Groundbreaking postwar biblical epics, like Samson and Delilah, Ben-Hur, and Quo Vadis, were at the forefront of the shift to widescreen technology and stereophonic sound with musical soundtracks that contributed to the grandeur of the experience. In Epic Sound, Stephen C. Meyer shows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation. In this way, the soundscapes of these films reflected the ideological and aesthetic tensions within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s through the 1960s.