkeley: U of CA P, 2000. |
| Larry Sider, Diane Freeman, and Jerry Sider, eds. Soundscape: The School of Sound Lectures 1998-2001. London: Wallflower, 2003. |
| Lastra, James. Sound Technology and the American Cinema: Perception, Representation, Modernity. NY: Columbia UP, 2000. |
| Lauten, Erin K. Interview with Ben Burtt. Filmsound. Ed. Sven E. Carlsson. 1999. 15 Oct. 2005 http://www.filmsound.org/starwars/editorsnet-interview.htm |
| Lawrence, Amy. Echo and Narcissus: Women's Voices in Classical Hollywood Cinema. Berkeley: U of CA P, 1991. |
| Lewis, Harold. "Getting Good Sound is an Art." American Cinematographer 15.2 (1934): 65 ss. |
| LoBrutto, Vincent. Sound-On-Film: Interviews with Creators of Film Sound. Westport: Praeger, 1994. |
| Lovell, Alan, and Gianluca Sergi. Making Films in Contemporary Hollywood. London: Hodder, 2005. |
| Lynch, David, and Barry Gifford, "Action and Reaction." Soundscape: The School of Sound Lectures 1998-2001. Sider, Freeman and Sider 49-53. |
| Mancini, Marc, 'The Sound Designer', in Weis, Elisabeth and Belton, John, eds. Film Sound: Theory and Practice, NY: Columbia UP, 1985 361-368. |
| McClean, Adrienne L. "It's Only That I Do What I Love and Love What I Do": Film Noir and the Musical Woman." Cinema Journal 33.1 (1993): 3-16. |
| Mera, Miguel, and David Burnand. European Film Music. Aldershot: Ashgate, 2006. |
| Morgan, David. Knowing the Score: Film Composers Talk about the Art, Craft, Blood, Sweat and Tears of Writing for Cinema. NY: Harper, 2000. |
Walter Murch
| Murch, Walter, 'Dense Clarity – Clear Density', Ps1.org (Museum of Modern Art). 10 Aug. 2007. http://www.ps1.org/cut/volume/murch.html |
| Murch, Walter, 'Sound Design: The Dancing Shadow." Projections 4. Ed. John Boorman et al. London: Faber, 1995. 237-251. |
| Murch, Walter, 'Stretching Sound to Help the Mind See." Filmsound. Ed. Sven E. Carlsson. 2000. 12 Mar. 2007. http://filmsound.org/murch/stretching.htm |
| Paine, Frank, Sound Mixing and Apocalypse Now: An Interview with Walter Murch, in Weis, Elisabeth and Belton, John, eds. Film Sound: Theory and Practice, NY: Columbia UP, 1985, 356-360. |
| Paine, Frank, Interview with Walter Murch. Journal of the University Film Association 33.4 (1981): 15-20. |
| Neale, Steve, Cinema and Technology: Image, Sound, Colour. London: Macmillan, 1985. |
| O' Brien, Charles. Cinema's Conversion to Sound: Technology and Film Style in France and the US. Bloomington: Indiana UP, 2006. |
| Palmer, Christopher. The Composer in Hollywood. London: Marion Boyars, 1990. |
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Pasquariello, Nicholas. Sounds of Movies: Interviews with
Creators of Feature Soundtracks. San Francisco, Port Bridge, 1996. |
| Porfiro, Robert. G. "Dark Jazz: Music in Film Noir." Film noir reader 2. Eds. Alain Silver and James Ursini. NY: Limelight Editions, 1999. 177-188. |
| Reesman, Bryan. "Composer Spotlight: Angelo Badalamenti." Mix Online. 27 Mar. 2006 http://mixonline.com/mag/audio_angelo_badalamenti/index.html |
| Richardson, John. "Laura and Twin Peaks: Postmodern Parody and the Musical Reconstruction of the Femme Fatale." Sheen and Davison 77-93. |
| Salt, Barry, 'Film Style and Technology in the Thirties: Sound, in Weis, Elisabeth and Belton, John, eds. Film Sound: Theory and Practice, NY: Columbia UP, 1985, 37-43. |
| Schreger, Charles, 'Altman, Dolby, and The Second Sound Revolution', in Weis, Elisabeth and Belton, John, eds. Film Sound: Theory and Practice, NY: Columbia UP, 1985 , 348-355. |
| Sider, Larry. "If You Wish to See, Listen." Journal of Media Practice 4.1 (2003): 5-15. |
Gianluca Sergi
| Sergi, Gianluca, 'A Cry in the Dark: The Role of Post-Classical Film Sound', in Neale and Smith 156-165. |
|
Sergi, Gianluca, 'In Defence of Vulgarity: The Place of
Sound Effects in the Cinema." Filmsound. Ed. Sven E. Carlsson.
1999. 31 Oct. 2005 http://www.filmsound.org/articles/ sergi/sound-effects-place.htm |
|
Sergi, Gianluca, 'The Sonic Playground: Hollywood
Cinema and its Listeners', Filmsound. Ed. Sven E. Carlsson. 1999.
31 Oct. 2005 http://www.filmsound.org/articles/sergi/index.htm |
| Sergi, Gianluca, The Dolby Era: Film Sound in Contemporary Hollywood. Manchester: Manchester UP, 2004. |
| Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana UP, 1988. |
| Smith, Murray, A Reasonable Guide to Horrible Noise (Part 2): Listening to Lost Highway.” Film Style and Story: A Tribute to Torben Grodal. Ed. Lennard HØjbjerg and Peter Schlepelern. Copenhagen: Museum Tusculanum P. 2003. 153-170. |
| Sonnenschein, David. Sound Design: The Expressive Power of music, Voice, and Sound Effects in The Cinema. CA: Michael Weise, 2001. |
| Sound. Spec. issue of Film Comment 14.5 (1978): 35-48. |
| Neale, Steve and Smith, Murray, eds. Contemporary Hollywood Cinema. London: Routledge, 1998. |
| Smith, Murray, Theses on the Philosophy of Hollywood History', in Neale, Steve and Smith, Murray, eds. Contemporary Hollywood Cinema. London: Routledge, 1998, 3- 20. |
| Stilwell, Robynn. "Sound and Empathy: Subjectivity, Gender and the Cinematic Soundscape." Donnelly, K.J., ed. Film Music: Critical Approaches. Edinburgh: Edinburgh UP, 2001. 167-187. |
| Stockfelt, Ola. "Classical Film Music." Spec. issues of Iris 27 (1999): 81-94. |
| Takis, John. "Star Wars Episode Tunes: Attack on the Score." Film Score Monthly May 2002: 18-23. |
| THX.com. at http://www.thx.com/ |
Randy Thom
| Thom, Randy, 'A Few Notes on Music in the Final Mix', Filmsound. Ed. Sven E. Carlsson. 1999. 27 Nov. 2005 http://filmsound.org/randythom/finalmix.htm |
| Thom, Randy, 'Confessions of an Occasional Sound Designer', Filmsound. Ed. Sven E. Carlsson. 1999. 31 Oct. 2005 http://www.filmsound.org/randythom/confess.html |
| Thom, Randy, 'Designing a Movie for Sound." Filmsound. Ed. Sven E. Carlsson. 1999. 27 Nov. 2005 <http://www.filmsound.org/articles/designing_for_sound.htm>. |
| Thom, Randy, 'Designing a Movie for Sound." Sider, Freeman and Sider 121-137. |
| Thom, Randy, 'Designing a Movie for Sound." Spec. issue of Iris 27 (1999): 9-20. |
|
Thom, Randy, 'More Confessions of a Sound Designer:
a Sound Fails in a Forest Where Nobody Hears It)." Filmsound.
Ed. Sven E. Carlsson. 1999. 11 Dec. 2005 http://www.filmsound.org/randythom/confess2.html |
|
Thom, Randy, 'On Being Creative: Reorganize Chance.
That is the Basis of Your Work." Filmsound. Ed. Sven E.
Carlsson. 1999. 11 Dec. 2005 http://www.filmsound.org/randythom/creative.htm |
|
Thom, Randy, 'The Machinery Aimed at the Ear."
Filmsound. 22 Apr. 2006. http://www.filmsound.org/articles/thom/machinery.htm |
| Warren, Scott. "How to Watch a Movie: Sound Design." Premiere 18.4 (2004): 52-54. |
| Weis, Elisabeth, 'Synch Tanks: The Art and Technique of Postproduction Sound', special issue of Cinéaste 21.1-2 (1995): 56-61. |
| Weis, Elisabeth, 'The Trail of the Snail: Recent Literature on Sound Design." Spec. issue of Iris 27 (1999): 95-109. |
| Weis, Elisabeth, The Silent Scream: Alfred Hitchcock's Sound Track. Rutherford: Fairleigh Dickinson UP, 1982. |
| Whittington, William. Sound Design and Science Fiction. Austin: U of Texas P, 2007. |
|
Willman, Chris. "Setting Lynch’s Muse to Music."
DavidLynch.de. 27 Jul. 2007. http://www.davidlynch.de/labadalamenti.html |
Michel Chion
| Chion, Michel, 'The Silence of Loudspeakers, or Why With Dolby Sound it is the Film That Listens To Us', Sider, Freeman and Sider. 150-154. |
| Chion, Michel, Audio-Vision: Sound on Screen. NY: Columbia UP, 1994 |
| Chion, Michel, David Lynch. London: BFI, 1995 |
| Chion, Michel, La Musique au Cinéma. Paris: Fayard, 1995 |
| Chion, Michel, Le Son au Cinéma. Paris: Editions de l'Etoile, 1994 |
| Chion, Michel, The Voice in The Cinema. Ed and trans. Claudia Gorbman. NY: Columbia UP,1999 |
| Audio-Vision : Sound on Screen, Michel Chion (AMAZON LINK) |
| Audio-Vision: Sound on Screen, Michel Chion also at http://a.aaaarg.org/text/3102/audio-vision - you have to sign in to AAAARG.ORG as a member (free membership) |
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