Ingeborg Zechner is a musicologist at the University of Graz, Austria.

• IntroductionPart 1: Biographical and Historical Contexts1. Franz Waxman: Another émigré who made it in Hollywood? 2. Migration mechanisms in international film industry networks 3. The Los Angeles Music Festival (1947–1966) in contemporary institutional, aesthetic, and political context 4. Franz Waxman, the Los Angeles Music Festival, and Cold War cultural politicsPart 2: Discourse and Reception5. The reception of Franz Waxman between film music and the concert hall: Methodological considerations 6. The reception of Hollywood film music from the 1930s to the 1960s 7. Franz Waxman as composer-conductor 8. Franz Waxman’s “double life” between film music and the concert hall 9. The contemporary reception of mediality between film music and the concert hallPart 3: Media Transfers10. Intermediality and making the case for film music as a work of art 11. The Paradine Case: The ambiguous relationship between film music and concert practices 12. The music of A Place in the Sun as a media hybrid 13. The intermedial construction of film music as a work of art through Franz Waxman’s soundtrack albums in the 1950s and 1960sConclusionAppendices