PrefacePart 1Section 1: Film Music: Reflections on Functions1 Music’s Body and the Moving ImageLawrence Kramer2 Disturbing Silences and Open Narratives: Musical Gaps in Fictional and Documentary Moving ImagesSaskia Jaszoltowski3 Traditional and Non-traditional Uses of Film Music, and Musical Metalepsis in The Truman ShowWerner Wolf4 Homer and the Springfield Orchestra Bus: Four Test Cases for Any Future Challenge to the Diegetic/Non-diegetic ModelJordan Carmalt StokesSection 2: Film Music: Significant Intermedial Cases5 Operatic Plurimediality in Italian Silent Cinema: Nino Oxilia and Pietro Mascagni’s Rapsodia Satanica (1915)Bernhard Kuhn6 Humanized Documentary, “Light” Verse, and Music Made to Fit: G.P.O. Film Unit/Auden/Britten’s Night Mail (1936)Walter Bernhart7 An Incarnation of Memory: Song as Absence in Claude Lanzmann’s ShoahRuth Jacobs8 Accumulating Schubert: Music and Narrative in Nuri Bilge Ceylan’s Winter SleepHeidi Hart9 Mise en scène, Mozart, and a Borrowed Chorale: Learned Style and Identity in Pawlikowski’s Ida Christopher BoothPart 2: Intermedial Varieties10 Shadow Images Moving to Music: La Tentation de saint Antoine in MontmartrePeter Dayan11 ‘The Big Turnaround in the Middle’: On the Silent Movie and the Film Music Interlude in Alban Berg’s Opera LuluMarion Recknagel12 All the Pieces Matter: On Complex TV MusicFrieder von Ammon13 The Music Videos of Alternative Rock Band They Might Be Giants: Prolegomena for a Theory of Nonsense across MediaEmily PetermannPart 3: Remediations14 Thrilling Opera: Conflicts of the Mind and the Media in Kasper Holten’s JuanAxel Englund15 Novel, Woodcuts, Film, Music …: Pondering over the Title of Gara Garayev’s Symphony Engravings “Don Quixote”Alla Bayramova16 Film as Opera: Three Perspectives on Still Life and Brief EncounterMichael Halliwell17 On the Intertextual Docks, or, Whatever Happened to Shanghai Lil?David Francis UrrowsList of FiguresNotes on ContributorsIndex