Introduction / Michael Baumgartner
Part I. Cinematic Collaborations and the Questioning of the Auteur Style Through Music. Music as a Sonic Enabler : Jean-Pierre Melville's Film Adaptation of Jean Cocteau's Les enfants terribles / Laura Anderson ; Palimpsest, Mediation, Déjà entendu-Effect : The Musical Dramaturgy of Federico Fellini and Nino Rota's La dolce vita / Emilio Sala ; Michael Nyman and the Development of an Art House Musical Aesthetic / Pwyll ap Siôn
Part II. Music and Narration : The Meaning Beyond the Text. Shostakovich, Arnshtam, and the Sound of the Cinematic Soviet Heroine / Joan Titus ; Michelangelo Antonioni's Il grido : Its Music and the Pain of Living / Roberto Calabretto
Part III. Music as Cinematic Metaphor in a Repressed Political System. A Taste of Freedom Behind Closed Doors : Romanian Film Music before the Fall of Communism, 1955-85 / Dominique Nasta ; Echoes of Catastrophe : Music in Films of The Polish School / Iwona Sowińska ; The Soundtrack of the Uncanny : Music and Repetition in Carlos Saura's Ana y los lobos (1972) and Cría cuervos (1975) / Karen Poe Lang.