References
Afra, Kia (2015) ‘“Vertical Montage” and Synaesthesia: Movement, Inner Synchronicity, and Music-Image Correlation in Alexander Nevsky (1938)’, Music, Sound & the Moving Image, 9 (1), pp.33-61.
Altman, Rick (1987) The American Film Musical. Bloomington: Indiana University Press.
Bartig, Kevin (2013) Composing for the Red Screen: Prokofiev and Soviet Film. Oxford: Oxford University Press.
Bordwell, David (1980) ‘The Musical Analogy’, Yale French Studies, 60, pp.141-156.
Coulthard, Lisa (2016) ‘Sonic Disgust: Sound, Affect, and Cinematic Violence’. In: Greene, Liz & Kulezic-Wilson, Danijela (eds). The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks. London: Palgrave-Macmillan, pp.183-193.
Eisenstein, Sergei ([1940] 1991) ‘Vertical Montage’. Trans. Michael Glenny. In: Glenny, Michael & Taylor, Richard (eds). S.M. Eisenstein Selected Works: Towards a Theory of Montage. Vol. 2. London: BFI, pp.327-399.
Eisenstein, Sergei (1959) Notes of a Film Director. Trans. X. Danko. Moscow: Foreign Languages Publishing House.
Eisenstein, Sergei (1988) Non-indifferent Nature: Film and the Structure of Things. Trans. Herbert Marshall. Cambridge: Cambridge University Press.
Greene, Liz (2016a) ‘From Noise: Blurring the Boundaries of the Soundtrack’. In: Greene, Liz & Kulezic-Wilson, Danijela (eds). The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks. London: Palgrave-Macmillan, pp.17-32.
Greene, Liz (2016b) ‘The Labour of Breath: Performing and Designing Breath in Cinema’, Music, Sound and the Moving Image, 10 (2), pp.109-133.
Greene, Liz & Kulezic-Wilson, Danijela (2016) ‘Introduction’. In: Greene Greene, Liz & Kulezic-Wilson, Danijela (eds). The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks. London: Palgrave-Macmillan, pp.1-13.
Hanson, Helen (2017) Hollywood Soundscapes: Film Sound Style, Craft and Production in the Classical Hollywood Era. London: BFI.
Merritt, Russell (1994-1995) ‘Recharging “Alexander Nevsky”: Tracking the Eisenstein-Prokofiev War Horse’, Film Quarterly, 48 (2), pp.34-47.
Polan, Dana (1977) ‘Eisenstein as Theorist’, Cinema Journal, 17 (1), pp.14-29.
Richardson, John (2012) An Eye For Music: Popular Music and the Audiovisual Surreal. New York: Oxford University Press.
Salvaggio, Jerry L. (1979) ‘Between Formalism and Semiotics: Eisenstein’s Film Language’, Dispositio, 4 (11), pp.289-297.
Smoczynska, Agnieszka (2016) ‘Sundance 16: “The Lure” Director Agnieszka Smoczynska on Bringing Her 80s Mermaid Tale to Life’, IndieWire, 5 February. Available from: https://www.indiewire.com/2016/02/sundance-16-the-lure-director-agnieszka-smoczynska-on-bringing-her-80s-mermaid-tale-to-life-168248/ (Accessed: 15 December 2018).
Smoczynska, Agnieszka (2017) ‘Exclusive Interview: Director Agnieszka Smoczynska on the Allure of “The Lure”’, Rue-Morgue, 8 February. Available from: https://rue-morgue.com/exclusive-interview-director-agnieszka-smoczynska-on-the-allure-of-the-lure/ (Accessed: 15 December 2018).
Whittington, William (2007) Sound Design & Science Fiction. Austin: The University of Texas Press.
Wollen, Peter (1969) Signs and Meaning in the Cinema. Bloomington: Indiana University Press.
Media Cited
Dunkirk, Christopher Nolan, USA, 2017.
The Lure, Agnieszka Smoczynska, Poland, 2015.
Off the Hook: The Making of The Lure, Anon., USA, 2015.