| Contents |
Germany. Film music in the Third Reich / Robert E. Peck -- Herbert Windt's film music to Triumph of the Will: ersatz-Wagner or incidental music to the ultimate Nazi-Gesamtkunstwerk? / Reimar Volker -- Alban Berg, Lulu, and the silent film / Marc A. Weiner -- From revolution to mystic mountains: Edmund Meisel and the politics of modernism / Christopher Morris -- New technologies and old rites: dissonance between picture and music in readings of Joris Ivens's Rain / Ed Hughes -- "Composition with film": Mauricio Kagel as filmmaker / Björn Heile -- The USSR. Eisenstein's theory of film music revisited: silent and early sound antecedents / Julie Hubbert -- Aleksandr Nevskiy: Prokofiev's successful compromise with socialist realism / Rebecca Schwartz-Bishir -- In marginal fashion: sex, drugs, Russian modernism, and new wave music in Liquid sky / Mitchell Morris. |
| Abstract |
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. |
