Elizabeth de Cacqueray: Music, poetry, realism - Benjamin Britten and his film scores

Caliban, 11, 2002, p.228. 

It is a touching and fruitful coincidence that this young composer should have started his career at a moment when cinema was also in its youth with respect to its exploration of the possibilities of sound and music. The talented and willing Britten was snapped up by John Grierson ...

Sally Bick: Of Mice and Men, Copland, Hollywood, and American Musical Modernism

American Music, Vol. 23, No. 4 (Winter, 2005), pp. 426-472

This chapter provides a detailed musical and cinematic analysis of Of Mice and Men, Copland’s first Hollywood film score. The discussion begins by outlining Copland’s interest in film and Hollywood, his desire to engage in mass entertainment ...

Alexandra Monchick : Paul Hindemith and the Cinematic Imagination

The Musical Quarterly, p. 1–39 : Published by Oxford University Press. All rights reserved

Like several of his contemporaries, Paul Hindemith used the medium of film as a way to recapture a diminishing opera audience. His first full-length opera, ”Cardillac” (1926), maintained a kinship with contemporary German Expressionist film for its plot and extended pantomime scene ...

Marcos Azzam Gómez (Universidad de Salamanca)

Kieler Beiträge zur Filmmusikforschung, 12, 2016 // 494

Dmitri Shostakovich was one of the greatest 20th-century composers, although his style was 'moderate' in comparison with other trends. The fact that he also composed a large amount of music for the cinema is often ignored or not given due importance. 

James Deaville and Simon Wood :The Film/Music Collaboration of Jean Cocteau and Georges Auric Canadian University Music Review vol. 22, n° 1, 2001, p.105-126.

After Durey, Auric was the least well-known of Les Six, possibly because he seemed most comfortable working in the genre of the film score (he wrote music for 40 French, 40 American and 15 British films), which undoubtedly contributed to his marginalization ...