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 array...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge University Press
2010
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| Schriftenreihe: | Cambridge studies in opera
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| Schlagworte: | |
| Online-Zugang: | DE-12 DE-188 DE-473 URL des Erstveröffentlichers |
| Zusammenfassung: | 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 Cérémonie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films |
| Beschreibung: | 1 Online-Ressource (xviii, 324 Seiten) Illustrationen, Notenbeispiele |
| ISBN: | 9780511781834 |
| DOI: | 10.1017/CBO9780511781834 |
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| 505 | 8 | |a 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 | |
| 520 | |a 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 Cérémonie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films | ||
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Datensatz im Suchindex
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| author | Citron, Marcia J. 1945- |
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| author_sort | Citron, Marcia J. 1945- |
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| building | Verbundindex |
| bvnumber | BV043921979 |
| classification_rvk | LR 54173 |
| collection | ZDB-20-CBO |
| contents | 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 |
| ctrlnum | (ZDB-20-CBO)CR9780511781834 (OCoLC)796778330 (DE-599)BVBBV043921979 |
| dewey-full | 791.43/6578 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43/6578 |
| dewey-search | 791.43/6578 |
| dewey-sort | 3791.43 46578 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines Musikwissenschaft |
| doi_str_mv | 10.1017/CBO9780511781834 |
| format | Electronic eBook |
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| id | DE-604.BV043921979 |
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| institution | BVB |
| isbn | 9780511781834 |
| language | English |
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| oclc_num | 796778330 |
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| physical | 1 Online-Ressource (xviii, 324 Seiten) Illustrationen, Notenbeispiele |
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| publisher | Cambridge University Press |
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| spelling | Citron, Marcia J. 1945- Verfasser (DE-588)136776531 aut When opera meets film Marcia J. Citron, Lovett Distinguished Service Professor of Musicology, Rice University Cambridge Cambridge University Press 2010 1 Online-Ressource (xviii, 324 Seiten) Illustrationen, Notenbeispiele txt rdacontent c rdamedia cr rdacarrier Cambridge studies in opera 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 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 Cérémonie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films Motion pictures and opera Opera in motion pictures Musical films / History and criticism Oper (DE-588)4043582-9 gnd rswk-swf Verfilmung (DE-588)4062809-7 gnd rswk-swf Oper (DE-588)4043582-9 s Verfilmung (DE-588)4062809-7 s DE-604 Erscheint auch als Druck-Ausgabe 978-0-521-89575-0 (DE-604)BV036452229 https://doi.org/10.1017/CBO9780511781834 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Citron, Marcia J. 1945- When opera meets film 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 Motion pictures and opera Opera in motion pictures Musical films / History and criticism Oper (DE-588)4043582-9 gnd Verfilmung (DE-588)4062809-7 gnd |
| subject_GND | (DE-588)4043582-9 (DE-588)4062809-7 |
| title | When opera meets film |
| title_auth | When opera meets film |
| title_exact_search | When opera meets film |
| title_full | When opera meets film Marcia J. Citron, Lovett Distinguished Service Professor of Musicology, Rice University |
| title_fullStr | When opera meets film Marcia J. Citron, Lovett Distinguished Service Professor of Musicology, Rice University |
| title_full_unstemmed | When opera meets film Marcia J. Citron, Lovett Distinguished Service Professor of Musicology, Rice University |
| title_short | When opera meets film |
| title_sort | when opera meets film |
| topic | Motion pictures and opera Opera in motion pictures Musical films / History and criticism Oper (DE-588)4043582-9 gnd Verfilmung (DE-588)4062809-7 gnd |
| topic_facet | Motion pictures and opera Opera in motion pictures Musical films / History and criticism Oper Verfilmung |
| url | https://doi.org/10.1017/CBO9780511781834 |
| work_keys_str_mv | AT citronmarciaj whenoperameetsfilm |