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Ekman, I., & Kajastila, R. 2009, February 11—13 Localisation cues affect emotional judgements: Results from a user study on scary sound. Unpublished paper presented at AES 35th International Conference, London.  
Added by: sirfragalot 02 Feb 2009 10:39:12 Europe/Copenhagen
      Following on work by:
R. Reber, N. Schwarz, and P. Winkielman, “Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?” Personality and Social Psychology Review, vol. 8, no. 4, pp. 364—382 (2004).

the authors suggest that negativity in sound perception is proportional to the fluency and ease of processing it (more difficult to understand, more scary).
      Results showed that:
1. front point sounds were less scary than back point sounds.
2. front point sounds are less scary than back spread sounds.
3. Following on from 2., increasing the spread of front sounds and decreasing the spread of back sounds lessened the difference in scariness.
Kromand, D. 2008, October 22—22 Sound and the diegesis in survival-horror games. Paper presented at Audio Mostly 2008, Piteå, Sweden.  
Added by: sirfragalot 24 Nov 2008 11:12:05 Europe/Copenhagen
      "The collapse of the barrier between the diegetic and non-diegetic soundscape is a strategy to build a horror atmosphere."
      "The soundscape of Silent Hill 2 operates within a framework of uncertainty that constantly holds the player between knowledge and ignorance."
      The lack of a barrier between diegetic/nondiegetic sounds "purposefully hinders an efficient transfer of affordance".
Mala, E. 2008, November 24The sound of horror. Newsweek,  
Added by: sirfragalot 20 Nov 2008 10:46:21 Europe/Copenhagen
      "In Asian thrillers, the visual is so powerful that sound is rendered almost inconsequential. Perhaps not coincidentally, Asian horror is often rooted in vision..."
Moncrieff, S., Venkatesh, S., & Dorai, C. 2003, July 6—9 Horror film genre typing and scene labelling via audio analysis. Paper presented at International Conference on Multimedia and Expo.  
Added by: sirfragalot 15 Dec 2008 03:11:52 Europe/Copenhagen
      "The manipulation of sound energy represents a concrete and commonly used method to convey horror themes and to heighten the impact of on-screen events."
      Affect events are indexical by nature with a "high level of semantic association between the sound energy and affect events" and this "can be extended to attribute a semantic correlation between affect events and the broader thematic content of the film."
Naito, T. 2005Interview with Hideo Nakata, specter director. Kateigaho, Winter,  
Added by: sirfragalot 20 Nov 2008 10:45:20 Europe/Copenhagen
      "Other people tend to use different sounds altogether to express horror, but I can increase the perception of it to the maximum by utilizing a very quiet sound." cf (Mala, 2008)
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