When opera meets film
- 作者: Citron, Marcia J.
- 出版: Cambridge ;New York : Cambridge University Press 2010.
- 稽核項: xviii, 324 p. :ill. ;24 cm.
- 叢書名: Cambridge studies in opera
- 標題: History and criticism. , Motion pictures and opera. , Film. , Oper. , Films musicaux , Cinema et opera. , Opera in motion pictures. , Histoire et critique. , Musikfilm. , Musical films , Films musicaux Histoire et critique. , Musical films History and criticism.
- ISBN: 1816046000 , 9781816046000
- 試查全文@TNUA:
- 附註: 100年度教育部購置教學研究相關圖書儀器及設備計畫. Includes bibliographical references, filmography, webliography, and index. 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: Cosi's 'Soave sia il vento' in Sunday, Bloody Sunday and Closer; Epilogue.
- 摘要: "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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- 系統號: 005052549
- 資料類型: 圖書
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- 引用網址: 複製連結
"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"--
來源: Google Book
來源: Google Book
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