This book is a major new study - dealing with notions of film music as a device that desires to control its audience, using a most powerful thing: emotion. The author emphasises the manipulative and ephemeral character of film music dealing not only with traditional orchestral film music, but also looks at film musics colonisation of television, and discusses pop music in relation to films, and the historical dimensions to ability to possess audiences that have so many important cultural and aesthetic effects. It challenges the dominant but limited conception of film music as restricted to film by looking at its use in television and influence in the world of pop music and the traditional restriction of analysis to valued film music, either from name composers or from the golden era of Classical Hollywood. Focusing on areas as diverse as horror, pop music in film, ethnic signposting, television drama and the soundtrack without a film- this is an original study which expands the range of writing on the subject.