Although this book is primarily concerned with operas composed in the twentieth century, space precluding a detailed consideration of how earlier repertoire has been reassessed in modern times, the present chapter will be concerned with filmed interpretations of operas written in various epochs. The relationship between opera and that quintessentially twentieth-century art-form, cinema, has been complex and potentially fruitful – but often fraught with difficulties, both real and imagined. Traditional repertoire has been reassessed from the cinematographer's perspective, the experience having been fed back into modern stage productions; film music was from the outset profoundly influenced by operatic techniques, before it in turn came to influence operatic music; and several operas were specially composed for the screen. This chapter looks briefly at those three topics, examining filmed treatments of existing operas, the relationship between opera and film music, and the select corpus of twentieth-century operas written specifically for film or television.