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ISSUE 9.1-2 ADVANCE ACCESS

Articles
Deflating Fascism in Max Steiner’s Score for The Most Dangerous Game
Michael Lee
An Austrian in Hollywood: Self-Plagiarism and the “Love Theme” in Max Steiner’s Music for Now, Voyager and Mildred Pierce
Charles Francis Leinberger
Cataloging Max Steiner: A Corpus Study of Film Scores
Jeff Lyon, Brent Yorgason

Reviews
Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style
Grace Edgar
Erik Heine: James Newton Howard’s Signs: A Film Score Guide
Ben Erickson
Tobias Pontara, Andrei Tarkovsky’s Sounding Cinema: Music and Meaning from Solaris to The Sacrifice
Raymond De Luca
John Haines, Music in Films on the Middle Ages: Authenticity vs. Fantasy
Melanie Shaffer

ISSUE 10.1 ADVANCE ACCESS

Articles
Innocence and Grace Bach’s Organ Music in Ermanno Olmi’s L’albero degli zoccoli
Chiara Bertoglio
The Best Years of Our Lives: Hugo Friedhofer’s American Sound: 
Aaron J. Johnson
Hollywood’s “No Man” Leonid V. Raab (1900–1968)
N. William Snedden

Reviews
Janina Müller, Musik im klassischen Film noir
Roger Hickman
Nathan Platte, Making Music in Selznick’s Hollywood
Paul Merkley