The Sounds of Silent Films

Chapter 1 Introduction: ‘The Birth of Cinema from the Spirit of Music’

Chapter 2 Organizing a Music Library for Playing to Pictures: Theory vs. Practice in Britain

Chapter 3 The Formation of a Swedish Cinema Music Practice, 1905–1915

Chapter 4 The Use of Cue Sheets in Italian Silent Cinema: Contexts, Repertoires, Praxis

Chapter 5 Music, Singing and Stage Practice in the Cinemas of Upper Silesia During the 1920s

Chapter 6 The Sound of Music in Vienna’s Cinemas, 1910–1930

Chapter 7 The Moving Picture World , W. Stephen Bush and the American Reception of European Cinema Practices, 1907–1913

Chapter 8 Musical Beginnings and Trends in 1920s Indian Cinema

Chapter 9 Deconstructing the ‘Brutal Savage’ in John Ford’s The Iron Horse

Chapter 10 ‘The Hermeneutic Framing of Film Illustration Practice’: The Allgemeines Handbuch der Film-Musik in the Context of Historico-musicological Traditions

Chapter 11 Sergei Eisenstein and the Music of Landscape: The ‘Mists’ of Potemkin between Metaphor and Illustration

Chapter 12 Paradoxes of Autonomy: Bernd Thewes’s Compositions to the Rhythmus-films of Hans Richter

Chapter 13 The Tradition of Novelty — Comparative Studies of Silent Film Scores: Perspectives, Challenges, Proposals

Chapter 14 Germaine Dulac’s La Souriante Madame Beudet (1923) and the Film Scores by Arthur Kleiner and Manfred Knaak