Hannah Lewis, Assistant Professor of Musicology at the University of Texas at Austin, is a historical musicologist who specializes in film music, music and visual media, early twentieth-century French music, and musical theater.

The great value of Professor Lewis' book lies in the clarity with which she teases out the strands of the aesthetic arguments and the fruits of filmmakers' efforts to bring them into being, and the elegance of her arguments about music's roles in these various approaches to sound film.

• Acknowledgments Abbreviations Introduction 1. Imagining Sound Film: Debates in the Press2. Surrealist Sounds: Film Music and the Avant-Garde 3. "An achievement that reflects its native soil": Songs, Stages, Cameras, and the Opérette Filmée 4. Théâtre filmé, Opera, and Cinematic Poetry: The Clair/Pagnol Debate 5. Source Music and Cinematic Realism: Jean Renoir and the Early Poetic Realists 6. "The Music Has Something to Say": The Musical Revisions of L'Atalante (1934) Conclusion: Alternative Paths for Sound Film Select Filmography Select Bibliography Captions

Hannah Lewis, Assistant Professor of Musicology at the University of Texas at Austin, is a historical musicologist who specializes in film music, music and visual media, early twentieth-century French music, and musical theater.

The great value of Professor Lewis' book lies in the clarity with which she teases out the strands of the aesthetic arguments and the fruits of filmmakers' efforts to bring them into being, and the elegance of her arguments about music's roles in these various approaches to sound film.

• Acknowledgments Abbreviations Introduction 1. Imagining Sound Film: Debates in the Press2. Surrealist Sounds: Film Music and the Avant-Garde 3. "An achievement that reflects its native soil": Songs, Stages, Cameras, and the Opérette Filmée 4. Théâtre filmé, Opera, and Cinematic Poetry: The Clair/Pagnol Debate 5. Source Music and Cinematic Realism: Jean Renoir and the Early Poetic Realists 6. "The Music Has Something to Say": The Musical Revisions of L'Atalante (1934) Conclusion: Alternative Paths for Sound Film Select Filmography Select Bibliography Captions

Hannah Lewis, Assistant Professor of Musicology at the University of Texas at Austin, is a historical musicologist who specializes in film music, music and visual media, early twentieth-century French music, and musical theater.

The great value of Professor Lewis' book lies in the clarity with which she teases out the strands of the aesthetic arguments and the fruits of filmmakers' efforts to bring them into being, and the elegance of her arguments about music's roles in these various approaches to sound film.

• Acknowledgments Abbreviations Introduction 1. Imagining Sound Film: Debates in the Press2. Surrealist Sounds: Film Music and the Avant-Garde 3. "An achievement that reflects its native soil": Songs, Stages, Cameras, and the Opérette Filmée 4. Théâtre filmé, Opera, and Cinematic Poetry: The Clair/Pagnol Debate 5. Source Music and Cinematic Realism: Jean Renoir and the Early Poetic Realists 6. "The Music Has Something to Say": The Musical Revisions of L'Atalante (1934) Conclusion: Alternative Paths for Sound Film Select Filmography Select Bibliography Captions