Wagner & Cinema

by Joe, Jeongwon

• ISBN13: 9780253221636
• ISBN10: 0253221633
• Format: Paperback
• Copyright: 2010-02-05
• Publisher: Indiana Univ Pr

Summary

The work of Richard Wagner is a continuing source of artistic inspiration and ideological controversy in literature, philosophy, and music, as well as cinema. InWagner and Cinema, a diverse group of established and emerging scholars examines Wagner's influence on cinema from the silent era to the present. The essays in this collection engage in a critical dialogue with existing studies-extending and renovating current theories related to the topic-and propose unexplored topics and new methodological perspectives. The contributors discuss films ranging from the 1913 biopic of Wagner to Ridley Scott'sGladiator, with essays on silent cinema, film scoring, Wagner in Hollywood, German cinema, and Wagner beyond the soundtrack.

Author Biography

Jeongwon Joe is Associate Professor of Musicology at the University of Cincinnati. She is editor of Between Opera and Cinema (with Rose Theresa) and has published articles on Milos Forman's Amadeus, Philip Glass's La Belle et la B+¬te, David Lynch's Blue Velvet, G+¬rard Corbiau's Farinelli, and other works related to opera and film music.

Sander L. Gilman is Distinguished Professor of the Liberal Arts and Sciences at Emory University. He is author of Fat: A Cultural History of Obesity; Multiculturalism and the Jews; Making the Body Beautiful: A Cultural History of Aesthetic Surgery; Freud, Race, and Gender; and Jewish Self-Hatred: Anti-Semitism and the Hidden Language of the Jews.

Table of Contents

Foreword	p. ix
Introduction Why Wagner and Cinema? Tolkien Was Wrong	p. 1
Wagner and the Silent Film
Wagnerian Motives: Narrative Integration and the Development of Silent Film Accompaniment, 1908-1913	p. 27
Underscoring Drama-Picturing Music	p. 46
The Life and Works of Richard Wagner (1913): Becce, Froelich, and Messter	p. 65
Listening for Wagner in Fritz Lang's Die Nibelungen	p. 85
Wagnerian Resonance in Film Scoring
The Resonances of Wagnerian Opera and Nineteenth-Century Melodrama in the Film Scores of Max Steiner	p. 111
Wagner's Influence on Gender Roles in Early Hollywood Film	p. 131
The Penumbra of Wagner's Ombra in Two Science Fiction Films from 1951: The Thing from Another World and The Day the Earth Stood Still	p. 152
Wagner in Hollywood
"Soll ich lauschen?": Love-Death in Humoresque	p. 167
Hollywood's German Fantasy: Ridley Scott's Gladiator	p. 186
Reading Wagner in Bugs Bunny Nips the Nips (1944)	p. 210
Piercing Wagner: The Ring in Golden Earrings	p. 225
Wagner in German Cinema
Wagner as Leitmotif: The New German Cinema and Beyond	p. 253
The Power of Emotion: Wagner and Film	p. 273
Wagner in East Germany: Joachim Herz's Der fliegende Holländer (1964)	p. 294
Wagner Beyond the Soundtrack
Nocturnal Wagner: The Cultural Survival of Tristan und Isolde in Hollywood	p. 315
Ludwig's Wagner and Visconti's Ludwig	p. 333
The Tristan Project: Time in Wagner and Viola	p. 358
"The Threshold of the Visible World": Wagner, Bill Viola, and Tristan	p. 381
Postlude Looking for Richard: An Archival Search for Wagner	p. 408
Epilogue Some Thoughts about Wagner and Cinema; Opera and Politics; Style and Reception	p. 419
Appendix Interview with Bill Viola	p. 431
Filmography Jeongwon Joe	p. 441
List of Contributors	p. 457
Index	p. 461
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