About the Book: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 methodologiesincluding archival work, close readings, political histories, and style comparisonto this under explored field.Table of Contents: ContentsIntroductionPart 1. Germany1. Film Music in the Third Reich Robert E. Peck2. Herbert Windt’s Film Music to Triumph of the Will: Ersatz-Wagner or Incidental Music to the Ultimate Nazi-Gesamtkunstwerk? Reimar Volker3. Alban Berg, Lulu, and the Silent Film Marc Weiner4. From Revolution to Mystic Mountains: Edmund Meisel and the Politics of Modernism Christopher Morris5. New Technologies and Old Rites: Dissonance between Picture and Music in Readings of Joris Ivens’s Rain Ed Hughes6. “Composition with Film”: Mauricio Kagel as Filmmaker Bjrn HeilePart 2. The USSR7. Eisenstein’s Theory of Film Music Revisited: Silent and Early Sound Antecedents Julie Hubbert8. Aleksandr Nevskiy: Prokofiev’s Successful Compromise with Socialist Realism Rebecca Schwartz-Bishir9. In Marginal Fashion: Sex, Drugs, Russian Modernism, and New Wave Music in Liquid Sky Mitchell MorrisList of ContributorsIndex