ABSTRACT
The conclusion explores the artistic identity of Franz Waxman and other film composers positioned between film music and concert music. It examines how the aesthetic and technological developments of film music in the twentieth century shaped the perception and status of composers. Waxman's career serves as a case study for the challenges and opportunities arising from migration, social networks, and technological innovations of the time. The conclusion highlights how Waxman strategically utilized media such as soundtrack albums and his role as a conductor to construct a dual identity bridging Hollywood and the concert world. It argues that film music in the 1930s and 1960s should not only be seen as an ephemeral but also as an intermedial art form that possesses an ambiguous aesthetic status ranging between popular and serious music. Finally, the conclusion underscores the significance of Waxman's work for musicological research, particularly in understanding the interplay between film and concert music, as well as the identity formation of composers within the complex sociocultural framework of the twentieth century.
