Music Keeps Us Together. Pop Songs in Korean Television Dramas by Veronika Keller

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Variations sur le "compos-auteur" : interview de Gérard Dastugue, de la musique de film à l'Abécédaire du Noir by Nathalie Vincent-Arnaud

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Music and the Media, with Particular Attention to the Film by Fulvio Šuran

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Beyond the Margins: Lynne Ramsay’s Ratcatcher (1999) and Morvern Callar (2002) by Kristine Robbyn Chick

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Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw Massacre (Tobe Hooper, 1974) by Christophe Chambost

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Beyond the Soundtrack: Representing Music in Cinema, a cura di Daniel Goldmark, Lawrence Kramer e Richard Leppert, Berkeley, University of California Press, 2007 by Francesco Finocchiaro

“…Beyond the Soundtrack: Representing Music in Cinema (edited by Daniel Goldmark, Lawrence Kramer and Richard Leppert, Berkeley, University of California Press, 2007, viii-324 pp.) offers sixteen essays of various authors about film music. …”
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La colonna sonora come mixtape: Rap italiano e cinema agli albori degli anni Duemila by Alessandro Bratus

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À l’écoute des adaptations de Madame Bovary by Mary Donaldson-Evans

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Sound design as narrative device in contemporary film: Subliminal soundscape of war and terror in Sicario (2015) by Lidia Kniaź

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Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis. An Introduction by Céline Murillo, David Roche

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How Wagner Landed in a Far Away Galaxy: Examining Film from a Musical Perspective by Elise J. Camillone

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Canzoni d'attore. Musica, performance e (nuovi) media nel film "Lo chiamavano Jeeg Robot" (2015) by Alessandro Cecchi

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THEORETICAL ASPECTS OF FILMMUSIC STUDY by Egorova Tatiana K.

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Elaboración de un instrumento para conocer las características de la banda sonora de la programación infantil de televisión. [Development of an instrument for analyzing the characteristics of the soundtracks of children’s television programmes] by Ferrández, Reina, Porta, Amparo

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Usi espressivi della forma-canzone nelle "original soundtrack" del fenomeno Checco Zalone: performance, visioni, immaginario e crossmedialità.... by Luca Bertoloni

“…One of the constants of his cinema is the presence of the song-form, in particular of original songs (original soundtrack), used as a mean to transit from the theatre, radio and TV to the cinema: this paper constitutes a sociosemiotic, interdisciplinary and culturalist analysis of the different expressive modalities with which Zalone makes use of his songs, that become a configuration element of his own style, representing a specific cinematographic way and strengthening Zalone’s authorial role in his cinema in a complex and considerable way. …”
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The Call of the Beyond: Music in Antonioni’s Red Desert by Frolova-Walker Marina

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Guerra-Peixe: da trilha sonora do filme O diabo mora no sangue ao Prelúdio nº 2 para violão Guerra-Peixe: from the soundtrack of the film O diabo mora no sangue [The Devil dwells in the blood] to the Prelude No 2 for classical guitar by Clayton Vetromilla

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The same old songs in Reagan-era teen film by Michael D. Dwyer

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Collapsing (New) Buildings: Town Planning, History and Music in Hubertus Siegert's Berlin Babylon (2001) by Andrew Hurley

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Collapsing (New) Buildings: Town Planning, History and Music in Hubertus Siegert's Berlin Babylon (2001) by Andrew Hurley

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