the late Romantic style, reinforced the connection’ between films and
romantic music; whether using pre-existing orchestral arrangements or
relying on composers of the day to write new symphonic pieces for films,
classicalHollywoodcinema ‘adapted the late-romantic orchestra of
ninety-plus players for the recording studio’. 12 Not only did
romantic music rely on a large orchestra, its emotional qualities and
(ed.), The Vikings on Film: Essays on Depictions of the Nordic Middle Ages (Jefferson: McFarland & Co., 2011), pp. 193–214 (210–11). More recent discussions of the film can be found in Arne Lunde, Nordic Exposures: Scandinavian Identities in ClassicalHollywoodCinema (Seattle: University of Washington Press, 2010), pp. 17–26; and in Jón Karl Helgason, Echoes of Valhalla: The Afterlife of the Eddas and Sagas , trans. Jane Victoria Appleton (London: Reaktion Books, 2017), pp. 163–71.
3 See H. T. Kalmus, ‘ Technicolor adventures in Cinemaland ’, Journal of