Library Catalog
Amazon cover image
Image from Amazon.com

Vocal Apparitions : The Attraction of Cinema to Opera / Michal Grover-Friedlander.

By: Material type: TextTextSeries: Princeton Studies in Opera ; 37Publisher: Princeton, NJ : Princeton University Press, [2014]Copyright date: ©2005Description: 1 online resource (216 p.) : 10 line illus. 24 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9780691120089
  • 9781400866748
Subject(s): DDC classification:
  • 791.43/657 22
LOC classification:
  • ML2100 .G76 2005eb
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- Part I. Silent Voices -- CHAPTER 1. The Phantom of the Opera: The Lost Voice of Opera in Silent Film -- CHAPTER 2. Brothers at the Opera -- PART II. VISIONS OF VOICES -- CHAPTER 3. Otello's One Voice -- CHAPTER 4. Falstaff 's Free Voice -- PART III. REMAINS OF THE VOICE -- CHAPTER 5. Opera on the Phone: The Call of the Human Voice -- CHAPTER 6. Fellini's Ashes -- NOTES -- INDEX
Summary: Cinema and opera have become intertwined in a variety of powerful and unusual ways. Vocal Apparitions tells the story of this fascinating intersection, interprets how it occurred, and explores what happens when opera is projected onto the medium of film. Michal Grover-Friedlander finds striking affinities between film and opera--from Lon Chaney's classic silent film, The Phantom of the Opera, to the Marx Brothers' A Night at the Opera to Fellini's E la nave va. One of the guiding questions of this book is what occurs when what is aesthetically essential about one medium is transposed into the aesthetic field of the other. For example, Grover-Friedlander's comparison of an opera by Poulenc and a Rossellini film, both based on Cocteau's play The Human Voice, shows the relation of the vocal and the visual to be surprisingly affected by the choice of the medium. Her analysis of the Marx Brothers' A Night at the Opera demonstrates how, as a response to opera's infatuation with death, cinema comically acts out a correction of opera's fate. Grover-Friedlander argues that filmed operas such as Zeffirelli's Otello and Friedrich's Falstaff show the impossibility of a direct transformation of the operatic into the cinematic. Paradoxically, cinema at times can be more operatic than opera itself, thus capturing something essential that escapes opera's self-understanding. A remarkable look at how cinema has been haunted--and transformed--by opera, Vocal Apparitions reveals something original and important about each medium.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781400866748

Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- Part I. Silent Voices -- CHAPTER 1. The Phantom of the Opera: The Lost Voice of Opera in Silent Film -- CHAPTER 2. Brothers at the Opera -- PART II. VISIONS OF VOICES -- CHAPTER 3. Otello's One Voice -- CHAPTER 4. Falstaff 's Free Voice -- PART III. REMAINS OF THE VOICE -- CHAPTER 5. Opera on the Phone: The Call of the Human Voice -- CHAPTER 6. Fellini's Ashes -- NOTES -- INDEX

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Cinema and opera have become intertwined in a variety of powerful and unusual ways. Vocal Apparitions tells the story of this fascinating intersection, interprets how it occurred, and explores what happens when opera is projected onto the medium of film. Michal Grover-Friedlander finds striking affinities between film and opera--from Lon Chaney's classic silent film, The Phantom of the Opera, to the Marx Brothers' A Night at the Opera to Fellini's E la nave va. One of the guiding questions of this book is what occurs when what is aesthetically essential about one medium is transposed into the aesthetic field of the other. For example, Grover-Friedlander's comparison of an opera by Poulenc and a Rossellini film, both based on Cocteau's play The Human Voice, shows the relation of the vocal and the visual to be surprisingly affected by the choice of the medium. Her analysis of the Marx Brothers' A Night at the Opera demonstrates how, as a response to opera's infatuation with death, cinema comically acts out a correction of opera's fate. Grover-Friedlander argues that filmed operas such as Zeffirelli's Otello and Friedrich's Falstaff show the impossibility of a direct transformation of the operatic into the cinematic. Paradoxically, cinema at times can be more operatic than opera itself, thus capturing something essential that escapes opera's self-understanding. A remarkable look at how cinema has been haunted--and transformed--by opera, Vocal Apparitions reveals something original and important about each medium.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2021)