Product Description

This classic account of the nature of film music aesthetics was first published in 1947. Its value comes from a unique combination of talents and experience enjoyed by the book's authors. Eisler's time at Hollywood gave him a particular insight on the technical questions which arise for composers when music is used in the production of films, while Adorno was able to contribute on wide aesthetic and sociological matters as well as specifically musical questions. Above all, the authors envisaged the book as a contribution to the study of modern, industrialized culture; and, in this respect, it has a particular importance to the whole area of cultural studies. It includes an introduction by Graham McCann.

Product Details

• Amazon Sales Rank: #2380642 in Books
• Published on: 2005-08-25
• Original language: English
• Number of items: 1
• Binding: Paperback
• 224 pages

About the Author
Theodor W. Adorno (1903-1969) was Director of the Institut fur Sozialforschung in Frankfurt. He is the author of Dialectic and Enlightenment and Aesthetic Theory. Hanns Eisler (1898-1962) was a composer and wrote the scores for a number of Hollywood productions.

Customer Reviews

Belongs on every film music scholar's shelf
After so many years sitting on library shelves in obscurity, it's nice to see that Continuum finally saw fit to release this title again. It's rather telling how Eisler's stature has weathered seeing as the first edition said only "Eisler" on the spine, while this version says "Adorno and Eisler."

There's nothing very different about this reprint, other than its availability at a reasonable price. Graham McCann provides a nice historical introduction, although he feels the need to give some throw-away biographical info on both Adorno and Eisler before getting onto the history of the book itself.

Sadly, this book has not had the desired effect on film music that the authors intended as its message is as applicable today as ever. While I've read at least parts of many of the available film music books around, this one is special because it presents no compromises with regard to the role of music in film, and in Adorno's elegant theoretical language.

Anyone interested in film music should own this. For those Adorno fans who may or may not be interested in film music, there is plenty here as well. For one thing, this is a great example of Adorno meeting the culture industry head-on in an extended format. This is essential reading.

Adorno/Eisler
This is a great book. While it was written over 60 years ago, it is still very applicable to today. It's worth the investment.