References
Aasman, Susan (1995). “Le film de famille comme document historique.” In Roger Odin (ed.), Le Film de famille: usage privé, usage public (pp. 97–111). Paris: Méridiens-Klincksieck.
Arnoldy, Edouard (2018). Le bruit éprouvant (au cinéma). Brussels: La Lettre volée.
Berliner, David (2019). Perdre sa culture. Brussels: Zones Sensibles.
Birtwistle, Andy (2010). “The sound of technology.” In Andy Birtwistle, Cinesonica: Sounding film and video (pp. 85–125). Manchester: University Press Manchester.
Bonamy, Robert (2013). Le fonds cinématographique. Paris: L’Harmattan.
Böhme, Gernot (2008). “Un paradigme pour une esthétique des ambiances: l'art de la scénographie.” In Jean-François Augoyard (ed.), Faire une ambiance/Creating an atmosphere. Actes du Colloque International (pp. 221–228). Grenoble: Éditions À La Croisée.
Böhme, Gernot ([2001] 2021). Aisthetique. Pour une esthétique de l’expérience sensible (trans. Martin Kaltenecker and Franck Lemonde). Dijon: les presses du réel.
Cefaï, Daniel (2010). “Un pragmatisme ethnographique. L’enquête coopérative et impliquée.” In Daniel Cefaï (ed.), L’Engagement ethnographique (pp. 447–472). Paris: Éditions de l’École des hautes études en sciences sociales,.
Chattopadhyay, Budhaditya (2013). Eye Contact with the City. Elegy for Bangalore [CD]. Gruenrekorder.
Chion, Michel ([1990] 1994). Audio-vision. Sound on Screen (trans. Claudia Gorbman). New York: Columbia University Press.
Chion, Michel (2004). The Thin Red Line. London: British Film Institute/BFI Modern Classics.
Corbin, Alain ([1994] 1998). Village Bells. Sound and Meaning in the Nineteenth Century French Countryside (trans. Martin Thom). New York: Columbia University Press.
Citton, Yves (2013). “Politiques de fonds.” La Revue des Livres 13: 18–27.
Feld, Steven (2002). “Soundscapes of New Year’s Week in Greek Macedonia.” In Dick Blau, Angeliki Keil, Charles Keil and Steven Feld (eds.), Bright Balkan Morning: Romani Instrumentalists and the Power of Music in Greek Macedonia (pp. 317–325). Middletown: Wesleyan University Press.
Feld, Steven (2023). Steven Feld. La Recherche comme composition (eds. Jonathan Larcher and Damien Mottier, trans. Magali De Ruyter). Paris/Dijon: ArTeC/les presses du réel.
Hagood, Mack (2019). Hush. Media and Sonic Self-Control. Durham: Duke University Press.
Kubisch, Christina and Valérie Perrin (eds.) (2023). Christina Kubisch. Inaudible, Invisible. Dijon: Les presses du réel.
Larcher, Jonathan (2019). “Des images en panne? Défectibilité des vidéos d’un village roumain.” Techniques & Culture 72: 148–163.
Larcher, Jonathan (2020). “Tout n’est qu’histoire d’amour. Chronique personnelle sur les sentiments et la crainte de Dieu en ‘tsiganie’.” Martor – The Museum of the Romanian Peasant Anthropology Journal 25: 115–132.
Larkin, Brian (2014). “Techniques of Inattention: The Mediality of Loudspeakers in Nigeria.” Anthropological Quarterly 87/4: 989-1016.
Lassiter, Luke Erik (2005). The Chicago Guide to Collaborative Ethnography. Chicago: University of Chicago Press.
MacDougall, David ([1975] 1998). “Beyond Observational Cinema.” In David MacDougall and Lucien Taylor (ed.), Transcultural Cinema (pp. 125–139). Princeton: Princeton University Press.
Odin, Roger (2008). “Reflections on the Family Home Movie as Document. A Semio-Pragmatic Approach.” In Karen L. Ishizuka and Patricia Zimmermann (eds.) Mining the Home Movie: Excavations in Histories and Memories (pp. 255-271). Berkeley: University of California Press.
Oosterbaan, Martijn (2009). “Sonic Supremacy: Sound, Space and Charisma in a Favela in Rio de Janeiro.” Critique of Anthropology 29: 81–104.
Pecqueux, Anthony (2012). “Harold et les boomboxes.” Hypothèses.
Serres, Michel ([1980] 2007). The Parasite (trans. Lawrence R. Schehr). Baltimore: The John Hopkins University Press.
Sewald, Ronda L. (2011). “Forced Listening: The Contested Use of Loudspeakers for Commercial and Political Messages in the Public Soundscape.” American Quarterly 63/3: 761-780.
Stewart, Michael (1997). The Time of the Gypsies. Boulder: Westview Press.
Steyerl, Hito ([2003] 2021). “Les relations d’indétermination dans le documentaire. Qu’est-ce que le documentarisme?” In Hito Steyerl, Formations en mouvement. Textes choisis (trans. Nicole Viaud) (pp. 15–28). Paris: Spector Books / Éditions du Centre Pompidou.
Steyerl, Hito (2009). “In Defense of the Poor Image.” e-flux journal 10.
Stoichiță, Victor A. (2008). Fabricants d’émotion: musique et malice dans un village tsigane de Roumanie. Nanterre: Société d’Ethnologie.
Stoichiță, Victor A. (2013). “Enchanting Spaces. Echo and Reverberation at Romanian Popular Parties.” Etnográfica17/3: 581–603.
Thompson, Marie (2017). “The parasite and its milieu: Noise, materiality, affectivity.” In Marie Thompson, Beyond Unwanted Sound. Noise, Affect and Aesthetic Moralism (pp. 41–85). New York: Bloomsbury.
Vernon, Mark (2020). “Call Back Carousel: Voyages en Grèce.” Soundcloud.
Voegelin, Salomé (2014). Sonic Possible Worlds. Hearing the Continuum of Sound. New York: Bloomsbury.
Volcler, Juliette (2017). Contrôle. Comment s'inventa l'art de la manipulation sonore. Paris: Éditions La Découverte.