“Authors Powrie and Stillwell offer an in-depth look into the intersection of film and music in Russia and Germany. ”

“Composing for the Screen in Germany and the USSR offer[s] the first scholarly discussion of German and Soviet film music under a single cover, foregrounding numerous social and aesthetic parallels between these two countries at a time when movies were beginning to talk. Vol. 4, No. 3”
 — Studies in Russian and Soviet Cinema

“Sampling a wide range of cinematic time and space, Composing for the Screen in Germany and the USSR leave no doubt that we have yet much to discover about the complex relationship between film music and 'cultural politics' and that the expertise and point of view which musicologists and, particularly, film music scholars bring to the discourse is invaluable. 54.3 Fall 2010”
 — Slavic and East European Journal

“. . . [an] interesting collection of essays . . . .July 2009”
 — Anselm C. Heinrich, Department of Theatre, Film and Television Studies, University of Glasgow

“. . . a valuable contribution to the growing body of film-music scholarship.Vol 32.2 May 2009”
 — Stephen Meyer , Syracuse University

“Music became a key ingredient in the propaganda machines developed by the National Socialists and Stalin, an art both to regulate and exploit. Indeed, it is impossible to speak of film music in these countries during the early sound era without considering the political implications of compositional choice and the relationship between music and image.”
 — from the introduction