ABSTRACT
This study presents an interdisciplinary investigation that questions certain modern historiographical elements and challenges our understanding of the link between politics and music, specifically film music. Using the example of two film music composers, Werner Egk (1901–1983) and Walter Gronostay (1906–1937), the author contests simplistic narratives by arguing that there was cultural continuity ‘in one case between the Weimar avant-garde and Nazi film propaganda, in the other between the Weimar avant-garde, Nazi propaganda, and post-war West German entertainment cinema’.
