The Sounds of Silent Films

1. Front Matter

   Pages i-xx

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2. Introduction: ‘The Birth of Cinema from the Spirit of Music’

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

      • Claus Tieber, Anna K. Windisch

      Pages 1-9

3. The Historical Practice of Silent Film Sound

   1. Front Matter

      Pages 11-11

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

      • Julie Brown

      Pages 13-35

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

      • Christopher Natzén

      Pages 36-48

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

      • Marco Targa

      Pages 49-65

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

      • Urszula Biel

      Pages 66-83

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

      • Claus Tieber, Anna K. Windisch

      Pages 84-102

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

      • James Buhler, Catrin Watts

      Pages 103-122

   8. Musical Beginnings and Trends in 1920s Indian Cinema

      • Olympia Bhatt

      Pages 123-138

4. New Approaches to Silent Film Music History and Theory

   1. Front Matter

      Pages 139-139

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   2. Deconstructing the ‘Brutal Savage’ in John Ford’s The Iron Horse

      • Peter A. Graff

      Pages 141-155

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

      • Maria Fuchs

      Pages 156-171

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

      • Francesco Finocchiaro

      Pages 172-191

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

      • Marion Saxer

      Pages 192-207

   6. The Tradition of Novelty — Comparative Studies of Silent Film Scores: Perspectives, Challenges, Proposals

      • Marco Bellano

      Pages 208-220

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

      • Jürg Stenzl

      Pages 221-250

5. Back Matter

   Pages 251-265

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The Sounds of Silent Films is a unique collection of investigatory and theoretical essays that, for the first time, unite up-to-date research on the complex historical performance practices of silent film accompaniment with in-depth analyses of relevant case studies.

• silent cinema
• music
• composition
• culture
• sound
• musicology
• media studies
• film studies
• cinema
• film
• Framing
• John Ford
• Sound

• University of Vienna, Austria

  Claus Tieber

• Austrian Academy of Sciences, Austria

  Anna K. Windisch

Marco Bellano, University of Padua, Italy Olympia Bhatt, Jawaharlal Nehru University, India Urszula Biel, Polish Academy of Sciences, Poland Julie Brown, Royal Holloway, University of London, UK James Buhler, University of Texas at Austin, USA Francesco Finocchiaro, Conservatoire 'G. Frescobaldi' of Ferrara, Italy Maria Fuchs, University of Vienna, Austria Peter A. Graff, Case Western Reserve University, USA Christopher Natzén, National Library, Sweden Marion Saxer, Goethe-Universität Frankfurt, Germany Jürg Stenzl, University of Salzburg, Austria Marco Targa, University of Turin, Italy Claus Tieber, University of Vienna, Austria Catrin WattS, University of Texas at Austin, USA Anna K. Windisch Austrian Academy of Sciences, Austria

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