Édouard Arnoldy, Pour une histoire culturelle du cinéma : au-devant de "scènes filmées", de "films chantants et parlants" et de comédies musicales, Liège, Céfal, , 203 p. (ISBN2-87130-181-6, lire en ligne), p. 39
Martin Barnier, En route vers le parlant : histoire d'une évolution technologique, économique et esthétique du cinéma (1926-1934), Céfal, , 255 p. (ISBN978-2-87130-133-2, lire en ligne), p. 35
"This shows, however, that the music video has not one, but several histories, which are separated by ruptures, breaks, endings and starting points. Therefore, what we are witnessing now may not be the symptoms of an irretrievable end, but rather a point where the clip – once again – begins to change, differentiate, evolve into something new. This view is confirmed if we take a look at other histories of the music video in which the antecedents of the form did not tie into each other, but followed each other paratactically. For example, the early “Phonoscènes”, which after 1907 were produced with a certain routine and exhibited a refined correlation between the music, the lyrics and the images (see the article by Thomas Schmitt in this volume) did not directly lead into the “Soundies” of the 40s and 50s.(en) Henry Keazor et Wübbena, Rewind, Play, Fast Forward : The Past, Present and Future of the Music Video, Bielfield, Transcript Verlag, , 388 p. (ISBN978-3-8376-1185-4, lire en ligne), p. 41
