Introduction

"the birth of cinema from the spirit of music"

Claus Tieber, Anna K. Windisch

1-9

Organizing a music library for playing to pictures

theory vs. practice in Britain

Julie BROWN

13-35

The formation of a Swedish cinema music practice, 1905–1915

Christopher Natzén

36-48

The use of cue sheets in Italian silent cinema

contexts, repertoires, praxis

Marco Targa

49-65

Music, singing and stage practice in the cinemas of upper Silesia during the 1920s

Urszula Biel

66-83

The sound of music in Vienna's cinemas, 1910–1930

Claus Tieber, Anna K. Windisch

84-102

The moving picture world, W. Stephen Bush and the American reception of European cinema practices, 1907–1913

James Bühler, Catrin Watts

103-122

Musical beginnings and trends in 1920s Indian cinema

Olympia Bhatt

123-138

Deconstructing the "brutal savage" in John Ford's The iron horse

Peter A. Graff

141-155

"The hermeneutic framing of film illustration practice"

the Allgemeines Handbuch der Film-musik in the context of historico-musicological traditions

Maria Fuchs

156-171

Sergei Eisenstein and the music of landscape

the "mists" of Potemkin between metaphor and illustration

Francesco Finocchiaro

172-191

Paradoxes of autonomy

Bernd Thewes's compositions to the rhythmus-films of Hans Richter

Marion Saxer

192-207

The tradition of novelty — comparative studies of silent film scores

perspectives, challenges, proposals

Marco Bellano

208-220

Germaine Dulac's La souriante madame Beudet (1923) and the film scores by Arthur Kleiner and Manfred Knaak

Jürg Stenzl

221-250