Pentru documentarea articolelor publicate pe acest site sunt utilizate lucrari de specialitate, cronici de film, eseuri, articole dar si surse precum Wikipedia si IMDb. Cele mai importante surse bibliografice folosite pana acum si recomandate oricarui cinefil sunt enumerate mai jos si vor fi extinse odata cu dezvoltarea proiectului Muzica de Film.

Adam Harvey, The Soundtracks of Woody Allen: A Complete Guide to the Songs and Music in every film, 1969 – 2005, McFarland & Company, North Carolina, 2007;

Alexander Graf, The Cinema of Wim Wenders: The Celluloid Highway, Wallflower Press, Londra, 2002;

Andrew Nestingen, The Cinema of Aki Kaurismäki: Contrarian Stories, Columbia University Press, New York, 2013;

Arved Ashby (editor), Popular Music and the New Auteur: Visionary Filmmakers After MTV, Oxford University Press, New York, 2013;

Bert Cardullo, The Films of Robert Bresson: A Casebook, Anthem Press, Londra, 2009;

Carol Vernallis, Amy Herzog, John Richardson (editori), The Oxford Handbook of Sound and Image in Digital Media, Oxford University Press, New York, 2013;

Caryl Flinn, The New German Cinema: Music, History, and the Matter of Style, University of California Press, 2004;

Christine Lee Gengaro, Listening to Stanley Kubrick: The Music in His Films, Scarecrow Press, Maryland, 2013;

Daniel Goldmark, Lawrence Kramer, Richard D. Leppert (editori), Beyond the Soundtrack: Representing Music in Cinema, University of California Press, Los Angeles, 2007;

Davina Quinlivan, The Place of Breath in Cinema, Edinburgh University Press, Edinburgh, 2012;

Eric L. Flom, Chaplin in the Sound Era: An Analysis of the Seven Talkies, McFarland & Company, North Carolina, 1997;

Ewa Mazierska, Roman Polanski: The Cinema of a Cultural Traveller, I.B. Tauris & Co, New York, 2007;

Gianfranco Marrone, Ludovico’s Cure. On Body and Music in “A Clockwork Orange”, Lagas Publisher, Toronto, 2009;

Jack Sullivan, Hitchcock’s Music, Yale University Press, SUA, 2006;

James Buhler, Caryl Flinn, David Neumeyer, Music and Cinema, Wesleyan University Press, Connecticut, 2000;

James Eugene Wierzbicki (editor), Music, Sound and Filmmakers: Sonic Style in Cinema, Routledge, New York, 2012;

John Wesley Fawell, Hitchcock’s Rear Window: The Well-made Film, Southern Illinois University Press, Carbondale, 2001;

Jay Beck, Tony Grajeda (editori), Lowering the Boom: Critical Studies in Film Sound, University of Illinois Press, Champaign, 2008;

Kathryn Kalinak, Settling the Score: Music and the Classical Hollywood Film, The University of Wisconsin Press, Wisconsin, 1992;

Laurence E. MacDonald, The Invisible Art of Film Music: A Comprehensive History, second edition, Scarecrow Press, Maryland, 2013;

Linda C. Ehrlich (editor), The Cinema of Víctor Erice: An Open Window, Scarecrow Press, Maryland, 2007;

M. Thomas Van Order, Listening to Fellini: Music and Meaning in Black and White, Rosemont Publishing & Printing Corp., Massachusetts, 2009;

Franco Sciannameo
, Nino Rota, Federico Fellini, and the Making of an Italian Cinematic Folk Opera Amarcord, Edwin Mellen Press, New York, 2005;

Marvin D’Lugo și Kathleen M. Vernon (editori), A Companion to Pedro Almodóvar, Wiley-Blackwell, Oxford, 2013;

Mathew J. Bartkowiak (editor), Sounds of the Future: Essays on Music in Science Fiction Film, McFarland & Company, North Carolina, 2010;

Miguel Mera, David Burnand (coord.), European Film Music, Ashgate Publishing, Anglia, 2006;

Neil Lerner (editor), Music in the Horror Film: Listening to Fear, Routledge, New York, 2010;

Nicky Losseff, Jennifer Ruth Doctor (editori), Silence, Music, Silent Music, Ashgate Publishing Company, Burlington, 2007;

Pamela Robertson Wojcik, Arthur Knight (editori), Soundtrack Available: Essays on Film and Popular Music, Duke University Press, Durham, 2001;

Pauline Reay, Music in Film: Soundtracks and Synergy, Wallflower Press, Londra, 2004;

Phil Powrie, Robynn Jeananne Stilwell (editori), Changing Tunes: The Use of Pre-existing Music in Film, Ashgate Publishing Company, Burlington, 2006;

Tatiana Egorova, Soviet Film Music: An Historical Survey, Harwood Academic Publishers, Amsterdam, 1997;

Wimal Dissanayake, Wong Kar-wai’s Ashes of Time, Hong Kong University Press, Hong Kong, 2003;

ESEURI, ARTICOLE

A talk with Michelangelo Antonioni on his work, Film Culture, primavara 1962; Internet: disponibil aici ;

Arthur M. Eckstein, Darkening Ethan: John Ford’s “The Searchers” (1956) from Novel to Screenplay to Screen, Cinema Journal, vol. 38, nr. 1, pp. 3-24, toamna 1998, University of Texas Press; Internet: disponibil aici ;

Charlotte Renaud, An unrequited love of music, http://ingmarbergman.se, 25 aprilie 2013; Internet: disponibil aici ;

Emilie Yueh-yu Yeh, Hu Wang, Transcultural Sounds: Music, Identity and the Cinema of Wong Kar-wai, David C. Lam Institute for East-West Studies, Hong Kong, 2007; Internet: disponibil aici ;

James M. Doering, A look at Japanese film music through the lens of Akira Kurosawa, Randolph-Macon College, Virginia; Internet: disponibil aici ;

Rashna Wadia Richards, Unsynched: The Contrapuntal Sounds of Luis Buñuel’s L’Age d’Or., Film Criticism, vol. 33, nr. 2, pp. 23-43, iarna 2008; Internet: disponibil aici ;

Timothy Koozin, Expressive Meaning and Historical Grounding in the Film Music of Fumio Hayasaka and Toru Takemitsu, Journal of Film Music, [S.l.], vol. 3, nr. 1, pp. 5-17, iulie 2010; Internet: disponibil aici ;

 

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