The analysis of film music is emerging as one of the fastest-growing areas of interest in film studies. Yet scholarship in this up-and-coming field has been beset by the lack of a common language and methodology between film and music theory. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to film's other elements. Not just a groundbreaking examination of persistent difficulties in this new area of study, Deleuze and Film Music also offers a solution—a methodological bridge—that will take film music analysis to a new level.

Today we can hardly imagine life in Europe without roads and the automobiles that move people and goods around. In fact, the vast majority of movement in Europe takes place on the road. Travelers use the car to explore parts of the continent on their holidays, and goods travel large distances to reach consumers. Indeed, the twentieth century has deservedly been characteried as the century of the car. The situation looked very different around 1900. People crossing national borders by car encountered multiple hurdles on their way. Technically, they imported their vehicle into a neighboring country and had to pay astronomic import duties. Often they needed to pass a driving test in each country they visited. Early on, automobile and touring clubs sought to make life easier for traveling motorists. International negotiations tackled the problems arising from differing regulations. The resulting volume describes everything from the standardied traffic signs that saved human lives on the road to the Europabus taking tourists from Stockholm to Rome in the 1950s. Driving Europe offers a highly original portrait of a Europe built on roads in the course of the twentieth century.