Sergio Miceli

Da Kurt London (1936) a Theodor W. Adorno (1947): due miti da ridimensionare

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The article examines two works, mistakenly considered fundamental in the study of film music. In actual fact, however, the theoretical work of Kurt London and that of Adorno-Eisler are based on false assumptions and on preconceptions that compromise the entire theoretical structure of their texts. It is a system that, in the eyes of a careful modern-day reader, must certainly be reconsidered, if not literally called into question.

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