The English-language monograph Musical Modernism and German Cinema from 1913 to 1933 has been published in the book series “Film and Television Studies” by Palgrave Macmillan, UK.
“Finocchiaro’s study delivers compelling insights into the relationship between Musical Modernism and German silent and early sound cinema. Approaching cinema from the vantage point of its engagement with modernist composers manages to move beyond the boundaries between “high” and “low” art, opening up the wider field of the cultural status of cinema in relation to coexisting art forms at a crucial historical moment.” (Anna K. Windisch, University of Salzburg, Austria. Co-Editor of The Sounds of Silent Films. New Perspectives on History, Theory and Practice, 2014)
Francesco Finocchiaro, Musical Modernism and German Cinema from 1913 to 1933, Basingstoke, Palgrave Macmillan, 2017.
The FMJ Project has adhered to the Music Criticism Network.
The Music Criticism Network, managed by Massimiliano Sala, is a center for the dissemination and interaction of research groups and projects on music criticism. The Network organizes an annual international three-day conference. Furthermore, it provides a vehicle for the dissemination of scholarly works through the Music, Criticism, & Politics series (Brepols Publishers), as well as the Journal of Music Criticism.
The FMJ Project has been inserted into the Kulturerbe digital platform.
Kulturerbe digital is a project of EUBAM, a Working Group at the Institute for Museum Research – Preußischer Kulturbesitz, Berlin, devoted to European matters affecting libraries, archives, museums and monument protection.
Project Assistant Henriette Engelke presented the Research Poster Film Music as a Problem in German Print Journalism (1907–1930) at the Annual Conference of the Austrian Musicological Society 2017, in Vienna, University of Music and Performing Arts, November 22–25, 2017.
“During the silent era, as known, the accompaniment music for film projections was in an extremely precarious state. Nevertheless, film theory assigned to music an essential role, often describing the ‘tenth Muse’ as a daughter of the more ancient and noble ‘art of sounds.’ The idea of an ‘elective affinity’ between music and cinema found a theoretical systematization within the writings by Georg Otto Stindt (1924), Béla Balázs (1924), and Hans Erdmann (1927), who identified the rhythmic dimension as the trait d’union between these two forms of art.”
Francesco Finocchiaro, “Im Anfang war der Rhythmus”. Aesthetic Abstractions in the Film Music Composition of the 1920s, 17th International Music Theory Conference, Lithuanian Academy of Music and Theatre, Vilnius, November 8–10, 2017.
The Austrian newspaper Die Presse has just reported on the FMJ Research Project. See Ronald Posch’s Interview with Project Leader Francesco Finocchiaro:
The FMJ research project has been represented at the recent Transnational Opera Studies Conference in Bern, on July 5-7, 2017.
Dr. Francesco Finocchiaro reported on ‘Cinema and Musical Theatre in the Weimar Republic’, elaborating on Kurt Weill’s Royal Palace
and Alban Berg’s Lulu
as two paradigmatic instances of medial combination.
The paper focused on dramaturgical and aesthetical issues related to the cross-pollination between old and new medial languages in the Weimar era theatre.
F. Finocchiaro, Cinema and Musical Theatre in the Weimar Republic: Two Case Studies, 2nd Transnational Opera Studies Conference, Bern, July 5-7, 2017