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When opera meets film / Marcia J. Citron.

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LIBRA PN1995.9.O64 C58 2010
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Format:
Book
Author/Creator:
Citron, Marcia J.
Series:
Cambridge studies in opera
Language:
English
Subjects (All):
Motion pictures and opera.
Opera in motion pictures.
Musical films--History and criticism.
Musical films.
Physical Description:
xviii, 324 pages : illustrations ; 24 cm.
Place of Publication:
Cambridge ; New York : Cambridge University Press, 2010.
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.
Contents:
Machine generated contents note: Introduction; 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; Epilogue.
Notes:
Includes bibliographical references, filmography, webliography, and index.
ISBN:
9780521895750
0521895758
OCLC:
496958741

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