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Table of ContentsPreface Part 1 Section 1: Film Music: Reflections on Functions 1 Music’s Body and the Moving Image Lawrence Kramer 2 Disturbing Silences and Open Narratives: Musical Gaps in Fictional and Documentary Moving Images Saskia Jaszoltowski 3 Traditional and Non-traditional Uses of Film Music, and Musical Metalepsis in The Truman Show Werner Wolf 4 Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future Challenge to the Diegetic/Non-diegetic Model Jordan Carmalt Stokes Section 2: Film Music: Significant Intermedial Cases 5 Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni’s Rapsodia Satanica (1915) Bernhard Kuhn 6 Humanized Documentary, “Light” Verse, and Music Made to Fit: G.P.O. Film Unit/Auden/Britten’s Night Mail (1936) Walter Bernhart 7 An Incarnation of Memory: Song as Absence in Claude Lanzmann’s Shoah Ruth Jacobs 8 Accumulating Schubert: Music and Narrative in Nuri Bilge Ceylan’s Winter Sleep Heidi Hart 9 Mise en scène, Mozart, and a Borrowed Chorale: Learned Style and Identity in Pawlikowski’s Ida Christopher Booth Part 2: Intermedial Varieties 10 Shadow Images Moving to Music: La Tentation de saint Antoine in Montmartre Peter Dayan 11 ‘The Big Turnaround in the Middle’: On the Silent Movie and the Film Music Interlude in Alban Berg’s Opera Lulu Marion Recknagel 12 All the Pieces Matter: On Complex TV Music Frieder von Ammon 13 The Music Videos of Alternative Rock Band They Might Be Giants: Prolegomena for a Theory of Nonsense across Media Emily Petermann Part 3: Remediations 14 Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten’s Juan Axel Englund 15 Novel, Woodcuts, Film, Music …: Pondering over the Title of Gara Garayev’s Symphony Engravings “Don Quixote” Alla Bayramova 16 Film as Opera: Three Perspectives on Still Life and Brief Encounter Michael Halliwell 17 On the Intertextual Docks, or, Whatever Happened to Shanghai Lil? David Francis Urrows List of Figures Notes on Contributors Index
