"Cinéma et opéra." . . . . "OPERA IN FILMS" . . "Opera in musica Riduzioni cinematografiche." . . "Verfilmung." . . "OPERA FILMS" . . "Performing Arts." . . "Cinematografo e opera in musica." . . "Films musicaux Histoire et critique." . . "Film musicali." . . "Oper." . . . . "Drawing on cinematic traditions of Hollywood, France, and Britain, this book investigates the relationship between opera and film." . . . "Electronic books" . "Electronic books"@en . . . . . . . . . . "Criticism, interpretation, etc" . "Criticism, interpretation, etc"@en . . . . . . . . . . . . . . "\"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\"--" . "\"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\"--"@en . . . . . . . . . . "Film adaptations" . . "When opera meets film" . . . . . . . . . . . "When Opera Meets Film"@en . "When Opera Meets Film" . . . . "MyiLibrary Ltd." . . "Films musicaux." . . "Musikfilm." . . "DESIRE IN FILMS" . . "Opéra au cinéma." . . "Film." . . "Cinéma Esthétique." . . "SUBJECTIVE NARRATIVE" . . "Fine Arts." . . "MUSIC Reference." . . "MUSIC Genres & Styles Classical." . .