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Overtones and Undertones: Reading Film Music
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  • 2015Musical Witness and Holocaust Representation73 cited
  • 2005Organizational Learning under Organizational Impermanence: Collaborative Ties in Film Project Firms60 cited
  • 2011Is music becoming more visual? Online video content in the music industry53 cited
  • 2010Diegetic versus nondiegetic: a reconsideration of the conceptual opposition as a contribution to the theory of audiovision47 cited
  • 2006Semiotics, Pragmatics, and Metaphor in Film Music Analysis46 cited
  • 2010Understanding the Score: Film Music Communicating to and Influencing the Audience46 cited
  • 2001An understanding between Bollywood and Hollywood? The meaning of Hollywood‐style music in Hindi films42 cited
  • 2016Understanding the leitmotif: from Wagner to Hollywood film music30 cited
  • 2012Introduction: Gender, Sexuality, and the Soundtrack29 cited
  • 1999Popping the question: the function and effect of popular music in cinema21 cited
  • 2011Deleuze and film music: building a methodological bridge between film theory and music19 cited
  • 2015‘Vertical Montage’ and Synaesthesia15 cited
  • 2006“As if they didn’t hear the music,” Or: How I Learned to Stop Worrying and Love Mickey Mouse14 cited
  • 2017Musicalization and Mediatization

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14 cited
  • 2009Music in Films12 cited
  • 2007Catching Dreams: Editing Film Scores for Publication11 cited