By Marcia J. Citron
Opera can exhibit anything basic a few movie, and picture can do an identical for an opera, argues Marcia J. Citron. dependent through the types of favor, Subjectivity, and wish, this quantity advances our knowing of the aesthetics of the opera/film come upon. Case experiences of a various array of vital repertoire together with mainstream movie, opera-film, and postmodernist pastiche are awarded. Citron makes use of Werner Wolf's concept of intermediality to probe the jobs of opera and movie after they mix. The booklet additionally refines and expands film-music features, and information the influence of an opera's musical kind at the which means of a movie. Drawing on cinematic traditions of Hollywood, France, and Britain, the examine explores Coppola's Godfather trilogy, Jewison's Moonstruck, Nichols's nearer, Chabrol's los angeles C?r?monie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films.
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Extra resources for When Opera Meets Film
1 Don Corleone (Marlon Brando) and Bonasera (Salvatore Corsitto) in the opening scene of The Godfather. 35 This urge towards reflection might be likened to opera’s ability to encourage reflection through the unfolding of music in time. Coppola also follows the Bazinian ideal with his long takes, another way of building long scenes and creating tableaux. A famous example appears at the start of the saga. With the immortal words “I believe in America,” supplicant Bonasera is seen in close-up against a black background.
In the British drama it has ties to an upper-middleclass physician whose refined tastes are captured by the ritual. In both films, this visually expressive act on old technology conveys a sense of class, character, and operatic affiliation. Another dated form of technology, the tape recorder, appears in Chapter 4. Chabrol’s use of the device to efface visual media represents the final prong in his critique of the harmful effects of television, that pervasive (and invasive) visual medium. Another element that figures in multiple chapters involves the visit to the opera house.
The operas of Puccini receive attention in three films. The study of Moonstruck (Chapter 5) spends considerable time on La Bohème: its many musical cues in the film, the parallels between the opera and the plot, and the diegetic performance at the Metropolitan Opera. In Chapter 2, one of the two fragments of Aria that are explored uses a famous portion of Turandot, namely “Nessun dorma” and the preceding instrumental music. And Ponnelle’s film of Madama Butterfly receives extended treatment in Chapter 3.
When Opera Meets Film by Marcia J. Citron