What mid-century film scores used atonality or electronics to shape mood?

[Addison.M]

I'm a composer, and I've been studying Bernard Herrmann's score for 'Vertigo' as a masterclass in using music to convey psychological obsession and spatial disorientation. The way his motifs spiral and repeat, mirroring Scottie's fixation, is utterly brilliant, but I'm trying to deconstruct his specific orchestral techniques beyond the famous "Scene d'Amour." For aficionados of classic film soundtracks, what are some of the most innovative uses of instrumentation or harmony in mid-century cinema that pushed the boundaries of what a score could do? I'm particularly interested in scores that employed atonality or electronic elements early on, not just for shock value but to fundamentally shape the narrative's emotional landscape, perhaps in works by composers like Elmer Bernstein or Jerry Goldsmith.