Skip to main content Accessibility help
×
  • Cited by 15
Publisher:
Cambridge University Press
Online publication date:
August 2010
Print publication year:
2010
Online ISBN:
9780511781834

Book description

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 Cérémonie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films.

Reviews

'Citron provides a fascinating, detailed study of the interrelationship between opera and film across several specific films and a number of the opera/films of Jean-Pierre Ponnelle … This book will make readers want to view the films in question to consider the issues Citron explores and the subjective interpretations she employs. Even those who do not agree with her will find that they will never again view the films in the same way.'

Source: Choice

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

Bibliography
Filmography and videography
Adorno, Theodor W. “Kitsch” (1932), trans. Gillespie, Susan H., in Adorno's Essays on Music, ed. Leppert, Richard. Berkeley: University of California Press, 2002, 501–05.
Brown, Royal S. “Music in the Background” (1934), trans. Gillespie, Susan H., in Adorno's Essays on Music, ed. Leppert, Richard. Berkeley: University of California Press, 2002, 506–10.
Allanbrook, Wye.Rhythmic Gesture in Mozart: Le nozze di Figaro and Don Giovanni. Chicago: University of Chicago Press, 1983.
Altman, Rick.The American Film Musical. Bloomington: Indiana University Press, 1987.
Ashbrook, William and Powers, Harold. Puccini's Turandot: The End of the Great Tradition. Princeton: Princeton University Press, 1991.
Austin, Guy.Claude Chabrol. Manchester: Manchester University Press, 1999.
Bazin, André. “The Ontology of the Photographic Image” (1945), in Film Theory and Criticism: Introductory Readings, 7th edn., ed. Braudy, Leo and Cohen, Marshall. New York: Oxford University Press, 2009, 159–63.
Belton, John.“The Bionic Eye: Zoom Esthetics,”Cinéaste 9/1 (Winter, 1980–81): 20–27.
Bendikas, Kristina.The Opera Theatre of Jean-Pierre Ponnelle. Lewiston: Edwin Mellen Press, 2004.
Berthomieu, Pierre, Colas, Jean-Pierre, and Vassé, Claire. “Entretien avec Claude Chabrol,”Positif 416 (September, 1995): 8–14.
Bini, Daniela.“Cavalleria rusticana from Verga and Mascagni to Zeffirelli,”Forum Italicum 33/1 (1999): 95–106.
Blake, Richard A.“Surfaces.” Review of Closer, directed by Nichols, Mike, America 192/3 (January 31, 2005): 14–15.
,Bohemian Opera.com, www.bohemianopera.com (accessed December 1, 2008).
Bokina, John. “The Dialectic of Operatic Civilization: Mozart's Don Giovanni,” in Opera and Politics: From Monteverdi to Henze. New Haven: Yale University Press, 1997, 41–64.
Bordwell, David and Thompson, Kristin. Film Art: An Introduction, 5th edn. New York: McGraw Hill, 1997.
Boulez, Pierre.“Opera Houses? Blow them Up!”Opera 19/5 (1968): 440–50; English translation of “Sprengt die Opernhäuser in die Luft!” Der Spiegel 40 (1967).
Boyers, Robert, Boyers, Peg, Friedlaender, Saul, et al. “On Kitsch,”Salmagundi: A Quarterly of the Humanities and Social Sciences [issue devoted to kitsch] 85–86 (Winter–Spring, 1990): 197–312.
Branigan, Edward.Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. Approaches to Semiotics 66. Berlin: Mouton Publishers, 1984.
Braudy, Leo. “Blood in the Marketplace: The Business of Family in the Godfather Narrative,” in The Invention of Ethnicity, ed. Sollors, Werner. New York: Oxford University Press, 1989, 176–207.
Braudy, Leo.“The Sacraments of Genre: Coppola, De Palma, Scorsese,”Film Quarterly 39 (1986): 17–28.
Braudy, Leo and Cohen, Marshall. “Film Language,” in Film Theory and Criticism: Introductory Readings, 5th edn., ed. Braudy, and Cohen, . New York: Oxford University Press, 1999, 1–7.
Brèque, Jean-Michel. “Quand le théâtre de Hugo s'accomplit en mélodrame lyrique,” L'Avant-Scène Opéra 112–13 (September–October, 1988): 80–83.
Breskin, David. “Francis Coppola,” in Inner Views: Filmmakers in Conversation. Boston: Faber and Faber, 1992, 2–50.
Britain, Ian. “Sunday, Bloody Sunday,” in The Cinema of Britain and Ireland. London: Wallflower, 2005, 155–64.
Bronfen, Elisabeth.“Killing Gazes, Killing in the Gaze: On Michael Powell's Peeping Tom,” in Žižek and Salecl, Gaze and Voice as Love Objects, 59–90.
Brophy, Brigid.Mozart the Dramatist. New York: Da Capo, 1988.
Brown, Bruce Alan.W. A. Mozart: Così fan tutte. Cambridge: Cambridge University Press, 1995.
Brown, Royal S.Overtones and Undertones: Reading Film Music. Berkeley: University of California Press, 1994.
Brown, Royal S. Review of La Cérémonie, directed by Claude Chabrol, Cinéaste 22/4 (1997): 50–51.
Browne, Nick, ed. Francis Ford Coppola's The Godfather Trilogy. Cambridge Film Handbooks. Cambridge: Cambridge University Press, 2000.
Budden, Julian.“La Bohème,” in The New Grove Dictionary of Opera, Vol. i, 520.
Budden, Julian.The Operas of Verdi. Volume 1: From Oberto to Rigoletto. New York: Oxford University Press, 1973.
Burnham, Scott.“Mozart's felix culpa: Così fan tutte and the Irony of Beauty,”The Musical Quarterly 78/1 (Spring, 1994): 77–98.
Busch, Max W., ed. Jean-Pierre Ponnelle, 1932–1988. Stiftung Archiv der Akademie der Künste. Berlin: Henschel Verlag, 2002.
,Cahiers du cinéma, Special Issue on Claude Chabrol (October, 1997).
Calábria, Vera. “Jean-Pierre Ponnelle und die Kamera: Anmerkungen zu Ponnelles Umgang mit den Medien,” in Das Musiktheater in den audiovisuellen Medien: Vorträge und Gespräche des Salzburger Symposions 1999, ed. Csob, Peterádi, Gruber, Gernot, Kühnel, Jürgen, Müller, Ulrich, Panagl, Oswald, and Spechtler, Franz Viktor. Anif/Salzburg: Mueller-Speiser, 2001, 276–94.
Calinescu, Matei.Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism, rev. edn. Durham: Duke University Press, 1987.
Canby, Vincent. “Bravo, Brando's Godfather,” The New York Times (March 12, 1972), Section 10: 25.
Carolan, Mary Ann McDonald.“Italian American Women as Comic Foils: Exploding the Stereotype in My Cousin Vinny, Moonstruck, and Married to the Mob,”Literature Interpretation Theory 13 (2002): 157–61.
Carter, Tim.W. A. Mozart: Le nozze di Figaro. Cambridge: Cambridge University Press, 1987.
Cavell, Stanley. “Opera and the Lease of Voice,” in A Pitch of Philosophy: Autobiographical Exercises. Cambridge, MA: Harvard University Press, 1994, 129–70.
Chatman, Seymour.Coming to Terms. Ithaca, NY: Cornell University Press, 1990.
Chion, Michel.Audio-Vision: Sound on Screen, ed. and trans. Gorbman, Claudia. New York: Columbia University Press, 1994.
Chion, Michel. “Opéra, sirènes et sorcières” [review of Aria, produced by Don Boyd], Cahiers du cinéma 398 (July–August, 1987): 50–51.
Chion, Michel.The Voice in Cinema, trans. Gorbman, Claudia. New York: Columbia University Press, 1999.
Chiriacescu-Lüling, Sanda.Herrschaft und Revolte in Figaros Hochzeit: Untersuchung zu szenischen Realisationsmöglichkeiten des sozialkritischen Aspekts in W. A. Mozarts Die Hochzeit des Figaro anhand von sechs videogezeichneten Inszenierungen. Erlangen: Lüling, 1991.
Chusid, Martin. “Rigoletto and Monterone: A Study in Musical Dramaturgy,” Report of the 11th IMS Congress, Copenhagen 1972, ed. Glahn, Henrik, Sørensen, Søren, and Ryom, Peter. Copenhagen: Edition W. Hansen, 1974, 325–36.
Citron, Marcia J. “The Elusive Voice: Absence and Presence in Jean-Pierre Ponnelle's Film Le nozze di Figaro,” in Joe, and Theresa, , Between Opera and Cinema, 133–54.
Citron, Marcia J“Feminist Waves and Classical Music: Pedagogy, Performance, Research,”Women and Music 8 (2004): 47–60.
Citron, Marcia J“‘An Honest Contrivance’: Opera and Desire in Moonstruck,”Music and Letters 89/1 (February, 2008): 56–83.
Citron, Marcia J“A Night at the Opera: Zeffirelli's Otello and the Genre of Film-Opera,”Musical Quarterly 78/4 (Winter, 1994): 700–41.
Citron, Marcia J,“Opera and the Media,” in The Oxford Handbook of Opera, ed. Greenwald, Helen M.. New York: Oxford University Press, 2011.
Citron, Marcia JOpera on Screen. New Haven: Yale University Press, 2000.
Citron, Marcia J“Operatic Style and Structure in Coppola's Godfather Trilogy,”The Musical Quarterly 87/3 (Fall, 2004): 423–67.
Citron, Marcia J“The Performance of Vision in Peter Sellars's Television Film of Così fan tutte,” in Music, Sensation, and Sensuality, ed. Austern, Linda. New York and London: Routledge, 2002, 213–30.
Citron, Marcia J“‘Soll ich lauschen?’: Love-Death in Humoresque,” in Joe, and Gilman, , Wagner and Cinema, 167–85.
Conrad, Peter.“Mascagni's Cavalleria rusticana: Realism or Ritual?” liner notes to Pietro Mascagni, Cavalleria rusticana, CD (1990), DGG 429568-2, 7–10.
Conrad, Peter.A Song of Love and Death. St. Paul: Graywolf Press, 1996.
Cook, Nicholas.Analysing Musical Multimedia. Oxford: Oxford University Press, 1998.
Cooke, Mervyn.A History of Film Music. Cambridge: Cambridge University Press, 2008.
Corliss, Richard. “Opera for the Inoperative,” review of Aria, produced by Boyd, Don, Time (May 2, 1988).
Cormack, Mike.“The Pleasures of Ambiguity: Using Classical Music in Film,” in Powrie, and Stilwell, , Changing Tunes, 19–30.
Corman, Roger.“Critics' Top Ten: The Godfather,”Sight and Sound 12/9 (September, 2002): 35.
Dargis, Manohla.“Dark Side of the Dream,”Sight and Sound 6/8 (August, 1996): 16–18.
Davison, Annette.Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. Aldershot: Ashgate, 2004.
Day, William.“Moonstruck, or How to Ruin Everything,” in Ordinary Language Criticism: Literary Thinking after Cavell after Wittgenstein, ed. Dauber, Kenneth and Jost, Walter. Evanston: Northwestern University Press, 2003, 315–28.
Santi, Pier Marco.La musica di Nino Rota. Rome and Bari: Laterza, 1983.
Denby, David. “Cold Maids,” review of La Cérémonie, directed by Claude Chabrol, New York Magazine 30 (January 20, 1997): 60–61.
Denby, David“Going to the Movies: The Two Godfathers,”Partisan Review 43/1 (1976): 113–18.
Dibdin, Michael.Così fan tutti. New York: Vintage Books, 1996.
Dickinson, Kay.Off Key: When Film and Music Won't Work Together. New York: Oxford University Press, 2008.
Doane, Mary Ann.The Desire to Desire: The Woman's Film of the 1940s. Bloomington: Indiana University Press, 1987.
Dolinszky, Niklós.“‘O cambio felice’: Bruch und Isolation in Così fan tutte,”Musik und Ästhetik 8/29 (2004): 15–33.
Dorfles, Gillo.Kitsch: The World of Bad Taste. New York: Universe Books, 1969.
Drabkin, William. “The Musical Language of La Bohème,” in Giacomo Puccini: La Bohème, ed. Groos, Arthur and Parker, Roger. Cambridge: Cambridge University Press, 1986, 80–101.
Ebert, Roger. Review of Aria, produced by Boyd, Don, Chicago Sun-Times (July 1, 1988).
Ebert, Roger. Review of The Godfather Part iii, directed by Coppola, Francis Ford, Chicago Sun-Times (December 25, 1990).
Ebert, Roger. Review of Moonstruck, directed by Jewison, Norman, Chicago Sun-Times (January 15, 1988), available online at www.rogerebert.com (accessed May 24, 2006).
Ellis, John. “Broadcast TV as Sound and Image,” in Film Theory and Criticism: Introductory Readings, 5th edn., ed. Braudy, Leo and Cohen, Marshall. New York: Oxford University Press, 1999, 385–94.
Ellis, John.“Entretien avec Francis Ford Coppola,”Cahiers du cinéma 442 (April, 1991): 26–30.
Fabian, Imre.Imre Fabian im Gespräch mit Jean-Pierre Ponnelle. Zürich: Orell Fussli, 1983.
Fawkes, Richard.Opera on Film. London: Duckworth, 2000.
Ferraro, Thomas J. “Blood in the Marketplace: The Business of Family in the Godfather Narratives,” in The Invention of Ethnicity, ed. Sollors, Werner. New York: Oxford University Press, 1989, 176–208.
Gorbman, Claudia.“‘My Way’ in ‘Our America’: Art, Ethnicity, Profession,”American Literary History 12/3 (2000): 499–522.
Flinn, Caryl. “Embracing Kitsch: Werner Schroeter, Music, and The Bomber Pilot,” in Film Music: Critical Approaches, ed. Donnelly, K. J.. New York: Continuum, 2001, 129–51.
Flinn, Caryl.Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. Princeton: Princeton University Press, 1992.
Franke, Lars.“The Godfather Part iii: Film, Opera, and the Generation of Meaning,” in Powrie, and Stilwell, , Changing Tunes, 31–45.
Franklin, Peter. “Movies as Opera (Behind the Great Divide),” in Tambling, A Night in at the Opera, 77–112.
Freud, Sigmund. “The Uncanny,” in Art and Literature, ed. Strachey, James and Dickson, Albert. Harmondsworth: Penguin, 1985, 335–76.
Giles, Paul. “Criminal Politics: Edwin O'Connor, George V. Higgins, William Kennedy, Mario Puzo, Francis Ford Coppola,” in American Catholic Arts and Fictions: Culture, Ideology, Aesthetics. New York: Cambridge University Press, 1992, 464–503.
Gilliatt, Penelope.Sunday, Bloody Sunday. New York: The Viking Press, 1971.
Girardi, Michele.“Cavalleria rusticana,” in The New Grove Dictionary of Opera, Vol. i, 782.
Gitlin, Todd.“On the Popularity of The Godfather,”Performance 4 (September–October, 1972): 37–42.
Goehring, Edmund J.Three Modes of Perception in Mozart: The Philosophical, Pastoral, and Comic in Così fan tutte. Cambridge: Cambridge University Press, 2004.
Goldmark, Daniel, Kramer, Lawrence, and Leppert, Richard, eds. Beyond the Soundtrack: Representing Music in Cinema. Berkeley: University of California Press, 2007.
Goodheart, Eugene. From Symposium “On Kitsch,” Salmagundi: A Quarterly of the Humanities and Social Sciences 85–86 (Winter–Spring, 1990): 221–26.
Goodwin, Andrew.Dancing in the Distraction Factory: Music Television and Popular Culture. Minneapolis: University of Minnesota Press, 1992.
Gorbman, Claudia. “Ears Wide Open: Kubrick's Music,” in Powrie, and Stilwell, , Changing Tunes, 3–18.
Gorbman, Claudia.Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press, 1987.
Grant, Edmond.“Godfather iii,”Films in Review 4/2 (March–April, 1991): 102–07.
Greene, Naomi.“Family Ceremonies; or, Opera in The Godfather Trilogy,” in Browne, Francis Ford Coppola's The Godfather Trilogy, 146–51.
Greenfield, Edward. “The Music of La Bohème,” in La Bohème: Giacomo Puccini. ENO Opera Guide. London: John Calder, 1982, 27–32.
Greenwald, Helen M. “Issues of Authenticity in Two Films of Madama Butterfly: Ponnelle (1974) and Mitterand (1995),” in Das Musiktheater in den audiovisuellen Medien: Vorträge und Gespräche des Salzburger Symposions 1999, ed. Csob, Peterádi, Gruber, Gernot, Kühnel, Jürgen, Müller, Ulrich, Panagl, Oswald, and Spechtler, Franz Viktor. Anif/Salzburg: Mueller-Speiser, 2001, 295–305.
Greenwald, Helen M.“Picturing Cio-Cio San: House, Screen, and Ceremony in Puccini's Madama Butterfly,”Cambridge Opera Journal 12/3 (November, 2000): 237–59.
Grover-Friedlander, Michal.Operatic Afterlives. New York: Zone Press, 2011.
Grover-Friedlander, Michal.“‘The Phantom of the Opera’: The Lost Voice of Opera in Silent Film,”Cambridge Opera Journal 11/2 (1999): 179–92.
Grover-Friedlander, Michal.Vocal Apparitions: The Attraction of Cinema to Opera. Princeton: Princeton University Press, 2005.
Guérin, Marie-Anne.“Entretien avec Claude Chabrol,”Cahiers du cinéma 494 (September, 1995): 27–32.
Guérin, Marie-Anne and Taboulay, Camille. “La Connivence: Entretien avec Isabelle Huppert,” Cahiers du cinéma, Special Issue on Chabrol (October, 1997): 66.
Gural-Migdal, Anna.“La Représentation de la femme dans le cinéma français des vingt dernières années: Sans toit ni loi, Nelly et M. Arnaud, La Cérémonie,”Women in French Studies 9 (2001): 193–206.
Haskell, Molly.“The Godfather Part ii: The Corleone Saga Sags,”The Village Voice (December 23, 1974): 88–89.
Hatch, Robert. Review of Sunday, Bloody Sunday, directed by Schlesinger, John, The Nation (October 18, 1971): 382.
Henderson, Brian.“The Long Take,” in Movies and Methods: An Anthology, Vol. i, ed. Nichols, Bill. Berkeley: University of California Press, 1976, 314–24.
Hess, John.“Godfather ii: A Deal Coppola Couldn't Refuse,” in Movies and Methods: An Anthology, Vol. i, ed. Nichols, Bill. Berkeley: University of California Press, 1976, 81–90.
Heurig, David.“Gordon Willis to Receive ASC Lifetime Achievement Award,”American Cinematographer 76/2 (February, 1995): 44–47.
Heyworth, Peter.“Klemperer, Otto,” in The New Grove Dictionary of Opera, 4 vols., Vol. ii, 1006.
Himmelstein, Hal. “Ken Russell,” in website of The Museum of Broadcast Communications, www.museum.tv/archives/etc/R/htmlR/russellken/russellken.htm (accessed March 28, 2008).
Horowitz, Joseph.Post-Classical Predicament: Essays on Music and Society. Boston, MA: Northeastern University Press, 1995.
Howe, Desson. “Cérémonie: Maid to Order,” review of La Cérémonie, directed by Chabrol, Claude, The Washington Post (January 10, 1997).
Hunter, Mary.The Culture of Opera Buffa in Mozart's Vienna: A Poetics of Entertainment. Princeton: Princeton University Press, 1999.
Hunter, Mary.“Opera in Film – Sentiment and Wit, Feeling and Knowing: The Shawshank Redemption and Prizzi's Honor,” in Joe and Theresa, Between Opera and Cinema, 93–120.
Hutcheon, Linda and Michael, . Bodily Charm: Living Opera. Lincoln: University of Nebraska Press, 2000.
Kael, Pauline.“Interview with Christopher Alden,”Opera Cues [Houston Grand Opera Magazine] 39/2 (Winter, 1999): 17.
Hutcheon, Linda“Interview with Patrick Marber,”Creative Screenwriting 11/6 (November–December, 2004): 34–35.
Iotti, Gianni. “Le metamorfosi di Triboulet,” in Il senso del nonsenso, ed. Moretti, Monique, Cappellati, Mireille, and Martinez, Odile. Naples: Edizioni Schientifiche Italiane, 1994, 299–304.
Jacobowitz, Florence.“La Cérémonie: ‘The Last Marxist Film’ by Claude Chabrol,”Cineaction 39 (1995): 36–43.
Jaehne, Karen.“The Godfather Part iii,”Cinéaste 18/2 (1991): 41–43.
Joe, Jeongwon.“Don Boyd's Aria: A Narrative Polyphony between Music and Image,”Journal of Musicological Research 18/4 (1999): 347–69.
Joe, Jeongwon. “Opera on Film, Film in Opera: Postmodern Implications of the Cinematic Influence on Opera,” Ph.D. diss., Northwestern University, 1998.
Joe, Jeongwon.“Reconsidering Amadeus: Mozart as Film Music,” in Powrie and Stilwell, Changing Tunes, 57–73.
Joe, Jeongwon and Theresa, Rose, eds. Between Opera and Cinema. New York: Routledge, 2002.
Joe, Jeongwon and Gilman, Sander, eds. Wagner and Cinema. Bloomington: Indiana University Press, 2010.
Jones, Kent.“Mythmaker Francis Ford Coppola: The Great Conductor of American Cinema,”Film Comment 38/2 (March–April, 2002): 30–36.
Jousse, Thierry.“Cinq motifs pour Claude Chabrol,”Cahiers du cinéma 494 (September, 1995): 34–35.
Kael, Pauline.Deeper into Movies. Boston: Atlantic Monthly Press, 1973.
Kael, Pauline.For Keeps: 30 Years at the Movies. New York: Dutton, 1994.
Kaminsky, Stuart M.“Use and Abuse of the Zoom Lens,”Filmmakers Newsletter 5/12 (October, 1972): 20–23.
Kane, John. Review of The Godfather, directed by Coppola, Francis Ford, Take One (March–April, 1972): 27.
Kaplan, E. Ann.Rocking around the Clock: Music Television, Postmodernism, and Consumer Culture. New York: Routledge, 1987.
Kassabian, Anahid. “Songstruck: Rethinking Identifications in Romantic Comedies,” www.latrobe.edu.au/screeningthepast/firstrelease/fr_18/AKfr18a.html (accessed May 10, 2006).
Katz, Mark.Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press, 2004.
Kauffmann, Stanley.Review of Closer, directed by Mike Nichols, The New Republic 231/26–28 (December 27, 2004): 28–29.
Kerman, Joseph.Opera as Drama, rev. edn. Berkeley: University of California Press, 1988.
Kierkegaard, Søren. “The Immediate Erotic Stages or the Musical-Erotic,” in Either/Or, Part i (1843), ed. and trans. Hong, Howard V. and Hong, Edna H.. Princeton: Princeton University Press, 1987, 45–135.
Koestenbaum, Wayne.The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire. New York: Poseidon Press, 1993.
Kolker, Robert Phillip. “Leave the Gun, Take the Cannoli: Francis Ford Coppola,” in A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman. New York: Oxford University Press, 1980, 139–205.
Kramer, Lawrence.Music as Cultural Practice, 1800–1900. Berkeley: University of California Press, 1990.
Kramer, Lawrence.Opera and Modern Culture: Wagner and Strauss. Berkeley: University of California Press, 2004.
Krapp, John.“Ideology, Rhetoric, and Blood-Ties: From The Oresteia to The Godfather,”Mosaic 32/1 (March, 1999): 1–16.
Kuhn, Bernhard.“The Film-Opera Aida (1953): Intermediality and Operatics,”Journal of Adaptation in Film and Performance Studies 2/1 (2009): 19–33.
Kuhn, Bernhard.Die Oper im italienischen Film. Essen: Die Blaue Eule, 2005.
Kulka, Thomas.Kitsch and Art. University Park: Pennsylvania State University Press, 1996.
Kunze, Stefan.Mozarts Opern. Stuttgart: Reclam, 1984.
Kunze, Stefan.“Über das Verhältnis von musikalisch autonomer Struktur und Textbau in Mozarts Opern: Das Terzettino ‘Soave sia il vento’ (Nr. 10) aus Così fan tutte,”Mozart-Jahrbuch 1973– 74 (1975): 217–32.
Lane, Anthony.“Partners.” Review of Closer, directed by Nichols, Mike, The New Yorker 80/39 (December 13, 2004): 107.
Large, Brian. “Gespräch mit Brian Large über Probleme der Oper im Fernsehen,” in Das Musiktheater in den audiovisuellen Medien: Vorträge und Gespräche des Salzburger Symposions 1999, ed. Csobádi, Peter, Gruber, Gernot, Kühnel, Jürgen, Müller, Ulrich, Panagl, Oswald, and Spechtler, Franz Viktor. Anif/Salzburg: Mueller-Speiser, 2001, 44–59.
Leicester, H. Marshall.“Discourse and the Film Text: Four Readings of Carmen,”Cambridge Opera Journal 6/3 (November, 1994): 245–82.
Leppert, Richard.“Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo,” in Goldmark, Kramer, and Leppert, , Beyond the Soundtrack, 99–119.
Levin, David J.“Is There a Text in This Libido? Diva and the Rhetoric of Contemporary Opera Criticism,” in Joe, and Theresa, , Between Opera and Cinema, 121–32.
Levine, James.“Jean-Pierre Ponnelle (1932–1988): An Appreciation,”Opera 39 (1988): 1284–86.
Levinson, Jerrold. “Film Music and Narrative Agency,” in Post-Theory: Reconstructing Film Studies, ed. Bordwell, David and Carroll, Noel. Madison: University of Wisconsin Press, 1996, 248–82.
Levinson, Jerrold. “Philosophical Aesthetics: An Overview,” in The Oxford Handbook of Aesthetics, ed. Levinson, . New York: Oxford University Press, 2003, 3–24.
Lindenberger, Herbert. “Opera/Orientalism/Otherness,” in Opera in History: From Monteverdi to Cage. Stanford: Stanford University Press, 1998, 160–90.
Lippucci, Alessandra.“Social Theorizing on the Operatic Stage: Jean-Pierre Ponnelle's Postmodern Humanist Production of Verdi's La traviata,”Text and Performance Quarterly 12/3 (July, 1992): 245–73.
Lo, Kii-Ming. “Der Opernfilm als Erweiterung der Bühne: Versuch einer Theorie an Hand von Jean-Pierre Ponnelles Rigoletto,” in Das Musiktheater in den audiovisuellen Medien: Vorträge und Gespräche des Salzburger Symposions 1999, ed. Csobádi, Peter, Gruber, Gernot, Kühnel, Jürgen, Müller, Ulrich, Panagl, Oswald, and Spechtler, Franz Viktor. Anif/Salzburg: Mueller-Speiser, 2001, 254–63.
Locke, Ralph.“Beyond the Exotic: How ‘Eastern’ is Aida?”Cambridge Opera Journal 17/2 (July, 2005): 105–40.
Locke, Ralph.“A Broader View of Musical Exoticism,”The Journal of Musicology 24/4 (Fall, 2007): 477–521.
Lombardi, Francesco.Fra cinema e musica del novecento: Il caso Nino Rota – dai documenti. Venice: Leo S. Olschki, 2000.
Lourdeaux, Lee.Italian and Irish Filmmakers in America: Ford, Capra, Coppola, Scorsese. Philadelphia: Temple University Press, 1990.
Macauley, Alastair. “Dramatic Tension Building and, Oh Yes, Can You Name That Soprano?” The New York Times (October 18, 2007).
Magny, Joël.“C'est Mozart qu'on assassine,”Cahiers du cinéma, Special Issue on Chabrol (October, 1997): 78–81.
Magny, Joël.“Chabrol–Huppert: Absence et omniprésence,”L'Avant-Scène Cinéma 551 (April, 2006): 23–24.
Magny, Joël.“Conseil de famille: Le Parrain iii,”Cahiers du cinéma 442 (April, 1991): 22–25.
Magny, Joël and Chabrol, Claude. “Questions de mise en scène,”Cahiers du cinéma, Special Issue on Chabrol (October, 1997): 46–51.
Mancini, Roland. “Le Vérisme, existe-t-il?,” L'Avant-Scène Opéra 50 [issue on Cavalleria rusticana and I Pagliacci] (1983): 4–13.
Marber, Patrick.Plays 1: Dealer's Choice, After Miss Julie, Closer. London: Methuen Drama, 2004.
Marino, Jim.“‘I Wanted to Be a Good American’: The Godfather Paradox,”Voices in Italian Americana 9/1 (Spring, 1998): 17–28.
Marker, Frederick J. and Marker, Lise-Lone. “Retheatricalizing Opera: A Conversation with Jean-Pierre Ponnelle,”Opera Quarterly 3/2 (Summer, 1985): 25–44.
Maslin, Janet. “Maid Is Hired: Danger Is Served,” review of La Cérémonie, directed by Chabrol, Claude, The New York Times (December 20, 1996), http://movies.nytimes.com/movie/review?_r=1&res=9C0DE0DE1431F933A15751C1A960958260&scp=1&sq=la%20ceremonie%20movie%20review&st=cse (accessed April 20, 2007).
,Review of Quadrophenia, directed by Roddam, Franc, The New York Times (November 2, 1979).
Mayne, Judith.“Female Criminality and Servitude in Claude Chabrol's La Cérémonie,” in Lesbians, Feminists, and Media Culture. Minneapolis: University of Minnesota Press, 2000, 23–39.
McGrath, Charles. “Mike Nichols, Master of Invisibility,” The New York Times (April 12, 2009), Arts and Leisure section: 1, 9.
Midgette, Anne. “Spy vs. Spy on an Operatic Scale: Quantum of Solace,” The Washington Post (November 14, 2008), C1.
Minganti, Franco.“The Hero with a Thousand Faces: Michele, Mike, Michael Corleone,”Rivista di studi Anglo-Americani 3/4–5 (1984–85): 257–68.
Monaco, James.How to Read a Film: Movies, Media, Multimedia, 3rd edn. Oxford: Oxford University Press, 2000.
Morris, Mitchell. “Reading as an Opera Queen,” in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. Solie, Ruth A.. Berkeley: University of California Press, 1993, 184–200.
Norris, Chris.Review of Closer, directed by Mike Nichols, Film Comment 41/1 (January–February, 2005): 72–73.
Osthoff, Wolfgang.“The Musical Characterization of Gilda,”Verdi: Bollettino dell' Istituto di Studi Verdiani 3/8 (1973): 1275–1314.
Osthoff, Wolfgang.“Le Parrain,”La Revue du cinéma 276–77 (October, 1973): 279–80.
Osthoff, Wolfgang.“Le Parrain ii,”La Revue du cinéma 309–10 (October, 1976): 275–76.
Osthoff, Wolfgang.“Le Parrain i, ii, iii de Francis Ford Coppola,”Cahiers du cinéma, Special Issue (December, 2001): 54.
Paulin, Scott D.“Unheard Sexualities? Queer Theory and the Soundtrack,”Spectator 17/2 (1997): 36–49.
Pechter, William S.“Keeping up with the Corleones,”Commentary 54 (July, 1972): 88–91.
Persché, Gerhard.“Lauter Mesalliancen? Welche Oper für welchen Film?”Opernwelt 25/12 (1984): 64–65.
Petrobelli, Pierluigi. “Verdi and Don Giovanni: On the Opening Scene of Rigoletto,” in Music in the Theater: Essays on Verdi and Other Composers, trans. Parker, Roger. Princeton: Princeton University Press, 1994, 34–47.
Phelps, Guy.“Omnibus, or ‘What's Opera, Doc?’,”Sight and Sound 56/3 (Summer, 1987): 188–89, 192.
Pilard, Philippe.“Cinéma brittanique: la fin des tabous?”L'Ecran amoureux (2003): 123–29.
Pilard, Philippe.“Un Dimanche comme les autres,”CinemAction 114 (2005): 180–83.
Pizzello, Stephen.“The Godfather DVD Collection,”American Cinematographer 83/1 (January, 2002): 14–16.
Poizat, Michel.The Angel's Cry: Beyond the Pleasure Principle in Opera, trans. Denner, Arthur. Ithaca, NY: Cornell University Press, 1992.
Polack, Jean-Claude.“Chabrol and the Execution of the Deed,” trans. Michelson, Annette, October 98 (Fall, 2001): 77–92.
Porter, Andrew. “Verdi,” in The New Grove Dictionary of Music and Musicians, Vol. xix. London: Macmillan, 1980, 641.
Powrie, Phil and Stilwell, Robynn, eds. Changing Tunes: The Use of Pre-Existing Music in Film. Aldershot: Ashgate, 2006.
Quart, Leonard and Auster, Albert. Review of The Godfather Part ii, directed by Francis Ford Coppola, Cinéaste 5/4 (1975): 38–39.
Rajewsky, Irina O.Intermedialität. Tübingen: Francke, 2002.
Rendell, Ruth.A Judgement in Stone. New York: Vintage Books, 2000.
Rieger, Eva.Alfred Hitchcock und die Musik: Eine Untersuchung zum Verhältnis von Film, Musik und Geschlecht. Bielefeld: Kleine, 1996.
Robinson, Paul, “Is Aida an Orientalist Opera?”Cambridge Opera Journal 5/2 (1993): 133–40.
Rodman, Ronald. “The Popular Song as Leitmotif in 1990s Film,” in Powrie, and Stilwell, , Changing Tunes, 119–36.
Rosenbaum, Jonathan. Liner notes to La Cérémonie, directed by Chabrol, Claude, DVD (2004). Home Vision Entertainment CER 010.
Rosenbaum, Jonathan.Review of The Godfather Part ii, directed by Francis Ford Coppola, Sight and Sound 44/3 (Summer, 1975): 187–88.
Roulston, Helen H.“Opera in Gangster Movies: From Capone to Coppola,”Journal of Popular Culture 32/1 (Summer, 1998): 99–102.
Rowe, Kathleen.“Masculinity and Melodrama in Postclassical Romantic Comedy,” in The Unruly Woman: Gender and the Genres of Laughter. Austin: University of Texas Press, 1995, 191–212.
Rushton, Julian.W. A. Mozart: Don Giovanni. Cambridge: Cambridge University Press, 1981.
Russell, Ken.Altered States: The Autobiography of Ken Russell. London: William Heinemann, 1989.
Said, Edward. “Così fan tutte at the Limits,” in On Late Style: Music and Literature against the Grain. New York: Vintage Books, 2006, 48–72.
Said, Edward.Culture and Imperialism. New York: Vintage Books, 1994.
Said, Edward.Orientalism. New York: Vintage Books, 1978.
Sansone, Matteo.“Verga and Mascagni: The Critics' Response to Cavalleria rusticana,”Music and Letters 71/2 (May, 1990): 198–214.
Schroeder, David.Cinema's Illusions, Opera's Allure: The Operatic Impulse in Film. New York: Continuum, 2002.
Shanley, John Patrick.Screenplays: Moonstruck, Joe versus the Volcano, Five Corners. New York: Grove Press, 1996.
Sheppard, W. Anthony.“Review of the Metropolitan Opera's New HD Movie Theater Broadcasts,”American Music 25/3 (2007): 383–87.
Silverman, Deborah Anders.“Coppola, Cavalleria, and Connick: Musical Contributions to Epic in The Godfather, Part iii,”The Mid-Atlantic Almanack (The Journal of the Mid-Atlantic Popular/American Culture Association) 1 (1992): 26–40.
Silverman, Kaja.The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press, 1988.
Silverstein, Norman.“The Godfather – a Year Later: An Examination of the Movie's Internal Structure,”Italiana Americana 1/2 (1974): 105–17.
Simon, William.“An Analysis of the Structure of The Godfather, Part One,”Studies in the Literary Imagination 16/1 (Spring, 1983): 75–90.
Sobchak, Vivian. “Phenomenology and the Film Experience,” in Williams, Viewing Positions, 36–58.
Solomon, Roxanne Elizabeth. “A Critical Study of Franco Zeffirelli's La traviata,” D.Ed. diss., Columbia University Teachers College, 1987.
Spoto, Donald.The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures. New York: Hopkinson and Blake, 1976.
Steinberg, Michael P.The Meaning of the Salzburg Festival: Austria as Theater and Ideology, 1890–1938. Ithaca, NY: Cornell University Press, 1990.
Steptoe, Andrew. “Così fan tutte and Contemporary Morality,” in The Mozart–Da Ponte Operas: Cultural Background to Le nozze di Figaro, Don Giovanni, and Così fan tutte. Oxford: Clarendon Press, 1988, 121–39.
Stilwell, Robynn. “The Fantastical Gap between Diegetic and Nondiegetic,” in Beyond the Soundtrack: Representing Music in Cinema, ed. Goldmark, Daniel, Kramer, Lawrence, and Leppert, Richard. Berkeley: University of California Press, 2007, 184–204.
Stilwell, Robynn. “Vinyl Communion: The Record as Ritual Object in Girls' Rites-of-Passage Films,” in Powrie and Stilwell, Changing Tunes, 152–66.
Strauss, Frédéric.“Lesdits commandements,”Cahiers du cinéma 494 (September, 1995): 24–26.
Tambling, Jeremy.“Introduction: Opera in the Distraction Culture,” in A Night in at the Opera, 3–5.
Tambling, Jeremy. ed. A Night in at the Opera: Media Representations of Opera. London: John Libbey, 1994.
Tambling, Jeremy.Opera, Ideology and Film. New York: St. Martin's Press, 1987.
Thomas, Deborah. “‘Knowing One's Place’: Frame-Breaking, Embarrassment, and Irony in La Cérémonie (Claude Chabrol, 1995),” in Style and Meaning: Studies in the Detailed Analysis of Film, ed. Gibbs, John and Pye, Douglas. Manchester: Manchester University Press, 2001, 167–78.
Tibbetts, John C.Composers in the Movies. New Haven: Yale University Press, 2005.
Till, Nicholas.Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas. New York: W. W. Norton, 1992.
Tuck, Lon. “A Million-Dollar TV Figaro [by Ponnelle] that Improves on the Original,” The Washington Post (October 5, 1977).
Turim, Maureen.Flashbacks in Film: Memory and History. New York and London: Routledge, 1989.
Watson, William.“Shakespeare, Zeffirelli, and the Homosexual Gaze,”Literature/Film Quarterly 20/4 (1992): 308–25.
Vitoux, Frédéric.“Une Gigantesque Métaphore,”Positif 146 (January, 1973): 77–79.
Vitoux, Frédéric.“Les Commentaires de la guerre des gangs ou l'Amérique ordinaire,” review of The Godfather Part ii, directed by Francis Ford Coppola, Positif 173 (September, 1975): 60–62.
Vogelsang, Judith.“Motifs of Image and Sound in The Godfather,”The Journal of Popular Film 2/2 (Spring, 1973): 115–35.
Volpe, Joseph.The Toughest Show on Earth: My Rise and Reign at the Metropolitan Opera. New York: Alfred A. Knopf, 2006.
Buchau, Stephanie.“Jean-Pierre Ponnelle: The Sensual Stylist,”Opera News (September, 1979): 13–16, 19.
Walker, Alexander.National Heroes: British Cinema in the Seventies and Eighties. London: Harrap, 1985.
Weiner, Marc A. “Why Does Hollywood Like Opera?,” in Joe, and Theresa, , Between Opera and Cinema, 75–91.
White, Jonathan.“Opera, Politics, and Television: Bel canto by Satellite,” in Tambling, A Night in at the Opera, 267–96.
Willaschek, Wolfgang, ed. Jean-Pierre Ponnelle: Arbeiten für Salzburg 1968–1988. Salzburg: Salzburg Festspiele, 1989.
Williams, Linda, ed.Viewing Positions: Ways of Seeing Film. New Brunswick: Rutgers University Press, 1997.
Wilson, Alexandra.The Puccini Problem: Opera, Nationalism, and Modernity. Cambridge: Cambridge University Press, 2007.
Wlaschin, Ken.Encyclopedia of Opera on Screen: A Guide to More than 100 Years of Opera Films, Videos, and DVDs. New Haven: Yale University Press, 2004.
Wojcik, Pamela Robertson. “The Girl and the Phonograph; or, The Vamp and the Machine Revisited,” in Soundtrack Available: Essays on Film and Popular Music, ed. Wojcik, and Knight, Arthur. Durham, NC: Duke University Press, 2001, 433–54.
Wolf, Werner. “Intermedialität: Ein weites Feld und eine Herausforderung für die Literaturwissenschaft,” in Literaturwissenschaft: Intermedial-Interdisziplinär, ed. Foltinek, Herbert and Leitgeb, Christoph. Vienna: Österreichische Akademie der Wissenschaften, 2002, 163–92.
Wolf, Werner. “Intermediality Revisited: Reflections on Word and Music Relations in the Context of a General Typology of Intermediality,” in Word and Music Studies: Essays in Honor of Steven Paul Scher and on Cultural Identity and the Musical Stage, ed. Suzanne M. Lodato, Suzanne Aspden, and Bernhart, Walter. Amsterdam: Rodopi, 2002, 13–34.
Wolf, Werner.The Musicalization of Fiction: A Study in the Theory and History of Intermediality. Amsterdam: Rodopi, 1999.
Žižek, Slavoj, “‘I Hear You with My Eyes’; or, The Invisible Master,” in Žižek, and Salecl, , Gaze and Voice as Love Objects, 90–128.
Žižek, Slavoj and Salecl, Renata, eds. Gaze and Voice as Love Objects. Durham, NC: Duke University Press, 1996.
Zywietz, Michael.“‘Meerestille’ und ‘Glückliche Fahrt’: Das Terzettino ‘Soave sia il vento’ aus Wolfgang Amadeus Mozarts Così fan tutte,”Acta Mozartiana 47/3–4 (2000): 72–84.

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.