Abstract

gillian anderson (http://www.gilliananderson.it) is a conductor and musicologist. She has participated in the restoration and reconstruction of the original orchestral scores written to accompany over forty of the great “mute” films and has conducted them in synchronization with their projection at many important film festivals, universities, and performing arts centers with many symphony orchestras, most recently Modern Times (Chaplin) with the FVG Orchestra in Udine, Nosferatu with the Vancouver Symphony, Stark Love (Brown, 1928) with Cinemusica Viva NYU at MoMA, and The Birth of a Nation with the Opera Orchestra of the Teatro Sao Carlos in Lisbon. Her releases include Nosferatu (Murnau, 1921) BMG Classics, Carmen (DeMille, 1915) Video Artists International, Haexan (Christiansen, 1922), Pandora’s Box (Pabst, 1928), and Master of the House (Dreyer, 1925) Criterion Films. Her books include Music for Silent Films 1894–1929: A Guide (Washington, DC, Library of Congress, 1988), which is available online from the Haithi Trust; and the translation of Ennio Morricone and Sergio Miceli’s Composing for the Cinema (Scarecrow Press, 2013). Her article “D. W. Griffith’s Intolerance: Revisiting a Reconstructed Text,” has appeared in Film History, 25, 3. matthew mcdonald (mmcdonald@neu.edu) is an associate professor of music at Northeastern University, where he directs the music theory program and teaches courses in music theory, music history, and film music. He holds a PhD in music theory from Yale University and is the author of numerous articles and essays on early modernist music and music in film, including contributions to Routledge’s Music in the Western and Music, Sound, and Filmmakers. His book, Breaking Time’s Arrow: Experiment and Expression in the Music of Charles Ives, was published by Indiana University Press (2014). Currently, he is working on a new book project on music and sound in the films of the Coen brothers. reba wissner (reba.wissner@gmail.com) is an adjunct professor at the John J. Cali School of Music at Montclair State University, adjunct assistant professor of music history at Westminster Choir College of Rider University, and an adjunct professor at Berkeley College. She received her MFA and PhD in musicology from Brandeis University and her BA in music and Italian from Hunter College. Her first book, A Dimension of Sound: Music in The Twilight Zone,was published by Pendragon Press, and she also serves as the series editor for their Music and Media series. Currently, she is working on her second book, titled, We Will Control All That You Hear: The Outer Limits and the Aural Imagination.

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