About the Authors

gillian b. anderson is an orchestral conductor and musicologist who has reconstructed over fifty mute film scores, some of which are found on Criterion films and the MoMA streaming website. Currently she is preparing a performing edition of D. W. Griffith's Way Down East (1920) for the AMS's Music of the United States of America series.maria behrendt studied musicology, media studies and French in Berlin, Münster, and Bangor (Wales), funded by the German Academic Scholarship Foundation and the German Academic Exchange Service. From 2014 to 2018, she worked as research fellow at the University of Music FRANZ LISZT Weimar. She completed her doctoral dissertation on “Romantic aspects in the German Lied of the 1830s” in 2018. Since 2021, she is a research fellow at the University of Marburg. Her postdoctoral project focuses on the reception of irish folk music in Hollywood films and its effect on the German perception of Irish music and Irishness in the twenty-first century.k. j. donnelly is professor of film and film music at the University of Southampton. He is the editor of the book series Palgrave Studies in Audiovisual Culture, in which Danijela Kulezic-Wilson's book The Musicality of Narrative Film was published.james denis mc glynn is a PhD Excellence Scholar and assistant lecturer at the School of Film, Music and Theatre, University College Cork. His research explores the rearrangement of preexisting music in contemporary screen scoring.liz greene is an editor of Music, Sound, and the Moving Image (Liverpool University Press) and coeditor of The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (2016). She publishes research in written and videographic forms and is currently completing a feature length social documentary film that stemmed from the research project “Brews and Brows: Shaping Stories from Eyebrows to Scousebrows.” She is embarking on a new research project on The Wizard of Oz universe.paul hirsch, A.C.E., has edited over forty films, among them the first Star Wars, a.k.a. A New Hope, written and directed by George Lucas, for which he received an Academy Award in 1978, and The Empire Strikes Back; eleven films for Brian De Palma, including Carrie, Blow Out, Phantom of the Paradise, and Mission: Impossible; four for Herbert Ross, including Footloose, The Secret of My Success and Steel Magnolias; three for John Hughes, including Ferris Bueller's Day Off and Planes, Trains & Automobiles; two for Duncan Jones, Source Code and Warcraft; Falling Down for Joel Schumacher; and Mission: Impossible – Ghost Protocol for Brad Bird. In 2005, he received his second Academy Award Nomination and an ACE Eddie award for Ray, based on the life of Ray Charles and directed by Taylor Hackford. The various genres in his resume include drama, action, horror, musical comedy, fantasy, suspense, mystery and comedy.He was born in NYC in 1945. He spent part of his childhood growing up in Paris and is fluent in French. He studied music at the High School of Music & Art in NYC, where he played the tympani, and majored in art history at Columbia University. He is married, with two grown offspring both in the film business, and has lived for the last four decades in Pacific Palisades. He is the author of A Long Time Ago in a Cutting Room Far, Far Away, a memoir of his fifty years in the movie business.randolph jordan's research and creative practice focus on the ecological dimensions of film sound. He coedited the anthology Sound, Media, Ecology with Milena Droumeva, and his first monograph, Acoustic Profiles: A Sound Ecology of the Cinema, will be published in 2023.miguel mera is a professor of music at City, University of London. He is a composer of music for the moving image and is published widely in screen music and sound studies.aimee mollaghan is a senior lecturer in film and screen studies at Queen's University, Belfast. Her current research interests focus on the relationship between music/sound and the moving image and on landscape and sound in cinema.ronald h. sadoff is associate professor at New York University, where he is the director/founder of the program in Screen Scoring. Both a researcher and media composer, he serves as cofounder and coeditor of the MaMI (Music and the Moving Image) journal and conference of the same name.katherine spring is associate professor in the Department of English and Film Studies at Wilfrid Laurier University (Waterloo, Canada). She is the author of Saying It with Songs: Popular Music and the Coming of Sound to Hollywood Cinema (Oxford UP, 2013) and coeditor of Resetting the Scene: Classical Hollywood Revisited (Wayne State UP, 2021).elsie walker is professor of cinema studies and editor of Literature/Film Quarterly at Salisbury University, Maryland (lfq.salisbury.edu). She is author of Understanding Sound Tracks Through Film Theory (Oxford UP, 2015) and Hearing Haneke: The Sound Tracks of a Radical Auteur (Oxford UP, 2017).dr. shuang wang is lecturer at the University of Hong Kong (HKU). She received her PhD in musicology from HKU in 2015. Her research is interdisciplinary, including film music, Chinese musical culture, and Chinese theatre. She is currently completing her first monograph, entitled From Stage to Screen: The Legacy of Traditional Chinese Theatre in the Soundtracks of Chinese Martial Arts Cinema. She is also active in Hong Kong and mainland China as a guzheng (Chinese zither) performer.

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