In the early 1940s, composer Hanns Eisler and the philosopher Theodor W. Adorno carried out during their exile in New York an unprecedented research on the characteristics of film music. The main objective of that project, titled in its day Film Music Project, was to apply modern music to the big screen in order to extend the artistic potential of the cinematographic medium. As they once pointed out, "advanced musical material loses its prohibitive quality when applied to cinema." In a period dominated by conventional Hollywood productions, and even with the fear of applying 'Hegelian terminology to a pink press column', Eisler and Adorno believed that the twelve-tone composition could help the cinema to obtain the true artistic status Deserved The Film Music Project was also a perfect example of a union between the two main tendencies of the German Marxist aesthetics of the first half of the twentieth century: the philosophy of art at the Frankfurt School and the artistic practice of revolutionary bias. This communion did not only happen because Adorno and Eisler were two of the main representatives of both tendencies; The project itself, through the artistic creation of four excellent soundtracks and the joint writing of the book Composition for the cinema, proposed a fusion between theory and praxis nonexistent in the other projects carried out by then on the mass media . In this book, made from original documentation on the project found in several archives in Los Angeles, New York and Berlin, Breixo Viejo has reconstructed in detail the history of the Film Music Project and has analyzed each one of its results, from the composition From the experimental film Rain of Joris Ivens, to the alternative score Eisler wrote for John Ford's "The Grapes of Wrath."