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008 210729t20142005nju fo d z eng d
020 _a9780691120089
_qprint
020 _a9781400866748
_qPDF
024 7 _a10.1515/9781400866748
_2doi
035 _a(DE-B1597)9781400866748
035 _a(DE-B1597)459779
035 _a(OCoLC)979630238
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aML2100
_b.G76 2005eb
072 7 _aMUS028000
_2bisacsh
082 0 4 _a791.43/657
_222
084 _aonline - DeGruyter
100 1 _aGrover-Friedlander, Michal
_eautore
245 1 0 _aVocal Apparitions :
_bThe Attraction of Cinema to Opera /
_cMichal Grover-Friedlander.
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2014]
264 4 _c©2005
300 _a1 online resource (216 p.) :
_b10 line illus. 24 halftones.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aPrinceton Studies in Opera ;
_v37
505 0 0 _tFrontmatter --
_tContents --
_tList of Illustrations --
_tAcknowledgments --
_tIntroduction --
_tPart I. Silent Voices --
_tCHAPTER 1. The Phantom of the Opera: The Lost Voice of Opera in Silent Film --
_tCHAPTER 2. Brothers at the Opera --
_tPART II. VISIONS OF VOICES --
_tCHAPTER 3. Otello's One Voice --
_tCHAPTER 4. Falstaff 's Free Voice --
_tPART III. REMAINS OF THE VOICE --
_tCHAPTER 5. Opera on the Phone: The Call of the Human Voice --
_tCHAPTER 6. Fellini's Ashes --
_tNOTES --
_tINDEX
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aCinema 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.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2021)
650 0 _aMotion pictures and opera.
650 0 _aMusic
_xPhilosophy and aesthetics.
650 0 _aVoice in motion pictures.
650 7 _aMUSIC / Genres & Styles / Opera.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781400866748
856 4 0 _uhttps://www.degruyter.com/isbn/9781400866748
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9781400866748.jpg
942 _cEB
999 _c208409
_d208409