The Sounds of Silent Films: New Perspectives on History, Theory and Practice

Front Matter....Pages i-xx
Introduction: ‘The Birth of Cinema from the Spirit of Music’....Pages 1-9
Front Matter....Pages 11-11
Organizing a Music Library for Playing to Pictures: Theory vs. Practice in Britain....Pages 13-35
The Formation of a Swedish Cinema Music Practice, 1905–1915....Pages 36-48
The Use of Cue Sheets in Italian Silent Cinema: Contexts, Repertoires, Praxis....Pages 49-65
Music, Singing and Stage Practice in the Cinemas of Upper Silesia During the 1920s....Pages 66-83
The Sound of Music in Vienna’s Cinemas, 1910–1930....Pages 84-102
The Moving Picture World, W. Stephen Bush and the American Reception of European Cinema Practices, 1907–1913....Pages 103-122
Musical Beginnings and Trends in 1920s Indian Cinema....Pages 123-138
Front Matter....Pages 139-139
Deconstructing the ‘Brutal Savage’ in John Ford’s The Iron Horse....Pages 141-155
‘The Hermeneutic Framing of Film Illustration Practice’: The Allgemeines Handbuch der Film-Musik in the Context of Historico-musicological Traditions....Pages 156-171
Sergei Eisenstein and the Music of Landscape: The ‘Mists’ of Potemkin between Metaphor and Illustration....Pages 172-191
Paradoxes of Autonomy: Bernd Thewes’s Compositions to the Rhythmus-films of Hans Richter....Pages 192-207
The Tradition of Novelty — Comparative Studies of Silent Film Scores: Perspectives, Challenges, Proposals....Pages 208-220
Germaine Dulac’s La Souriante Madame Beudet (1923) and the Film Scores by Arthur Kleiner and Manfred Knaak....Pages 221-250
Back Matter....Pages 251-265