In his chapter in The Sounds of Early Cinema, Tom Gunning suggested that the widespread advent and acceptance of recorded and synchronized sound cinema in the late 1920s was likely a product of the desire to reunite hearing and vision, which had been divided by technology. In Composing for the Films, Hanns Eisler and Theodor Adorno suggest that music dissipated the 'Ghostly Effect' of the moving image that is particularly evident during silence. However, as a theory, the Ghostly Effect has been engaged by a large number of writers about sound and music in the cinema, although in many cases only briefly. The fact that they are living and nonliving at the same time is what constitutes their ghostly character. The Ghostly Effect likely has contributed to and retained a notable place in the horror film genre. The Ghostly Effect describes film's essence: the electrical-mechanical 'reality' of cinema as a creator of illusion and machine of manipulation.