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It reassesses Korngold's place in twentieth-century music historiography and dismantles many of the myths that have obscured a proper understanding of his work.   Drawing on previously unpublished archival materials, Korngold in America reveals Korngold's commercial and artistic relationships with studio processes and staff, highlights aspects of his compositional practice, and traces the way in which he adapted his skills as a musical dramatist and experienced opera composer to the demands of film. The book presents a more complete picture of Korngold's artistry than has hitherto been possible, showing both the important role played by his music in the Hollywood films of which it is a part and the importance in turn of Hollywood films for his compositional identity. 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By investigating these scenes, wherein the performance of music is foregrounded in the narrative, Winters uncovers how concert performance reflexively articulates music's importance to the ontology of film. The book asserts that narrative film of a variety of aesthetic approaches and traditions is no mere copy of everyday reality, but constitutes its own filmic reality, and that the music heard in a film's underscore plays an important role in distinguishing film reality from the everyday. As a result, concert scenes are examined as sites for provocative interactions between these two realities, in which real-world musicians appear in fictional narratives, and an audience’s suspension of disbelief is problematised. 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