Full Description
Despite the long history of music in film, its serious academic study is still a relatively recent development and therefore comprises a limited body of work. The contributors to this book, drawn from both film studies and musicology, attempt to rectify this oversight by investigating film music from the vibrant, productive, politically charged period before World War II. They apply a variety of methodologies—including archival work, close readings, political histories, and style comparison—to this under explored field.
Contents
Contents
Introduction
Part 1. Germany
1. Film Music in the Third ReichRobert E. Peck
2. Herbert Windt's Film Music to Triumph of the Will: Ersatz-Wagner or Incidental Music to the Ultimate Nazi-Gesamtkunstwerk?Reimar Volker
3. Alban Berg, Lulu, and the Silent FilmMarc Weiner
4. From Revolution to Mystic Mountains: Edmund Meisel and the Politics of ModernismChristopher Morris
5. New Technologies and Old Rites: Dissonance between Picture and Music in Readings of Joris Ivens's RainEd Hughes
6. "Composition with Film": Mauricio Kagel as FilmmakerBjörn Heile
Part 2. The USSR
7. Eisenstein's Theory of Film Music Revisited: Silent and Early Sound AntecedentsJulie Hubbert
8. Aleksandr Nevskiy: Prokofiev's Successful Compromise with Socialist RealismRebecca Schwartz-Bishir
9. In Marginal Fashion: Sex, Drugs, Russian Modernism, and New Wave Music in Liquid SkyMitchell Morris
List of Contributors
Index
