Abstract
Abstract: The article investigates how national artistic ideologies of German-ness and Austrian-ness were incorporated in Hollywood film music of the 1930s and 1940s and in the general discourse in the American press. It argues that these stereotypes were indeed important in Hollywood's marketing strategies toward the middlebrow, which emerged as a wealthy branch in America's society at the time. Among these strategies was the promotion of film music as a 'serious' art form that was historiographically grounded in a 'German' art music tradition, in contrast to 'Austrian' light musical entertainment.
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