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When Opera Meets Film
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Book Presentation:
Opera can reveal something fundamental about a film, and film can do the same for an opera, argues Marcia J. Citron. Structured by the categories of Style, Subjectivity, and Desire, this volume advances our understanding of the aesthetics of the opera/film encounter. Case studies of a diverse array of important repertoire including mainstream film, opera-film, and postmodernist pastiche are presented. Citron uses Werner Wolf's theory of intermediality to probe the roles of opera and film when they combine. The book also refines and expands film-music functions, and details the impact of an opera's musical style on the meaning of a film. Drawing on cinematic traditions of Hollywood, France, and Britain, the study explores Coppola's Godfather trilogy, Jewison's Moonstruck, Nichols's Closer, Chabrol's La C r monie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films.
See the publisher website: Cambridge University Press
> On a related topic:
Vocal Apparitions (2005)
The Attraction of Cinema to Opera
Encyclopedia of Opera on Screen (2004)
A Guide to More Than 100 Years of Opera Films, Videos, and DVDs
by Ken Wlaschin
Working Musicians (2023)
Labor and Creativity in Film and Television Production
Subject: Jobs and Trainings
Silent Films/Loud Music (2023)
New Ways of Listening to and Thinking about Silent Film Music
Subject: Silent Cinema
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