Information Technology Reference
In-Depth Information
Blueberry garden. (2009). Erik Svedäng.
Brandon, A. (2004).
Audio for games: Planning, process,
and production
. Berkeley, CA: New Riders Games.
Blumer, H. (1986).
Symbolic interactionism
. Berkeley:
University of California Press.
Branigan, E. (1992).
Narrative comprehension and film
.
London: Routledge.
Boillat, A. (2009). La «diégèse» dans son acception film-
ologique. Origine, postérité et productivité d'un concept.
Cinémas Journal of Film Studies
,
19
(2-3), 217-245.
Bregman, A. S. (1990).
Auditory scene analysis: The
perceptual organization of sound
. London: MIT Press.
Bolivar, V. J., Cohen, A. J., & Fentress, J. C. (1994).
Semantic and formal congruency in music and motion
pictures: Effects on the interpretation of visual action.
Psychomusicology
,
13
, 28-59.
Bregman, A. S. (1992). Auditory scene analysis: Listen-
ing in complex environments . In McAdams, S. E., &
Bigand, E. (Eds.),
Thinking in sound
(pp. 10-36). New
York: Clarendon Press/Oxford University Press.
Bordwell, D. (1986).
Narration in the fiction film
. Lon-
don: Routledge.
Brenton, H., Gillies, M., Ballin, D., & Chatting, D. J.
(2005, September 5).
The Uncanny Valley: Does it exist?
Paper presented at the HCI 2005, Animated Characters
Interaction Workshop, Napier University, Edinburgh, UK.
Bordwell, D., & Thompson, K. (1994).
Film history: An
introduction
. New York: McGraw-Hill.
Bresson, R. (1985). Notes on sound . In Weis, E., & Belton,
J. (Eds.),
Film sound: Theory and practice
. New York:
Columbia University Press.
Bordwell, D., & Thompson, K. (2004).
Film art: An
introduction
(7th ed.). New York: McGraw-Hill.
Boucsein, W. (1992).
Electrodermal activity
. New York:
Plenum Press.
Brewster, S. A. (1994).
Providing a structured method
for integrating non-speech audio into human-computer
interfaces.
Unpublished doctoral dissertation. University
of York, Heslington, UK.
Braasch, J. (2005). Modelling of binaural hearing . In
Blauert, J. (Ed.),
Communication acoustics
(pp. 75-108).
Berlin: Springer Verlag. doi:10.1007/3-540-27437-5_4
Bridgett, R. (2006). Audible words, pt. 2: Updating the
state of critical writing in game sound.
Gamasutra.
Re-
trieved February 6, 2009, from http://www.gamasutra.
com/features/20060831/audio_03.shtml
Bradley, I. L. (1971). Repetition as a factor in the devel-
opment of musical preferences.
Journal of Research in
Music Education
,
19
(3), 295-298. doi:10.2307/3343764
Bradley, M. M., Codispoti, M., Cuthbert, B. N., & Lang, P.
J. (2001). Emotion and motivation I: Defensive and appeti-
tive reactions in picture processing.
Emotion (Washington,
D.C.)
,
1
(3), 276-298. doi:10.1037/1528-3542.1.3.276
Bridgett, R. (2007a). Designing a next-gen game for sound.
Gamasutra.
Retrieved February 13, 2009, from http://
www.gamasutra.com/view/feature/2321/designing_a_
nextgen_game_for_sound.php
Bridgett, R. (2007b). Interactive ambience.
Game Devel-
oper Magazine
. Retrieved May 8, 2009, from http://www3.
telus.net/public/kbridget/aural_fixation_april07.jpg
Bradley, M. M., & Lang, P. J. (2000). Affective reactions
to acoustic stimuli.
Psychophysiology
,
37
, 204-215.
doi:10.1017/S0048577200990012
Bradley, M. M., & Lang, P. J. (2007). Emotion and moti-
vation . In Cacioppo, J. T., Tassinary, L. G., & Berntson,
G. G. (Eds.),
Handbook of psychphysiology
(3rd ed.,
pp. 581-607). New York: Cambridge University Press.
doi:10.1017/CBO9780511546396.025
Bridgett, R. (2009a). The future of game audio: Is interac-
tive mixing the key?
Gamasutra.
Retrieved May 3, 2009,
from http://www.gamasutra.com/view/feature/4025/
Brainpipe. (2008). Digital Eel.
Search WWH ::
Custom Search