Dr. Aimee Mollaghan is a senior lecturer and the programme leader for undergraduate Film Studies and Film Studies with Film Production at Edge Hill University in England. Her research interests focus on interdisciplinary explorations of sound and music in film and animation and she has published several book chapters and articles in this area. She is also the reviews editor for animation: an interdisciplinary journal.

• List of FiguresList of TablesAcknowledgements Introduction 1. Questions of Attribution and Contribution: What Constitutes a Visual Music Film? 2. The Formal Absolute in the Visual Music Film 3. The Spiritual Absolute in the Visual Music Film 4. Experimentation and Technological Innovation 5. Conceptions of Harmony in the Work of John Whitney Conclusion Bibliography Index

Dr. Aimee Mollaghan is a senior lecturer and the programme leader for undergraduate Film Studies and Film Studies with Film Production at Edge Hill University in England. Her research interests focus on interdisciplinary explorations of sound and music in film and animation and she has published several book chapters and articles in this area. She is also the reviews editor for animation: an interdisciplinary journal.

• List of FiguresList of TablesAcknowledgements Introduction 1. Questions of Attribution and Contribution: What Constitutes a Visual Music Film? 2. The Formal Absolute in the Visual Music Film 3. The Spiritual Absolute in the Visual Music Film 4. Experimentation and Technological Innovation 5. Conceptions of Harmony in the Work of John Whitney Conclusion Bibliography Index

Dr. Aimee Mollaghan is a senior lecturer and the programme leader for undergraduate Film Studies and Film Studies with Film Production at Edge Hill University in England. Her research interests focus on interdisciplinary explorations of sound and music in film and animation and she has published several book chapters and articles in this area. She is also the reviews editor for animation: an interdisciplinary journal.

• List of FiguresList of TablesAcknowledgements Introduction 1. Questions of Attribution and Contribution: What Constitutes a Visual Music Film? 2. The Formal Absolute in the Visual Music Film 3. The Spiritual Absolute in the Visual Music Film 4. Experimentation and Technological Innovation 5. Conceptions of Harmony in the Work of John Whitney Conclusion Bibliography Index