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9780190497156

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Brilliantly informed and boldly written, this magisterial study gets to the heart of Godard's pioneering, multilayered practice of 'metafilm music'. Baumgartner reveals in rich and fascinating detail the remarkable consistency of Godard's self-reflexive musical strategies and their significance for understanding both the ontology of film music and the critical challenges of audioviewing. -- James S. Williams, Royal Holloway, University of London, UK

Brilliantly informed and boldly written, this magisterial study gets to the heart of Godard's pioneering, multilayered practice of 'metafilm music'. Baumgartner reveals in rich and fascinating detail the remarkable consistency of Godard's self-reflexive musical strategies and their significance for understanding both the ontology of film music and the critical challenges of audioviewing. * James S. Williams, Royal Holloway, University of London, UK *

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Michael Baumgartner teaches at Cleveland State University. His research focuses on music in relation to cinema, theater, and visual arts, music of the twentieth and twenty-first centuries, and the exploration of the narrative capacity of music. He is the author of the monograph Exilierte Göttinnen: Frauenstatuen im Bühnenwerk von Kurt Weill, Thea Musgrave und Othmar Schoeck (2012) and the co-editor of the three anthologies Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War; Music, Ideology, Commerce, and Popular Cinema in Europe: 1940s to 1980s; and Music, Process, Narration, and Art Cinema in Europe: 1940s to 1980s (2020-22).

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