Musical Modernism and German Cinema from 1913 to 1933

Examines the connections between musical modernism and German cinema from the Autorenfilm movement (1913-14) through the dawn of the recorded sound film (1932-33)
Analyses a corpus of original compositions, films, and aesthetic writings

Documents how modernist composers from the Austro-German area approached film music composition and engaged with cinema as an aesthetic phenomenon

Reconstructs the connections between modernist composers and the film music universe through historically verifiable collaborations

Autorentext
Francesco Finocchiaro is Senior Research Scientist at the Department of Musicology of the University of Vienna, Austria. His research interests focus on the points of connection between composition, theory and aesthetics in Twentieth-century music. He edited Arnold Schönberg's Il pensiero musicale (2011) and has also published extensively on film music, with special regard to the relationship between cinema and musical avant-gardes. He has taught in Italy at the Universities of Bologna, Milan, Florence, as well as at Ferrara Conservatory, and in Austria at the University of Vienna.

Inhalt

1. Introduction: The cinematic paradigm.- 2. Prologue. Cinema and the arts.- 3. Cinema and expressionist drama.- 4. Paul Hindemtih and the cinematic universe.- 5. Edmund Meisel: the cinematic composer.- 6. Der Rosenkavalier: a problematic remediation.- 7. Cinema and musical theatre: Kurt Weill and the Filmmusik in Royal Palace.- 8. Alban Berg, Lulu and cinema as artifice.- 9. New Objectivity and abstract cinema.- 10. Between film music and chamber music.- 11. Epilogue. The dawn of sound cinema.