Book
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Contents
- Preface
- Introduction
- Part I - 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
- Part II - The Film Score
- 6. The Leitmotif
- 7. Titles Music as Operatic Overture
- Part III - Cinema Gives Opera the Finger
- 8. Casting Opera in our Teeth: Chaplin's Carmen
- 9. Attack of the Anarchists: A Night at the Opera
- 10. Deflated and Flat: Opera in Citizen Kane
- 11. Bursting Out Into Opera: Fellini's E La Nave Va
- 12. The Charming Opera Snob in Hannah and Her Sisters
- Part IV - Wagner's Bastards
- 13. Misreading Wagner: the Politics of Lang's Siegfried
- 14. Cinema as Grand Opera: Politics, Religion and DeMille
- 15. Bombarding the Senses: Apocalypse Now
- 16. Wagnerian Images of Sound and Sensuality
- 17. Wagner's Ring Cycle for Adolescents: Star Wars
- 18. What's Opera, Doc?
- Part V - Cinema as Opera
- 19. Dizzying Illusion: Vertigo
- 20. Carmen Copies
- 21. Operastruck
- 22. Outing Opera in Philadelphia
- 23. Opera Obsession
- 24. Surrogate Voice: Maria Callas as Medea
- 25. Orpheus Reincarnated
- Part VI - Opera Returns as Cinema
- 26. Finale: Directors' Operas Notes
- Index