Music, Sound, and the Moving Image

Book Reviews

Music, Sound, and the Moving Image (2019), 13, (1), 87–108.


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DesJardins, Christian (2007) Inside Film Music: Composers Speak. Los Angeles: Silman-James. Google Scholar

Morgan, David (2000) Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat and Tears of Writing for Cinema. New York: Harper Entertainment. Google Scholar

Schelle, Michael (1999) The Score: Interviews with Film Composers. Los Angeles: Silman-James. Google Scholar

Schrader, Matt (2017) Score: A Film Music Documentary: The Interviews. Los Angeles: Epicleff Media. Google Scholar

Abbate, Carolyn (1991) Unsung Voices: Opera and Musical Narrative in the Nineteenth Century, Princeton and Oxford: Princeton University Press. Google Scholar

Bauman, Zygmunt (2000) Liquid Modernity, Cambridge: Polity Press. Google Scholar

Bordwell, David (1980) ‘The Musical Analogy’, Yale French Studies, 60, pp.141–156. Google Scholar

Chion, Michel (1994) Audio-Vision: Sound on Screen. Trans. and ed. Claudia Gorbman. New York: Columbia University Press. Google Scholar

Cusick, Suzanne G. (2013) ‘Towards an acoustemology of detention in the “global war on terror”’. In: Born, Georgina (ed.). Music, Sound and Space: Transformations of Public and Private Experience. Cambridge: Cambridge University Press, pp.275–291. Google Scholar

Davison, Annette (2004) Hollywood Theory, Non-Hollywood Practice. Cinema Soundtracks in the 1980s and 1990s. Aldershot: Ashgate. Google Scholar

Franklin, Peter (2011) Seeing Through Music: Gender and Modernism in Classic Hollywood Film Scores. New York: Oxford University Press. Google Scholar

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

Knight, Douglas (2015) ‘Music, Performance, and the Realities of Film: Shared Concert Experiences in Screen Fiction by Ben Winters [review]’. Music, Sound, and the Moving Image, 9 (1), pp.91–97. Google Scholar

Kovács, András B. (2007) Screening Modernism: European Art Cinema, 1950–1980, Chicago: University of Chicago Press. Google Scholar

Luko, Alexis (2016) Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman. New York: Routledge. Google Scholar

Sheer, Miriam (2001) ‘The Godard/Beethoven Connection: On the Use of Beethoven’s Quartets in Godard’s Films’, The Journal of Musicology, 18 (1), pp.170–188. Google Scholar

Stenzl, Jürg (2010) Jean-Luc Godard – Musicien: die Musik in den Filmen von Jean-Luc Godard, München: Richard Boorberg Verlag. Google Scholar

Tarkovsky, Andrei (1986) Sculpting in Time: Reflections on the Cinema. Trans. K. Hunter-Blair. Austin: University of Texas Press. Google Scholar

Thompson, Kristin (1988) Breaking the Glass Armor: Neoformalist Film Analysis. Princeton: Princeton University Press. Google Scholar

Bartkowiak, Mathew J. (ed.) (2010) Sounds of the Future: Essays on Music in Science Fiction Film. Jefferson: McFarland. Google Scholar

Chion, Michel (1994) Audio-Vision, Sound on Screen. Ed. and trans. Claudia Gorbman, foreword Walter Murch, New York: Columbia University Press. Google Scholar

Chion, Michel (2001) Kubrick’s Cinema Odyssey. London: BFI. Google Scholar

Coulombe, Renée T. (2018) ‘The Restless Uncanny: Nomadic Affectivity, the Sonic, and Apocalyptic Embodiments’, Slayage: The Journal of Whedon Studies, 16 (2) [48] (Summer/Fall). Available from: (Accessed: 31 July 2019). Google Scholar

Guattari, Félix (2011) The Machinic Unconscious: Essays in Schizoanalysis. Trans. Taylor Adkins, Los Angeles: Semiotext(e). Google Scholar

Hayward, Philip (ed.) (2004) Off the Planet: Music, Sound, and Science Fiction Cinema. New Barnet: John Libbey. Google Scholar

Hosokawa, Shuhei (2004) ‘Atomic Overtones and Primitive Undertones: Akira Ifukube’s Sound Design for Godzilla’. In: Hayward, Philip (ed.). Off the Planet: Music, Sound, and Science Fiction Cinema. New Barnet: John Libbey, pp.42–60. Google Scholar

Kaminskij, Konstantin (2013) ‘The Voices of the Cosmos: Electronic Synthesis of Sound Effects in Soviet vs. American Science Fiction Movies from Sputnik 1 to Apollo 8’. In: Meise, N. & Zakharine, D. (eds). Electrified Voices: Medial, Socio-Historical and Cultural Aspects of Voice Transfer. Göttingen: V&R Unipress, pp.273–290. Google Scholar

Leydon, Rebecca (2004) ‘Forbidden Planet: Effects and Affects in the Electro Avant Garde’. In: Hayward, Philip (ed.). Off the Planet: Music, Sound, and Science Fiction Cinema. New Barnet: John Libbey, pp.61–76. Google Scholar

Neumeyer, David (2009) ‘Diegetic/Nondiegetic: A Theoretical Model’, Music and the Moving Image, 2 (1) (Spring), pp.26–39. Google Scholar

Ross, Alex (2007) The Rest Is Noise: Listening to the Twentieth Century, New York: Picador. Google Scholar

Stilwell, Robynn J. (2007) ‘The Fantastical Gap between Diegetic and Nondiegetic’. 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

Suvin, Darko (1979) Metamorphoses of Science Fiction. New Haven: Yale University Press. Google Scholar

Winters, Ben (2010) ‘The Non-diegetic Fallacy: Film, Music, and Narrative Space’, Music & Letters, 91 (2), pp.224–243. Google Scholar

Yacovone, Daniel (2012) ‘Spaces, Gaps and Levels: From the Diegetic to the Aesthetic in Film Theory’, Music, Sound, and the Moving Image, 6 (1), pp.21–37. Google Scholar

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