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Sources

1. Brickman, P. (Director). (1983). Risky Business [Film]. Warner Bros.

2. Buhler, J. (2019). Theories of the Soundtrack. Oxford University Press.

3. Cohen, A. J. (2009). Music in Performance Arts: Film, Theatre and Dance. In S.

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                         Psychology (pp. 441-451). Oxford: Oxford University Press, 2009.

4. Copland, A. (1949, November 6). Tip to Moviegoers: Take Off Those Ear-Muffs.                               The New York Times.

5. Doane, M. (1980). Ideology and the Practice of Sound Editing and Mixing. In S.                                 Heath, and T. De Lauretis (Eds.), The Cinematic Apparatus (pp. 47-56).                               St. Martin’s Press.

6. Fink, M. (1990). How Music Functions In Films. American Music Teacher, 40(2),                               24–53. https://www.jstor.org/stable/43542406

7. Gorbman, C. (1987). Unheard Melodies: Narrative Film Music. Indiana                                                 University Press.

8. Green, J. (2010). Understanding the Score: Film Music Communicating to and                                 Influencing the Audience. The Journal of Aesthetic Education, 44(4),                                   81–94. https://doi.org/10.5406/jaesteduc.44.4.0081

9 . Haider, Arwa. (2016, October 31). What Makes a Great Horror Movie                                                Soundtrack?. BBC. https://www.bbc.com/culture/article/20161031-                                  what-makes-a-great-horror-movie-soundtrack

10. Herget, A.-K. (2021a). On music’s potential to convey meaning in film: A                                             systematic review of empirical evidence. Psychology of Music, 49(1),                                   21– 49. https://doi.org/10.1177/0305735619835019

11. Herget, A.-K. (2021b). Well-known and unknown music as an emotionalizing                                  carrier of meaning in film. Media Psychology, 24(3), 385–412.                                                https://doi.org/10.1080/15213269.2020.1713164

12. Holman, T. (2010). Sound for Film and Television. Routledge. 

13. Johnson, W. (1989). Sound and Image: A Further Hearing. Film Quarterly,                                      43(1), 24–35. https://doi.org/10.2307/1212710

14. Kassabian, A. (2001) Hearing Film: Tracking Identifications in Contemporary                               Hollywood Film Music. Routledge.

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17. Lazar, W. (1998). Sound for Film: Audio Education for Filmmakers. Journal of                               Film and Video, 50(3), 54–61.

18. Lim, S. H. (2014). Silence. In Tsai Ming-Liang and a Cinema of Slowness (pp.                                   116–149). University of Hawai’i Press.                                                                                                   https://www.jstor.org/stable/j.ctt6wqzcd.9

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28. Thom. R. (1999). Designing a Movie for Sound. FilmSound. 

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