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Intro -- Acknowledgments -- Praise for Music in Films about the Shoah -- Contents -- List of Figures -- Chapter 1: Introduction: Of Ghosts, the Flesh of the Present, and the Singing Child in the Dark -- Cultural Memory, Film and Music -- Commemoration -- Comfort -- Provocation -- Reverberations in Contemporary Digital Popular Culture -- References -- Chapter 2: Cultural Memory, Film, and Music -- Cultural Memory Studies -- Films About the Shoah: Repositories of Memory and Initiators of Public Awareness -- The Discourse on Cinematic Representations of the Shoah: Three Main Points of Reference -- Popularization of Memory? -- Sentimentalizing Music: A Signifier of Trivialization? -- Paradigm Shift? -- Music as an Affective Mediator of Identity and Time in Film -- Three Dimensions of Film Music Theories -- The Selection of Films from a Film Music History Perspective -- References -- Chapter 3: Commemoration: The Soundtrack of Schindler's List -- The Discourse: Popularity: Documentation -- Overview: The Soundtrack in the Horizontal (Narrative) Perspective -- Detailed Analysis -- Part 1: Establishing Audio-Stereotypes Through Music and Sound -- Diegetic Music -- Introducing the Main Character -- The Perpetrators -- Nondiegetic Music -- The Main Theme: A Carrier of Schindler's Empathy? -- The Remembrances Theme: Commemorating the Victims of the Shoah -- Part 2: Close Reading of Spectacle Scenes -- The Title Sequence -- Klezmer: Schindler's Rise as Entrepreneur and the Disenfranchisement of Krakow's Jews -- Transition from the First to the Second Act: The Liquidation of the Krakow Ghetto -- Schindler: Pripetshik -- Transition from the Second to the Third Act: The Climax of the Conflict -- The Delaying Factor Before the Happy End: The Dichotomy of Noise and Harmony -- The Transition from the Past to the Present -- Yerushalayim Shel Zahav.

Epilog: Final Bow and Memorial Ritual in Front of Schindler's Grave -- Concluding Remarks -- References -- Chapter 4: Comfort: The Pianist and Taking Sides -- Music and Musicians in Shoah Films -- The Pianist -- The Film in the Public Discourse: The Artful European Answer to the Hollywood Kitsch of Schindler's List -- The Nondiegetic Original Score -- Noises -- Performed Music -- Two Interpretations of the Nocturne and the Trauma of Remembrance -- Forced Music as Conciliation? -- Music as a Shelter in the Catastrophe -- Taking Sides -- The Film and the Discourse on Furtwängler -- Objectivity vs. Subjectivity: Which Side Does the Music Take? -- Beethoven's Fifth: Framing the Narrative and Inventing the Hero and His Inevitable Fate -- The Opening Sequence -- The Integration of the Opening Sequence into a Historical Document -- The Ending Sequence -- Schubert and the Shift in the Victim's Position -- The Showdown of the Opponents with Bruckner as Underscore -- Beethoven vs. Bruckner -- Concluding Remarks: Contextualization -- References -- Chapter 5: Provocation: Inglourious Basterds -- Contextualization -- The Academic Discourse and the Public Reception of Inglourious Basterds and Its Music -- The Use of Popular Music in Context of the Conventions of Film Music -- The Music and the Narrative Structure -- Diegetic Music -- Starting Point: The Powerful Perpetrator and the Trauma of the Victim -- The Approaching Villain: The Verdict -- Execution as a Piece of Art: L'incontro con la figlia -- The Trauma -- Empowerment: Reversing the Power Relations -- Music and the Change of Perspectives and Time Level -- Spectacular Insertions: Music, Violence, Pathos -- Shosanna Is Getting Ready for the Revenge -- Conventional Moments of Closure? Denied Reconciliation -- A Melodramatic Moment in the Midst of the Showdown: Shosanna's Death.

The End Ritual: Rabbia e Tarantella -- References -- Chapter 6: Epilogue: The Emotive Stances and Their Reverberations in Contemporary Popular Culture -- Commemoration, Comfort, Provocation -- Reverberations in Film and Digital Mass Culture -- Hunters -- References -- References -- Index.