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1

Sound effects artist. Cherry Lake Publishing, 2016.

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2

Manuele, Cecconello, and Michelone Guido, eds. Coloriture: Voci, rumori, musiche nel cinema d'animazione. Pendragon, 1995.

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3

Designing sound. MIT Press, 2010.

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4

The foley grail: The art of performing sound for film, games, and animation. Focal Press, 2009.

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5

Smoodin, Eric. Animating culture: Hollywood cartoons from the sound era. Rutgers University Press, 1993.

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6

Animating culture: Hollywood cartoons from the sound era. Roundhouse Publishing, 1993.

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7

Animating culture: Hollywood cartoons from the sound era. Rutgers University Press, 1993.

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8

Flückiger, Barbara. Sound Design: Die virtuelle Klangwelt des Films. Schüren, 2001.

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9

The animator's eye: Adding life to animation with timing, layout, design, color and sound. Focal Press, 2012.

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10

Elemental magic: The classical art of special effects animation. Focal Press, 2009.

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11

Rebecca, Coyle, ed. Drawn to sound: Animation film music and sonicity. Equinox Pub., 2010.

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12

Silent film sound. Columbia University Press, 2004.

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13

Boullay, Daniel. Le petit Albert, ou, Le livre des trucages au cinéma. Dreamland, 1998.

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14

Schulz, Charles M. A Charlie Brown Christmas. Simon & Schuster, 2002.

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15

Melendez, Bill, and Charles M. Schulz. A Charlie Brown Christmas. Warner Home Video, 2008.

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16

Schulz, Charles M. A Charlie Brown Christmas. RP Kids, 2008.

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17

Schulz, Charles M. A Charlie Brown Christmas. Simon Spotlight, 2015.

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18

Pastis, Stephan. A Charlie Brown Christmas. Running Press Kidz, 2007.

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19

Schulz, Charles M. A Charlie Brown Christmas. RP Kids, 2011.

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20

Schulz, Charles M. A Charlie Brown Christmas. Running Press, 2003.

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21

Holman, Tomlinson. Sound for film and television. Focal Press, 1997.

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22

Sound for film and television. 2nd ed. Focal Press, 2002.

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23

1941-, Abel Richard, Altman Rick 1945-, and Domitor Conference (5th : 1998 : Library of Congress), eds. The Sounds of early cinema. Indiana University Press, 2001.

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24

Historia general del cine: Volumen XII: El cine en la era del audiovisual. Cátedra, 2000.

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25

Miten sota soi?: Sotaelokuva, ääni ja musiikki. Tampere University Press, 2008.

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26

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2015.

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27

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2021.

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28

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2014.

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29

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2014.

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30

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2014.

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31

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2021.

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32

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2021.

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33

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2013.

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34

Ament, Vanessa Theme. Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Taylor & Francis Group, 2014.

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35

Foley Grail. Taylor & Francis Group, 2021.

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36

Foley Grail. Taylor & Francis Group, 2021.

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37

Grip Book: The Studio Grip's Essential Guide. Taylor & Francis Group, 2018.

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38

Grip Book: The Studio Grip's Essential Guide. Taylor & Francis Group, 2018.

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39

Uva, Michael. The Grip Book. 3rd ed. Focal Press, 2006.

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40

Uva, Michael. Grip Book: The Studio Grip's Essential Guide. Taylor & Francis Group, 2018.

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41

The grip book: The studio grip's essential guide. Routledge, 2014.

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42

Uva, Michael. Grip Book. Taylor & Francis Group, 2012.

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43

Uva, Michael. Grip Book. Taylor & Francis Group, 2012.

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44

Uva, Michael. Grip Book: The Studio Grip's Essential Guide. Taylor & Francis Group, 2018.

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45

Thom, Randy. Notes on Sound Design in Contemporary Animated Films. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.018.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Contemporary animated films are not the cartoons of yore. For the sound designer, an advantage of working on animated films today is the opportunity for early collaboration between sound designer and animators. The sound designer must consider the appropriateness of sound mix with visual style: “Each film calls for its own sound design aesthetic.”Coralineand recent animated films by Robert Zemeckis choose simplicity (no elaborate background, no complex layering of sounds) to match the storytelling.The IncrediblesandBolthave complex, multilayered sound; the point in each case is to achieve clarity.
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46

Gilland, Joseph. Elemental Magic Vol. 1: The Art of Special Effects Animation. Taylor & Francis Group, 2012.

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47

Animator's Eye: Adding Life to Animation with Timing, Layout, Design, Color and Sound. Taylor & Francis Group, 2017.

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48

Sound Design for Low & No Budget Films. Routledge, 2017.

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49

Lexikon des Trick- und Animationsfilms. Schwarzkopf + Schwarzkopf, 2003.

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50

Gilland, Joseph. Elemental Magic: The Art of Special Effects Animation. Taylor & Francis Group, 2012.

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