When Opera Meets Film.

By:

Citron, Marcia J

Material type: Text

text

Media type:

computer

Carrier type:

online resource

ISBN:

9780511787874
0511787871
9780511786730
0511786735
9780511789335
0511789335
9780511781834
0511781830
0511848528
9780511848520
1107212065
9781107212060
1282723537
9781282723535
9786612723537
661272353X
0511788606
9780511788604
0511785593
9780511785597

Subject(s): Genre/Form:

Additional physical formats: Print version:: When opera meets film.DDC classification:

780.079143

LOC classification:

PN1995.9.O64 C58 2010eb

Other classification:

24.62

Online resources:

Click here to access online

Contents:

Part I. Style -- 1. Operatic style in Coppola's Godfather trilogy -- 2. Opera as fragment : 'Liebestod' and 'Nessun dorma' in Aria -- Part II. Subjectivity -- 3. Subjectivity in the opera-films of Jean-Pierre Ponelle -- 4. Don Giovanni and subjectivity in Claude Chabrol's La Ceremonie -- Part III. Desire -- 5. 'An honest contrivance': opera and desire in Moonstruck -- 6. The sound of desire : Così's 'Soave sia il vento' in Sunday, Bloody Sunday and Closer.

Summary: "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 Ceremonie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films"-- Provided by publisher.

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"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 Ceremonie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films"-- Provided by publisher.