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Composing for the Screen in Germany and the USSR: Cultural Politics and Propaganda (review)
Ist Teil von
Music, Sound and the Moving Image, 2009, Vol.3 (2), p.249-253
Ort / Verlag
Liverpool: Liverpool University Press
Erscheinungsjahr
2009
Link zum Volltext
Quelle
Film & Television Literature Index with Full Text
Beschreibungen/Notizen
According to Stilwell's introduction, one of the factors influencing this choice was that these were 'the two countries that produced the highest concentration of serious writings on the subject of film music' (2). The best article in the German section, despite its unwieldy and somewhat enigmatic title, is without doubt Reimar Volker's 'Herbert Windt's Film Music to Triumph of the Will: Ersatz-Wagner or Incidental Music to the Ultimate Nazi-Gesamtkunstwerk', extracted from his equally impressive thesis book on Windt's music for Nazi propaganda films more generally, which unfortunately is only currently available in the original German edition. The Soviet part of the book begins with Julie Hubbert's study of Eisenstein's theory of film music and its development. There are some interesting points in this essay, but the author's failure to engage sympathetically with Eisenstein's developing notion of a 'common denominator' for audio-visual composition is a major handicap.