Establishing a tonal center ; Music as cultural marker in German film ; History on the soundtrack : the example of Beethoven's Ninth ; A Wagnerian German requiem : Syberberg's Hitler (1977) ; Alexander Kluge's Songs without words : Die Patriotin (1979) ; Fassbinder's compromised request concert : Lili Marleen (1980) ; The great eclecticism of the filmmaker Werner Herzog ; Pivot chords : Austrian music and Visconti's Senso (1954) ; Conclusion : film music and cultural memory