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9780521895750

When Opera Meets Film

by
  • ISBN13:

    9780521895750

  • ISBN10:

    0521895758

  • Edition: 1st
  • Format: Hardcover
  • Copyright: 2010-07-05
  • Publisher: Cambridge University Press

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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 C_r_monie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films.

Table of Contents

List of figuresp. x
List of tablesp. xiii
List of music examplesp. xiv
Acknowledgmentsp. xvi
Introductionp. 1
Style
Operatic style in Coppola's Godfather trilogyp. 19
Opera as fragment: "Liebestod" and "Nessun dorma" in Ariap. 58
Subjectivity
Subjectivity in the opera-films of Jean-Pierre Ponnellep. 97
Don Giovanni and subjectivity in Claude Chabrol's La Ceremoniep. 16
Desire
'An honest contrivance": opera and desire in Moonstruckp. 173
The sound of desire: Cosi's "Soave sia il vento" in Sunday, Bloody Sunday and Closerp. 212
Epiloguep. 246
Notesp. 250
Bibliographyp. 296
Filmography and videographyp. 312
Indexp. 315
Table of Contents provided by Ingram. All Rights Reserved.

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