2004 Music – Drastic or Gnostic, «Critical Inquiry», 30, 3, 2004, pp. 505-536. Abruzzese, Alberto
1979 La grande scimmia – Mostri, vampiri, automi, mutanti. L’immaginario collettivo dalla letteratura al cinema e all’informazione, Napoleone, Roma. Adorno, W. Theodor e Hanns Eisler
1975 La musica per film, Newton Compton, Roma, (ed. or. Composing for the Films, Oxford University Press, New York, 1947).
Aimeri, Luca e Giampiero Frasca,
2002 Manuale dei generi cinematografici. Hollywood: dalle origini a oggi, UTET, Torino.
Altman, Rick
1999 Film/Genre, The British Film Institute (tr. it. Film/Genere, Vita e Pensiero, Milano).
Atkins, Irene Kahn
1983 Source music in motion pictures, Fairleigh Dickinson University Press, Rutherford (NJ).
Auslander, Philip
2008 Liveness: Performance in a Mediatized Culture, Routledge, Abingdon-New York.
Barthes, Roland
1984 L’impero dei segni, Einaudi, Torino (ed. or. L’empire des signes, Éditions d’Art Albert Skira, Genève, 1970).
Beghelli, Marco
2003 La retorica del rituale nel melodramma ottocentesco, Istituto Nazionale di Studi Verdiani, Parma.
Bellis, Richard
2006 The Emerging Film Composer: An Introduction to the People, Problems and Psychology of the Film Music Business, Booksurge Llc, North Charleston (SC).
Benedict, Ruth
1946 The Chrysanthemum and the sword: patterns of Japanese culture, Houghton Mifflin, Boston (tr. it. Il Crisantemo e la spada. Modelli di cultura giapponese, Dedalo, Bari, 1968).
Bohlman, Philip V.
2004 The Music of European Nationalism. Cultural Identity and Modern History, ABC-CLIO, Santa Barbara.
* Per uniformità e per ragioni di sintesi sono qui raccolti i riferimenti ai soli testi a stampa. Nelle note ai capitoli sono invece raccolti i riferimenti bibliografici agli articoli e alle interviste online, alle co- municazioni personali e alle fonti di altra tipologia. I riferimenti ai testi citati da Febo Guizzi sono contenuti nelle note di chiusura all’Introduzione.
Bolter, Jay David e Richard Grusin
2002 Remediation. Competizione e integrazione tra media vecchi e nuovi, Milano, Guerini (ed. or. Remediation. Understanding New Media, MIT Press, Cambridge, 1999).
Brown, Royal S.,
1994 Overtones and Undertones: Reading Film Music, University of California Press, Berkley-Los Angeles-London.
Burnham, Scott
1999 How Music Matters: Poetic Content Revisited in Nicholas Cook e Mark Everist (eds.), Rethinking Music, Oxford University Press, Oxford-New York.
Carpitella, Diego
1993 Conversazioni sulla musica. Lezioni, conferenze, trasmissioni radiofoniche (1955-1990), Ponte alle Grazie, Milano.
Cherneff, Jill B. R.
1991 Dream Are Made like This: Hortense Powdermaker and the Hollywood Film Industry, in «Journal of Anthropological Research», 47, 4, 1991 The Legacy of Hortense Powdermaker, pp. 429-440.
Cherneff Jill B. R. e Hochwald, Eve
2006 Visionary Observers: Anthropological Inquiry and Education, University of Nebraska Press, Lincoln (NE).
Chion, Michel
1993 Le poème symphonique et la musique à programme, Fayard, Paris.
2001 L’audiovisione. Suono e immagine nel cinema, Lindau, Torino (ed. or. L’audio-vision. Son et image au cinéma, Nathan, Paris, 1990).
Davis, Mike
1999 Geografia della paura. Los Angeles: l’immaginario collettivo del disastro, Feltrinelli, Milano (ed. or. Ecology of Fear: Los Angeles and the Imagination of Disaster, Vintage, London, 1999).
Davis, Richard
1999 Complete Guide to Film Scoring. The Art and Business of Writing Music for Movies and TV, Berklee Press, Boston (MA).
DesJardins, Christian
2006 Inside Film Music. Composers Speak, Silman James Press, Los Angeles. Despoix, Philippe e Nicolas Donin
2008 Moyen techniques et reproduction sonore. Du programme wébérien à la musicalité contemporaine, «Revue de Synthèse», 129, 3, 2008, pp. 333-340. Dixon, Wheeler Winston
2003 Visions of the Apocalypse. Spectacles of Destruction in American Cinema, Wallflower, London-New York.
Donin, Nicolas
2008a Analyser la musique en acte et en situation, «12 Notas Preliminares», 19-20, 2008, pp. 300-315.
2008b Enquête sur l’atelier d’un compositeur de musique contemporain, «Revue de Synthèse», 129, 3, 2008, pp. 402-420.
Douglas, Mary
2003 Purezza e pericolo. Un’’analisi dei concetti di contaminazione e tabù, Bologna, Il Mulino (ed. or. Purity and Danger. An Analysis of Concepts of Pollution and Taboo, Routledge & Kegan Paul, London, 1966).
Edensor, Tim
2002 National Identity, Popular Culture and Everyday Life, Berg, Oxford-New York.
Fabre, Daniel (ed.)
1993 Écritures ordinaires, Éditions Bibliothèque publique d’information/Centre Pompidou-P.O.L., Paris.
Faulkner, Robert R.
1983 Music on Demand. Composers and Careers in the Hollywood Film Industry, Transaction Publishers, New Brunswick (NJ)-London.
Ferraiuolo, Augusto
1983 «The Blues Brothers»: Cultura di massa e trasgressione, in «La Ricerca Folklorica», 7, 1983 Cultura popolare e cultura di massa, pp. 137-143. Flinn, Caryl
1992 Strains of Utopia. Gender, Nostalgia, and Hollywood Film Music, Princeton University Press, Princeton.
Geertz, Clifford
1987 Interpretazione di culture, Bologna, Il Mulino (ed. or. The Interpretation of Cultures, New York, Basic Books, 1973).
Ginsburg, Faye D., Lila Abu-Lughod e Brian Larkin (eds.)
2002 Media Worlds. Anthropology on New Terrain, University of California Press, Berkley-Los Angeles-London.
Gorbman, Claudia,
1987 Unheard Melodies: Narrative Film Music, Indiana University Press, Bloomington.
1996 Aesthetic in the Age of Gump: The Pop Song Score, «Film Score Monthly», 30, 1996.
Guizzi, Febo e Ilario Meandri
2012 Il paesaggio sonoro del carnevale di Ivrea e le sue musiche. Mediazione, immediatezza, rimediazione, in Francesco Giannattasio e Giorgio Adamo (a cura di), L’etnomusicologia italiana a sessanta anni dalla nascita del CNSMP, Accademia Nazionale Di Santa Cecilia, Roma (in stampa).
Hagen, earle
1971 Scoring for Films: A Complete Text, Alfred Publishing Company, Los Angeles.
1990 Advanced Techniques for Film Scoring: A Complete Text, Alfred Publishing Company, Los Angeles.
Halfyard, Janet K.
2004 Danny Elfman’s Batman. A Film Score Guide.: Scarecrow Press, Lanham (MA).
Hauge, Michael
Hediger, Vinzenz
2003 La cartografia degli affetti. A proposito delle marche dei generi cinematografici nei trailer, «Comunicazioni Sociali», XXIV, 2, 2003, pp. 207 e ss.
Henderson, Sanya Shoilevska e John Williams
2009 Alex North, Film Composer: A Biography, with Musical Analyses of a Streetcar Named Desire, Spartacus, The Misfits, Under the Volcano, and Prizzi’s Honor, McFarland, Jefferson (NC).
Hubbert, Julia Bess (ed.)
2011 Celluloid Symphonies: Texts and Contexts in Film Music History, University of California Press, Berkeley.
Hull, Geoffrey P.
2004 The Recording Industry, Routledge, New York-London. Jackson, Daniel
2003 Sonic Branding: An Essential Guide to the Art and Science of Sonic Branding, Palgrave Macmillan, Basingstoke.
Karlin, Fred
1994 Listening to Movies: The Film Lover’s Guide to Film Music, Schirmer Books, New York.
Karlin, Fred e Rayburn Wright
2004 On the Track: a Guide to Contemporary Film Scoring, Routledge, New York-London (Seconda edizione riveduta da Fred Karlin, prima edizione: Schirmer/Macmillan,1990).
Kassabian, Anhaid
2001 Hearing Film. Tracking Identifications in Contemporary Hollywood Film Music, Routledge, New York-London.
Keane, Stephen
2001 Disaster Movies. The Cinema of Catastrophe, Wallflover, London. Kernan, Lisa
2004 Coming Attractions: Reading American Movie Trailers, University of Texas Press, Austin.
Knudson, Carroll
1965 Project Tempo, Carroll Knudson Control, Los Angeles. Kompanek, Sonny
2004 From Score to Screen: Sequencers, Scores & Second Thoughts-The New Film Scoring Process, Schirmer Books, New York.
Leydi, Roberto
2008 L’altra musica, Ricordi/LIM Editrice, Milano-Lucca (edizione riveduta a cura di Febo Guizzi, prima edizione: Giunti-Ricordi, 1991).
Linton, Ralph
1951 Review of Hollywood, the Dream Factory: An Anthropologist Looks at the Movie-Makers, «American Anthropologist», 53, 1951, pp. 269-71. Lumet, Sidney
1996 Making Movies, Vintage Books, New York. Lustig, Milton
1980 Music Editing for Motion Picture, Hasting House, New York.
Malinowsi, Bronislaw
1922 Argonauti del Pacifico occidentale. Riti magici e vita quotidiana nella società primitiva, Newton Compton, Roma (ed. or. Argonauts of the Western Pacific. An Account of Native Enterprise and Adventure in the Archipelagoes of Melanesian New Guinea, Routledge & Kegan Paul, London, 1922). McLuhan, Marshall
1967 Gli strumenti del comunicare, Il Saggiatore, Milano (ed. or. Understanding Media: The Extensions of Man, Gingko Press, Berkeley, 1964).
Meandri, Ilario
2008 Dal meraviglioso all’antimusica: introduzione al mainstream musicale hollywoodiano, Dissertazione di Dottorato, Università consorziate di Torino e Milano, XX ciclo, 4 Novembre 2008.
2009a Danny Elfman’s Batman and Spider-Man. Musical topoi and the construction/ translation of the narrative realm, in Leonardo Quaresima, Laura Ester Sangalli e Federico Zecca (eds.), Cinema and Comics Affinities, differences and new forms of interference, Forum, Udine, pp. 627-637. 2009b L’espressione dell’alterità musicale e le colonne sonore del mainstream americano
contemporaneo, «La Valle dell’Eden», 22, 2009, pp. 139-156.
2011a Tecniche e prassi di sincronizzazione musica e immagine, «La Valle dell’Eden», 25-26, 2011, pp. 114-129.
2011b Il suono immaginato, «La Valle dell’Eden», 25-26, 2011, pp. 170-211. 2011c Trailer music as a medium for film music canon synthesis/Film music as a
medium for film genre canonization, in Pietro Bianchi, Giulio Bursi e Simone Venturini (eds.), The Film Canon, Forum, Udine, p. 229-239. 2011d Dal Meraviglioso all’Antimusica: su alcuni cliché del fantastico nel mainstream
musicale hollywoodiano, in Ilario Meandri e Andrea Valle (a cura di), SUONO/IMMAGINE/GENERE, Kaplan, Torino, pp. 179-199.
Miceli, Sergio
2000 Musica e cinema nella cultura del Novecento, Sansoni, Milano.
2001 Comporre per il cinema. Teoria e prassi della musica nel film, Marsilio, Venezia.
Morgan, David
2000 Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema, HarperCollins, New York.
Morley, David
2000 Home Territories: Media, Mobility and Identity, Routledge, New York- London.
2002 Television, Audiences and Cultural Studies, Routledge, New York-London. Neumayer, David
2009 Diegetic/Nondiegetic: A Theoretical Model, «Music and the Moving Image», II, 1, 2009, pp. 26-39.
Northam, Mark e Lisa Anne Miller
1998 Film and Television Composer’s Resource Guide: the Complete Guide to Organizing and Building Your Business, Hal Leonard, Milwaukee (WI).
Office of Strategic Services, Research and Analysis Branch
1944 Japanese Films: A Phase of Psychological Warfare, an Analysis of the Themes, Psychological Content, Technical Quality, and Propaganda Value of Twenty Recent Japanese Films. Report No. 1307, Washington D.C.
Owsinski, Bobby
2006 The Mixing Engineer’s Handbook: Second Edition, Thomson Course Technology, Boston.
Persichetti, Vincent
1961 Twentieth-Century Harmony: Creative Aspects and Practice., W. W. Norton & Company, New York.
Piana, Giovanni
1991 Filosofia della musica, Guerini, Milano. Powdermaker, Hortense
1939 After Freedom: A Cultural Study in the Deep South, Viking Press, New York.
1950 Hollywood, The Dream Factory. An Anthropologist Looks at the Movie-Makers, A Little Brown & Company Edition/The Universal Library/Grosset & Dunlap, Boston.
1966 Stranger and Friend: The Way of an Anthropologist, W.W. Norton & Company, New York.
Prendergast, Roy M.
1992 Film Music: a Neglected Art. A Critical Study of Music in Films, W.W. Norton & Company, New York.
Previn, André
1991 No Minor Chords: My Days in Hollywood, Doubleday, Garden City (NY) Ranisio, Gianfranca
1983 Il lupo mannaro: una tematica folklorica rivisitata dall’industria cinematografica, in «La Ricerca Folklorica», 7, 1983 Cultura popolare e cultura di massa, pp. 129-135.
Remnick, David
2010 Obama. Una storia della nuova America, Feltrinelli (ed. or. The Bridge. The Life and Rise of Barack Obama, Knopf, New York, 2010).
Rona, Jeff
2000 The Reel World: Scoring for Pictures, Miller Freeman Books, Los Angeles. Rózsa, Miklós
1982 Double Life: The Autobiography of Miklós Rózsa, Hippocrene Books/Midas Books, New York-London.
Schatz, Thomas
1981 Hollywood Genres: Formulas, Filmmaking, and the Studio System, McGraw- Hill, Boston-Burr Ridge (IL)-Dubuque (IA)-Madison (WI)-New York- San Francisco-St. Louis (MO).
2004 Hollywood: Critical Concepts in Media and Cultural Studies, Routledge, New York-London.
Schelle, Michael
1999 The Score: Interviews With Film Composers, Silman-James Press, Los Angeles.
Schillinger, Joseph
1946 The Schillinger System of Musical Composition, 2 voll., Fischer, New York. Slobin, Mark
2003 The Destiny of “Diaspora” in Ethnomusicology, in Martin Clayton, Trevor Herbert e Richard Middleton (eds.), Cultural Study of Music – a Critical Introduction, Routledge, New York-London, pp. 284-296. Smith, Jeff
1998 The Sounds of Commerce: Marketing Popular Film Music, Columbia University Press, New York.
Spitulnik, Debra A.
1993 Anthropology and Mass Media, «Annual Review of Anthropology», 22, pp. 293-315.
Tagg, Philip e Bob Clarida
2003 Ten Little Tunes (Towards a musicology of the mass media), Mass Media Music Scholars’ Press, 2003, New York-Montreal.
Targa, Marco
2011 Armonie perturbanti: un caso di rimediazione di stilemi sinfonici tardo romantici nel cinema fantastico hollywoodiano, in Ilario Meandri e Andrea Valle (a cura di), SUONO/IMMAGINE/GENERE, Kaplan, Torino.
Ungari, Enzo
1980 Immagine del disastro. Cinema, shock e tabù, Arcana, Roma. Valentini, Paola
2006 Il suono nel cinema: storia, teoria e tecniche, Marsilio, Venezia. Vansina, Jan
1985 Oral Tradition as History, University of Wisconsin Press, Madison. Weedon, Chris
2004 Identity and Culture: Narratives of Difference and Belonging, Open University Press/McGraw-Hill, Maidenhead.
Wolfe, Joe e John Smith
2000 Acoustics of the Air-jet Family of Instruments, in Proceedings of the Seventh Western Pacific Regional Acoustics Conference, Kumamoto (Japan), pp. 575- 580.
Wright, Rayburn
1982 Inside the Score, Kendor Music, Delevan (NY). Yoshihara, Mari
1999 Re-gendering the Enemy: Orientalist Discourse and National Character Studies during World War II, in Nancy Lusignan Schultz (ed.) Fear Itself: Enemies Real & Imagined in American Culture, West Lafayette, Purdue University Press, 1999, pp. 167-188.
Zumthor, Paul
2001 La presenza della voce: introduzione alla poesia orale, Il Mulino, Bologna, 2001 (ed. or. Introduction à la poésie orale, Editions du Seuil, Paris, 1983).