Skip to main content
The Cambridge Companion to Film Music
  • Export citation
  • Recommend to librarian
  • Recommend this book

    Email your librarian or administrator to recommend adding this book to your organisation's collection.

    The Cambridge Companion to Film Music
    • Online ISBN: 9781316146781
    • Book DOI:
    Please enter your name
    Please enter a valid email address
    Who would you like to send this to? *
  • Buy the print book

Book description

This wide-ranging and thought-provoking collection of specially-commissioned essays provides a uniquely comprehensive overview of the many and various ways in which music functions in film soundtracks. Citing examples from a variety of historical periods, genres and film industries - including those of the USA, UK, France, Italy, India and Japan - the book's contributors are all leading scholars and practitioners in the field. They engage, sometimes provocatively, with numerous stimulating aspects of the history, theory and practice of film music in a series of lively discussions which will appeal as much to newcomers to this fascinating subject as to seasoned film music aficionados. Innovative research and fresh interpretative perspectives are offered alongside practice-based accounts of the film composer's distinctive art, with examples cited from genres as contrasting as animation, the screen musical, film noir, Hollywood melodrama, the pop music and jazz film, documentary, period drama, horror, science fiction and the Western.


'Going beyond new historical research on early film music, genre studies, and film music analysis, this diverse collection of current essays is ambitious. … Summing Up: Highly recommended. Upper-division undergraduates through faculty.'

M. Goldsmith Source: CHOICE

    • Aa
    • Aa
Refine List
Actions for selected content:
Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive
  • Send content to

    To send content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to .

    To send content to your Kindle, first ensure is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle.

    Note you can select to send to either the or variations. ‘’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

    Find out more about the Kindle Personal Document Service.

    Please be advised that item(s) you selected are not available.
    You are about to send:

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.

Page 1 of 2

Page 1 of 2

This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

Tim Anderson , 1997. ‘Reforming “Jackass” Music’: The Problematic Aesthetics of Early American Film Music Accompaniment’, Cinema Journal 37/1, 3–22

Alison Arnold , 1988. ‘Popular film song in India: A case of Mass Market Music Eccleticism’, Popular Music 7/2, 177–88

Karen Beckman , 2014. ed. Animating Film Theory, Durham and London: Duke University Press

John Belton , 1999. ‘Awkward Transitions: Hitchcock's Blackmail and the Dynamics of Early Film Sound’, Musical Quarterly 83/2, 227–46

Janet Bergstrom , 2005. ‘Murnau, Movietone, and Mussolini’, Film History 17/2, 187–204

David Bordwell , Janet Staiger and Kristin Thompson , 1985. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, New York: Columbia University Press

Mark Bould , Kathrina Glitre and Greg Tuck , 2009. eds. Neo-Noir, London: Wallflower Press

Royal S. Brown , 1980. ‘Music and Vivre sa vie ’, Quarterly Review of Film Studies 5/3 (Summer 1980), 319–33; reprinted in R. S. Brown 1994, 188–99

Peter Burt , 2001. The Music of Tōru Takemitsu, Cambridge: Cambridge University Press

Eric Cazdyn , 2002. The Flash of Capital: Film and Geopolitics in Japan, Durham, NC: Duke University Press

Carlo Cenciarelli , 2012. ‘Dr Lecter's Taste for “Goldberg”, or: The Horror of Bach in the Hannibal Franchise’, Journal of the Royal Musical Association 137/1, 107–34

Tom Conley and T. Jefferson Kline , 2014. eds. A Companion to Jean-Luc Godard, West Sussex: Wiley-Blackwell

Ian Conrich and Estella Tincknell , 2006. eds. Film's Musical Moments, Edinburgh: Edinburgh University Press

Mervyn Cooke , 2008. A History of Film Music, Cambridge: Cambridge University Press

Merritt Crawford , 1931. ‘Pioneer Experiments of Eugene Lauste in Recording Sound’, Journal of the Society of Motion Picture Engineers 17/4, 632–44

Barbara Creed , 1986. ‘Horror and the Monstrous-Feminine: An Imaginary Abjection’, Screen 27/1 (January–February), 44–71

Vasudha Dalmia and Rashmi Sadhana , 2012. eds. The Cambridge Companion to Modern Indian Culture, Cambridge: Cambridge University Press

Nick Davis , 2012. ‘Inside/Outside the Klein Bottle: Music in Narrative Film, Intrusive and Integral’, Music, Sound, and the Moving Image 6/1, 9–19

Annette Davison , 2007. ‘Copyright and Scholars’ Rights’, Music, Sound, and the Moving Image 1/1, 9–13

Tomoko Deguchi , 2010. ‘Gaze from the Heavens, Ghost from the Past: Symbolic Meanings in Toru Takemitsu's Music for Akira Kurosawa's Film, Ran (1985)’, Journal of Film Music 3/1, 51–64

Joanna Demers , 2010. Listening Through Noise: The Aesthetics of Experimental Electronic Music, Oxford: Oxford University Press

Yayoi Uno Everett , 2010. ‘Infusing Modern Subjectivity into a Premodern Narrative Form: Masahiro Shinoda and Toru Takemitsu's Collaboration in Double Suicide (1968)’, Journal of Film Music 3/1, 37–49

Brett Farmer , 2000. Spectacular Passions: Cinema, Fantasy, Gay Male Spectatorships, Durham, NC: Duke University Press

Lucy Fischer , 1977. ‘René Clair, Le Million, and the Coming of Sound’, Cinema Journal 16/2, 34–50

Jennifer Fleeger , 2014a. Sounding American: Hollywood, Opera, and Jazz, New York: Oxford University Press

Jennifer Fleeger , 2014b, Mismatched Women: The Siren's Song Through the Machine, Oxford: Oxford University Press

Caryl Flinn , 1992. Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music, Princeton: Princeton University Press

Peter Franklin , 2011. Seeing Through Music. Gender and Modernism in Classic Hollywood Film Scores, New York: Oxford University Press

Peter Franklin , 2014. Reclaiming Late-Romantic Music. Singing Devils and Distant Sounds, Berkeley, Los Angeles and London: University of California Press

Halsey A. Frederick , 1928. ‘Recent Advances in Wax Recording’, Transactions of the Society of Motion Picture Engineers 12/35, 709–29

Douglas W. Gallez , 1970. ‘Theories of Film Music’, Cinema Journal 9/2, 40–7

William E. Garity and J. N. A. Hawkins , 1941. ‘Fantasound’, Journal of the Society of Motion Picture Engineers 37/8 (August), 127–46

Stephen Glynn , 2013. The British Pop Music Film: The Beatles and Beyond, London: Palgrave Macmillan

Daniel Goldmark , 2005. Tunes for 'Toons: Music and the Hollywood Cartoon, Berkeley, Los Angeles and London: University of California Press

Douglas Gomery , 1976. ‘Tri-Ergon, Tobis-Klangfilm, and the Coming of Sound’, Cinema Journal 16/1, 51–61

Claudia Gorbman , 1991. ‘Hanns Eisler in Hollywood’, Screen 32/3, 272–85

Paul Grainge , 2003. ed. Memory and Popular Film, Manchester: Manchester University Press

Mordaunt Hall , 1928. ‘The Reaction of the Public to Motion Pictures with Sound’, Transactions of the Society of Motion Picture Engineers 12/35, 603–13

Andy Hamilton , 2007. ‘Music and the Aural Arts’, British Journal of Aesthetics 47/1, 46–63

Catherine Haworth , 2012. ‘Introduction: Gender, Sexuality, and the Soundtrack’, Music, Sound, and the Moving Image 6/2, 113–35

Stephen P. Hughes 2002. ‘The “Music Boom” in Tamil South India: Gramophone, Radio and the Making of Mass Culture’, Historical Journal of Film, Radio and Television 22/4, 445–73

Andreas Huyssen , 1986. After the Great Divide: Modernism, Mass Culture, Postmodernism, Bloomington: Indiana University Press

Lea Jacobs , 2012. ‘The Innovation of Re-Recording in the Hollywood Studios’, Film History 24/1, 5–34

William A. Johnston , 1928. ‘The Public and Sound Pictures’, Transactions of the Society of Motion Picture Engineers 12/35, 614–19

Kelly Kessler , 2010. Destabilizing the Hollywood Musical: Music, Masculinity and Mayhem, Basingstoke, UK: Palgrave Macmillan

Raymond Knapp , Mitchell Morris and Stacy Wolf , 2011. eds. The Oxford Handbook of the American Musical, Oxford: Oxford University Press

Peter Knecht , 1979. Review of Watashi wa goze. Sugimoto Kikue kôden (I Am a Goze. The Story of Sugimoto Kikue) by Ôyama Mahito and Goze: Mômoku no tabi geinin (Goze: Blind Itinerant Entertainers) by Saito Shinichi, Asian Folklore Studies 38/1, 139–42

Arthur Knight , 2002. Disintegrating the Musical: Black Performance and American Musical Film, Durham, NC: Duke University Press

Timothy Koozin , 2010. ‘Parody and Ironic Juxtaposition in Toru Takemitsu's Music for the Film Rising Sun ’, Journal of Film Music 3/1, 65–78

Daniela Kulezic-Wilson , 2011. ‘Soundscapes of Trauma and the Silence of Revenge in Peter Strickland's Katalin Varga ’, New Soundtrack 1, 57–71

Frank Martin Lehman , 2013a. ‘Transformational Analysis and the Representation of Genius in Film Music’, Music Theory Spectrum 35/1, 1–22

Neil Lerner , 2001. ‘Copland's Music of Wide Open Spaces: Surveying the Pastoral Trope in Hollywood’, Musical Quarterly 85/3, 477–515

Neil Lerner , 2005. ‘“Look at that big hand move along”: Clocks, Containment, and Music in High Noon ’, South Atlantic Quarterly 104/1, 151–73

Hannah Lewis , 2014. ‘“The Realm of Serious Art”: Henry Hadley's Involvement in Early Sound Film’, Journal of the Society for American Music 8/3, 285–310

Stan Link , 2004. ‘Sympathy with the Devil? Music of the Psycho Post-Psycho ’, Screen 45/1 (Spring), 1–20

Kate McQuiston , 2013. We'll Meet Again: Musical Design in the Films of Stanley Kubrick, New York: Oxford University Press

Ross Melnick , 2012. American Showman: Samuel ‘Roxy’ Rothafel and the Birth of the Entertainment Industry, New York: Columbia University Press

Christian Metz , 1974 [1968]. Film Language: A Semiotics of the Cinema, trans. M. Taylor , New York: Oxford University Press

Sergio Miceli , 2011. ‘Miceli's Method of Internal, External, and Mediated Levels: Elements for the Definition of a Film-Musical Dramaturgy’, ed. and trans. by Gillian B. Anderson with the assistance of Lidia Bagnoli , Music and the Moving Image 4/2, 1–29

Anna Morcom 2001. ‘An Understanding between Bollywood and Hollywood? The Meaning of Hollywood-style in Hindi Films’, British Journal of Ethnomusicology 10/1, 63‒84

K. F. Morgan , 1929. ‘Scoring, Synchronizing, and Re-Recording Sound Pictures’, Transactions of the Society of Motion Picture Engineers 13/38, 268–85

Roy Mukamel , Arne D. Ekstrom , Jonas Kaplan , Marco Iacoboni and Itzhal Fried , 2010. ‘Single-Neuron Responses in Humans during Execution and Observation of Actions’, Current Biology 20, 750–6

Scott Murphy , 2014b. ‘A Pop Music Progression in Recent Popular Movies and Movie Trailers’, Music, Sound, and the Moving Image 8/2, 141–62

Joseph Nechvatal , 2011. Immersion Into Noise, Ann Arbor: M Publishing/Open Humanities Press

Richard Neer , 2007. ‘Godard Counts’, Critical Inquiry 34/1, 135–73

Bruno Nettl , 1989. ‘Mozart and the Ethnomusicological Study of Western Culture (an Essay in Four Movements)’, Yearbook for Traditional Music 21, 1–16

David Neumeyer , 2000. ‘Performances in Early Hollywood Sound Film: Source Music, Background Music, and the Integrated Sound Track’, Contemporary Music Review 19/1, 37–62

David Neumeyer , 2004. ‘Merging Genres in the 1940s: The Musical and the Dramatic Feature Film’, American Music 22/1, 122–32

Arndt Niebisch , 2012. Media Parasites in the Early Avant-Garde: On the Abuse of Technology and Communication, New York: Palgrave Macmillan

Daniel North , Bob Rehak and Michael Duffy , 2015. eds. Special Effects: New Histories, Theories, Contexts, London: British Film Institute

Nathan Platte , 2014. ‘Before Kong Was King: Competing Methods in Hollywood Underscore’, Journal of the Society for American Music 8/3, 311–37

Phil Powrie and Guido Heldt , 2014. ‘Introduction: Trailers, Titles, and End Credits’, Music, Sound, and the Moving Image 8/2 (special issue Trailers, Titles, and End Credits, ed. Powrie and Heldt ), 111–20

Tina K. Ramnarine , 2011. ‘Music in Circulation between Diasporic Histories and Modern Media: Exploring Sonic Politics in Two Bollywood Films Om Shanti Om and Dulha Mil Gaya ’, South Asian Diaspora 3/2, 143–58

Mark Rectanus , 1986. ‘ The Lost Honour of Katharina Blum: The Reception of a German Best-Seller in the USA’, German Quarterly 59/2, 252–69

John Richardson , Claudia Gorbman and Carol Vernallis , 2013. eds. The Oxford Handbook of New Audiovisual Aesthetics, New York: Oxford University Press

Donald Richie , 2002. ‘Notes on the Film Music of Tōru Takemitsu’, Contemporary Music Review 21/4, 5–16

Michael Rogin , 1992. ‘Blackface, White Noise: The Jewish Jazz Singer Finds His Voice’, Critical Inquiry 18/3, 417–53

Miriam Sheer , 2001. ‘The Godard/Beethoven Connection: On the Use of Beethoven's Quartets in Godard's Films’, Journal of Musicology 18/1, 170–88

Craig Sinclair , 2003. ‘Audition: Making Sense of/in the Cinema’, Velvet Light Trap 51 (Spring 2003), 17–28

Michael Slowik , 2014. After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934, New York: Columbia University Press

Vivian Sobchack , 2005. ‘When the Ear Dreams: Dolby Digital and the Imagination of Sound’, Film Quarterly 58/4, 2–15

Andrew Spicer and Helen Hanson , 2013. eds. A Companion to Film Noir, Chichester: Blackwell Publishing Ltd.

Katherine Spring , 2013. Saying it With Songs: Popular Music and the Coming of Sound to Hollywood Cinema, New York: Oxford University Press

David Sterritt , 1999. The Films of Jean-Luc Godard: Seeing the Invisible, Cambridge: Cambridge University Press

Claus Tieber and Anna K. Windisch , 2014. eds. The Sounds of Silent Films: New Perspectives on History, Theory, and Practice, Basingstoke, UK: Palgrave Macmillan

Claus Tieber and Anna K. Windisch , 2014. eds. The Sounds of Silent Films: New Perspectives on History, Theory and Practice, Basingstoke and New York: Palgrave Macmillan

Matthew Tinkcom , 1996. ‘Working Like a Homosexual: Camp Visual Codes and the Labor of Gay Subjects in the MGM Freed Unit’, Cinema Journal 35/2 (Winter), 24–42

Carol Vernallis , Amy Herzog and John Richardson , 2013. eds. The Oxford Handbook of Sound and Image in Digital Media, New York: Oxford University Press

James Wierzbicki , 2010. ‘Lost in Translation? Ghost Music in Recent Japanese Kaidan Films and Their Hollywood Remakes’, Horror Studies 1/2, 193–205

Ben Winters , 2008. ‘Corporeality, Musical Heartbeats, and Cinematic Emotion’, Music, Sound, and the Moving Image 2/1, 3–25

Ben Winters , 2010. ‘The Non-Diegetic Fallacy: Film, Music, and Narrative Space’, Music & Letters 91/2, 224–44

Ben Winters , 2012. ‘Musical Wallpaper? Towards an Appreciation of Non-narrating Music in Film’, Music, Sound, and the Moving Image 6/1, 39–54

Dan Yacavone , 2012. ‘Spaces, Gaps, and Levels: From the Diegetic to the Aesthetic in Film Theory’, Music, Sound, and the Moving Image 6/1, 21–37


Full text views

Total number of HTML views: 65
Total number of PDF views: 2406 *
Loading metrics...

Book summary page views

Total views: 3069 *
Loading metrics...

* Views captured on Cambridge Core between 20th January 2017 - 21st September 2017. This data will be updated every 24 hours.