References
- Bolt, Barbara. 2004. “Heidegger, Handlability and Praxical Knowledge”. Paper presented at the Australian Council of University Art & Design Schools Conference, Canberra (Australian National University / University of Canberra / Canberra Institute of Technology), 23–25 September. Accessed 2 June 2017. http://acuads.com.au/conference/article/heidegger-handlability-and-praxical-knowledge/.
- Brown, Christopher. 2018. Coccolith. UK: Coccolith Productions.
- Brown, Christopher. 2015. Remission. On DVD: Boys on Film 13. UK: Peccadillo Pictures.
- Cage, John. 1973. Silence. Middletown, CT: Wesleyan University Press.
- Catford, Nick. 2005. The Ramsgate Tunnels: Main Line, Public Air Raid Shelter & Scenic Railway. Ramsgate, Kent: Michaels Bookshop.
- Chion, Michel. 2016. Sound: An Acoulogical Treatise. Durham, NC: Duke University Press.
- Chion, Michel. 1994. Audio-Vision: Sound on Screen. Translated by Claudia Gorbmann. New York: Columbia University Press.
- Day-Mayer, Helen. 2002. “Documents on Performance: Lillian Gish on Acting on the Silent Screen”. Nineteenth Century Theatre and Film 29 (1): 80–82. doi: 10.7227/NCTF.29.1.6
- Edensor, Tim. 2005. Industrial Ruins: Space, Aesthetics and Materiality. Oxford: Berg.
- Heidegger, Martin. (1962) 1978. Being and Time. Translated by John Macquarrie and Edward Robinson. Reprint, Oxford: Basil Blackwell.
- Herzog, Werner. 2010. Cave of Forgotten Dreams. US: Creative Differences.
- Hill, Andrew. 2014a. Sounds of the Cultural Quarter. Arts and Humanities Research Council: Affective Digital Histories. http://affectivedigitalhistories.org.uk/apps.
- Hill, Andrew. 2014b. Stille Lyd. http://ahillav.co.uk/Music/Music.html.
- Hill, Andrew. 2013. Abstracted Journeys. http://ahillav.co.uk/Music/Music.html.
- Kassabian, Anahid. 2013. “The End of Diegesis As We Know It?” In The Oxford Handbook of New Audiovisual Aesthetics, edited by John Richardson, Claudia Gorbman, and Carol Vernallis, 89–106. Oxford: Oxford University Press.
- Lim, Song Hwee. 2014. Tsai Ming-Liang and a Cinema of Slowness. Honolulu: University of Hawaii Press.
- Madsen, Michael. 2010. Into Eternity. Finland: Films Transit International.
- “Ramsgate Has The World’s Finest Shelters”. The War Illustrated, September 27 1940: 324.
- Raynauld, Isabelle. 2001. “Dialogues in Early Silent Screenplays: What Actors Really Said”. In The Sounds of Early Cinema, edited by Richard Abel and Rick Altman, 69–78. Bloomington: Indiana University Press.
- Reed, Carol. 1949. The Third Man. UK: British Lion Film Corporation.
- Smalley, Denis. 2007. “Space-Form and the Acousmatic Image”. Organised Sound 12 (1): 35–58. doi: 10.1017/S1355771807001665
- Smalley, Denis. 1986. “Spectro-Morphology and Structuring Processes”. In The Language of Electroacoustic Music, edited by Simon Emmerson, 61–93. Basingstoke: Macmillan Press.
- Sontag, Susan. 1966. “The Aesthetics of Silence”. Chap. 1 in Styles of a Radical Will. London: Penguin.
- Tati, Jaques. 1953. Mr Hulot’s Holiday. France. Discifilm.
- Thrift, Nigel. 2006. “Space: The Fundamental Stuff of Human Geography”. In Key Concepts in Geography, edited by Nicholas Clifford, Sarah Holloway, Stephen Rice, and Gill Valentine, 95–107. London: Sage.
- Tsai, Ming-Liang. 2003. Goodbye, Dragon Inn. Taiwan: Wellspring Media.
- Tuan, Yi-Fu. 1977. Space and Place: The Perspective of Experience. Minneapolis: University of Minnesota.
- Varèse, Edgard. 1940. “Organized Sound for the Sound Film.” The Commonweal, 13: 204–205.
- Winters, Ben. 2010. “The Non-Diegetic Fallacy: Film Music and Narrative Space”. Music & Letters 91 (2): 224–244. doi: 10.1093/ml/gcq019