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