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"An original, intelligent, and insightful book. Over the past twenty years, the New German Cinema has been the topic of some of our most sophisticated studies of memory, history, and political identity. Flinn extends, deepens, and expands on this work to offer necessary insights about music, cinema ...

"An original, intelligent, and insightful book. Over the past twenty years, the New German Cinema has been the topic of some of our most sophisticated studies of memory, history, and political identity. Flinn extends, deepens, and expands on this work to offer necessary insights about music, cinema, and national identity in postwar Germany. With wit, rigor, and an engaging prose style, Flinn exposes the New German Cinema in its ability to dramatize a commitment to historical memory that is not sentimental, romanticized, or fueled by nationalist fervor. This is a remarkably innovative, transformative, and important work."--Patrice Petro, author of "Aftershocks of the New: Feminism & Film History

"Using the musical soundtrack as her 'Auftakt, ' Caryl Flinn revisits melodrama and melancholia, camp and kitsch, and memory and shock in the works of such filmmakers as Fassbinder, Kluge, Ottinger, Treut, and Schroeter. The resulting intellectual counterpoint is dazzling. In the wake of this articulate analysis, the New German Cinema will never be the same again. In these 'leaden times' of ours, Flinn reminds us of the hope that an alternative aesthetics has to offer."--Alice Kuzniar, Professor of German and Comparative Literature, author of "The Queer German Cinema

In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often ...

In this book, a leading authority on film music examines scores of the silent film era. The first of three projected volumes investigating music written for films, this thoughtful and pathbreaking study demonstrates the richness of silent film music as it details the way in which scores were often planned from the start as an integral part of the whole cinematic experience. Following an introductory chapter that outlines several key theoretical questions and surveys eight decades of writing on film music, Martin Miller Marks focuses on those scores created between 1895 and 1924. He begins by considering two early examples, one German (written by persons unknown for Skladanowsky's Bioskop exhibitions in 1895 and 1896) and one French (scored by Camille Saint-Saens for the 1908 film L'Assassinat du Duc de Guise). Subsequent chapters fully discuss Walter Cleveland Simon's music for the American film An Arabian Tragedy (1912) as well as the Joseph Breil accompaniment to D. W. Griffith's Birth of a Nation (1915). As described in this book, Breil's memorable score--though a compilation derived from many sources--was played by an orchestra as Griffith's sweeping images filled the screen, thus contributing significantly to the great film's success while also achieving remarkable power in its own right. Marks then concludes with a look at Erik Satie's witty and innovative music for the French film Entr'acte (1924), which was the first film score of consequence by an avant-garde composer. Giving unprecedented attention to a vibrant, important, and oft-neglected facet of twentieth-century music, Music and the Silent Film will interest scholars of film theory, film history, modern music, and modern aesthetics.