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Issue Title
Vol 2, No 1 (2007) Daniel Goldmark: Tunes for ’Toons: Music and the Hollywood Cartoon.Berkeley: University of California Press, 2005 [xviii, 225 p. ISBN: 0520236173.] Details
Eric Hung
Vol 2, No 1 (2007) David Cooper. Bernard Herrmann’s Vertigo: A Film Score Handbook. Westport, CT: Greenwood Press, 2001. & Bernard Herrmann’s The Ghost andMrs. Muir: A Film Score Guide Lanham, MD: Scarecrow Press, 2005 Details
Tom Schneller
Vol 2, No 2-4 (2009) David Morgan. Knowing the Score: Film Composers Talk about the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema New York: HarperCollins, 2000 [xix, 313 p. ISBN: 0380804824. $15.00 Music examples, illustrations, appendix, index. Details
Michael Remson
Vol 2, No 2-4 (2009) Dean Duncan. Charms that Soothe: Classical Music and the Narrative Film New York: Fordham University Press, 2003 [xiii, 211 p. ISBN: 0823222803. $26.00 (trade paper)] Communication and Media Studies, no. 9. Index. Details
Christine Lee Gengaro
Vol 6, No 2 (2013) Digitizing, Organizing and Managing an Audio-Visual Archive: The Trevor Jones Archive at the University of Leeds Abstract
David Cooper, Ian Sapiro, Laura Anderson, Sarah Hall
Vol 1, No. 2/3: Herrmann Studies Dominique Nasta Rika Asai. Meaning in Film: Relevant Structures in Soundtrack and Narrative Details
Melissa Ursula Dawn Goldsmith
Vol 7, No 1 (2014) Early German Sound Sourcing with Songs in the Trilogy of the Mackeben-Jugo-Engel Ensemble Abstract
Gregg Wager
Vol 5, No 1-2 (2012) Easy to Cut: Modular Form in the Film Scores of Bernard Herrmann Abstract
Tom Schneller
Vol 6, No 2 (2013) Editorial Abstract
Ian Sapiro, Laura Anderson
Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift Eric James: Making Music with Charlie Chaplin: An AutobiographyLanham, MD: Scarecrow Press, Inc., 2000 [xvii, 122 p. ISBN: 0-810-83741-2] Details
Dan Blim
Vol 3, No 1 (2010): The Film Music of Fumio Hayasaka and Toru Takemitsu Expressive Meaning and Historical Grounding in the Film Music of Fumio Hayasaka and Toru Takemitsu Abstract
Timothy Koozin
Vol 1, No. 2/3: Herrmann Studies Film Form and Musical Form in Bernard Hrrmann's Score to Vertigo Abstract
David Cooper
Vol 1, No 1 (2002) Film Music Studies in the mid-1990s: George Burt's Art and Royal S. Brown's Reading Abstract
David Neumeyer
Vol 1, No 1 (2002) Film Music---What's in a Name? Details
William H. Rosar
Vol 1, No. 4 (2006): Leith Amadeus Stevens: A Festschrift Film Scoring: The UCLA Lectures† Edited and annotated by Mark Brill. Abstract
Leith Stevens †
Vol 2, No 2-4 (2009) Film Studies in Musicology: Disciplinarity vs.Interdisciplinarity Abstract
William H. Rosar
Vol 3, No 1 (2010): The Film Music of Fumio Hayasaka and Toru Takemitsu Gaze from the Heavens, Ghost from the Past: Symbolic Meanings in Toru Takemitsu’s Music for Akira Kurosawa’s Film, Ran (1985) Abstract
Tomoko Deguchi
Vol 1, No. 2/3: Herrmann Studies Grand Illusion: The "Storm Cloud" Music in Hitchcock's The Man Who Knew Too Much Abstract
James Wierzbicki
Advance Access Guest Editorial Details
Alessandro Cecchi, Maurizio Corbella
Vol 2, No 2-4 (2009) High Noon: Dimitri Tiomkin’s Oscar-Winning Ballad and its Russian Sources Abstract
Ildar Khannanov
Vol 1, No 1 (2002) Hugo Friedhofer. Broken Arrow, CD Brigham Young University Film Archives FMA-HF105, [1999], CD Details
Linda Schubert
Vol 7, No 1 (2014) I Am Big, It’s the Pictures That Got Small: Sound Technologies and Franz Waxman’s Scores for Sunset Boulevard (1950) and The Twilight Zone’s “The Sixteen Millimeter Shrine” (1959) Abstract
Reba Wissner
Vol 3, No 1 (2010): The Film Music of Fumio Hayasaka and Toru Takemitsu Ian Conrich, and Estella Tincknell, eds., Film’s Musical Moments Music and the Moving Image. Edinburgh: Edinburgh University Press, 2006. [xiii, 226 pp. ISBN: 0748623450. $36.00 (trade paper)] Illustrations, bibliography, index. Details
Judith Bernanke
Vol 6, No 2 (2013) Industry and Craftsmanship in Popular Cinema: An Initial Exploration of Vassil Kojucharov’s Archive Abstract
Alessandro Bratus
Vol 3, No 1 (2010): The Film Music of Fumio Hayasaka and Toru Takemitsu Infusing Modern Subjectivity into a Premodern Narrative Form: Masahiro Shinoda and Toru Takemitsu’s Collaboration in Double Suicide (1968) Abstract
Yayoi Uno Everett
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