Cinema’s Illusions, Opera’s Allure: The Operatic Impulse in Film  4972

  • Preface
  • Introduction
  1. Appropriation of Opera in Early Cinema
    1. Silent opera: DeMille’s Carmen
    2. D. W. Griffith as a Wagnerian
    3. Stage fright: Phantom of the Opera
    4. A life at the opera
    5. Synesthesia: Alexander Nevsky as opera
  2. The Film Score
    1. The leitmotif
    2. Titles music as operatic overture
  3. Cinema Gives Opera the Finger
    1. Casting opera in our teeth: Chaplin’s Carmen
    2. Attack of the anarchists: A Night at the Opera
    3. Deflated and flat: opera in Citizen Kane
    4. Bursting out into opera: Fellini’s E la nave va
    5. The charming opera snob in Hannah and Her Sisters
  4. Wagner’s Bastards
    1. Misreading Wagner: the politics of Lang’s Siegfried
    2. Cinema as grand opera: politics, religion and DeMille
    3. Bombarding the sense: Apocalypse Now
    4. Wagnerian images of sound and sensuality
    5. Wagner’s Ring cycle for adolescents: Star Wars
    6. What’s opera, Doc?
  5. Cinema as opera
    1. Dizzying illusion: Vertigo
    2. Carmen copies
    3. Operastruck
    4. Outing opera in Philadelphia
    5. Opera obsession
    6. Surrogate voice: Maria Callas as Medea
    7. Orpheus reincarnated
  6. Opera returns as cinema
    1. Finale: directors’ operas
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