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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. --- Musical films --- Opera in motion pictures. --- History and criticism. --- Operas --- Film and video adaptations --- Motion pictures --- Opera and motion pictures --- Opera

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Cinema and opera have become intertwined in a variety of powerful and unusual ways. Vocal Apparitions tells the story of this fascinating intersection, interprets how it occurred, and explores what happens when opera is projected onto the medium of film. Michal Grover-Friedlander finds striking affinities between film and opera--from Lon Chaney's classic silent film, The Phantom of the Opera, to the Marx Brothers' A Night at the Opera to Fellini's E la nave va. One of the guiding questions of this book is what occurs when what is aesthetically essential about one medium is transposed into the aesthetic field of the other. For example, Grover-Friedlander's comparison of an opera by Poulenc and a Rossellini film, both based on Cocteau's play The Human Voice, shows the relation of the vocal and the visual to be surprisingly affected by the choice of the medium. Her analysis of the Marx Brothers' A Night at the Opera demonstrates how, as a response to opera's infatuation with death, cinema comically acts out a correction of opera's fate. Grover-Friedlander argues that filmed operas such as Zeffirelli's Otello and Friedrich's Falstaff show the impossibility of a direct transformation of the operatic into the cinematic. Paradoxically, cinema at times can be more operatic than opera itself, thus capturing something essential that escapes opera's self-understanding. A remarkable look at how cinema has been haunted--and transformed--by opera, Vocal Apparitions reveals something original and important about each medium.

Cinéma et opéra --- Motion pictures and opera --- Opera en muziek --- Motion pictures and opera. --- Voice in motion pictures. --- Opera and motion pictures --- Music --- Philosophy and aesthetics. --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Motion pictures --- Opera --- Philosophy --- Film --- Theatrical science --- Philosophy and aesthetics

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Silent films --- Silent film music --- Films muets --- Film muet, Musique de --- Musical accompaniment --- Accompagnement (Musique) --- film --- filmgeschiedenis --- stille film --- muziek --- film en muziek --- opera --- Wagner Richard --- filmmuziek --- films d'art --- Gounod Charles --- Bizet Georges --- twintigste eeuw --- Duitsland --- Italië --- Frankrijk --- verismo --- verisme --- Mascagni Pietro --- Leoncavallo Ruggero --- Puccini Giacomo --- Saint-Saëns Camille --- Becce Giuseppe --- Weiss Josef --- film en opera --- 78 --- 791.43 --- Motion pictures and opera --- Operas --- Opera --- Opera and motion pictures