When opera meets film /
"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...
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| Format: | Book |
| Language: | English |
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Cambridge ; New York :
Cambridge University Press,
2010.
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| Series: | Cambridge studies in opera.
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| Subjects: | |
| Online Access: | Cover image Contributor biographical information Publisher description Table of contents only |
| 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"-- |
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| Physical Description: | xviii, 324 pages : illustrations ; 24 cm. |
| Bibliography: | Includes bibliographical references, filmography, webliography, and index. |
| ISBN: | 9780521895750 0521895758 |