Cinema's illusions, opera's allure : the operatic impulse in film / David Schroeder.

Originally published in 2002 by Continuum.

Includes bibliographical references and index.

Online resource, title from PDF title page (EBSCO), viewed August 31, 2016.

Cover; Half-title; Title; Copyright; Dedication; Contents; List of Illustrations; Preface; Introduction; PART ONE APPROPRIATION OF OPERA IN EARLY CINEMA; 1. Silent opera: DeMille's Carmen; 2. D.W Griffith as a Wagnerian; 3. Stage fright: Phantom of the Opera; 4. A life at the opera; 5. Synesthesia: Alexander Nevsky as opera; PART TWO THE FILM SCORE; 6. The leitmotif; 7. Titles music as operatic overture; PART THREE CINEMA GIVES OPERA THE FINGER; 8. Casting opera in our teeth: Chaplin's Carmen; 9. Attack of the anarchists: A Night at the Opera; 10. Deflated and flat: opera in Citizen Kane.

11. Bursting out into opera: Fellini's E la nave va12. The charming opera snob in Hannah and Her Sisters; PART FOUR WAGNER'S BASTARDS; 13. Misreading Wagner: the politics of Lang's Siegfried; 14. Cinema as grand opera: politics, religion and DeMille; Opera politic; Joan the Woman; Samson and Delilah; The Ten Commandments; 15. Bombarding the senses: Apocalypse Now; 16. Wagnerian images of sound and sensuality; Buiiuel as Wagnerian; Chaplin's Lohengrin; Love and duty; Nosferatu; 17. Wagner's Ring cycle for adolescents: Star Wars; 18. What's opera, Doc?; PART FIVE CINEMA AS OPERA.

19. Dizzying illusion: Vertigo20. Carmen copies; Carmen Jones; Prénom Carmen; 21. Operastruck; 22. Outing opera in Philadelphia; 23. Opera obsession; Jungle opera; Mixed gender; Camp; Pirated voice; 24. Surrogate voice: Maria Callas as Medea; 25. Orpheus reincarnated; Reel Orpheus; Phantom Orpheus; Orphic themes; PART SIX OPERA RETURNS AS CINEMA; 26. Finale: directors' operas; Zeffìrelli's Otello; Losey's Don Giovanni; Sellars's Cosí fan tutte; Rosi's Carmen; Notes; Index.

The allure of opera to cinema early in the century held up through the silent era, into sound films, through the golden age of movies and into the most recent approaches to cinema. This book explores the many different ways that this has happened.

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