000			02186nam a2200361 a 4500
005			20250918142631.0
008			110720s2010 enka bq 001 0 eng
010			_a2010-008750
020			_a9780521895750 (hbk.) _cRM292.13
020			_a0521895758 (hbk.)
039		9	_a201207161118 _bzabidah _c201206271145 _didah _c201107201101 _didah _y07-20-2011 _zidah
040			_aDLC _dUKM
090			_aPN1995.9.O64C584
090			_aPN1995.9.O64 _bC584
100	1		_aCitron, Marcia J.
245	1	0	_aWhen opera meets film / _cMarcia J. Citron.
260			_aCambridge, UK. : _bCambridge University Press, _c2010.
300			_axviii, 324 p. : _bill. ; _c24 cm.
490	1		_aCambridge studies in opera.
504			_aIncludes bibliographical references, filmography, webliography, and index.
520			_a'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 Ceremonie, Schlesinger's Sunday, Bloody Sunday, Boyd's Aria, and Ponnelle's opera-films'-- _cProvided by publisher.
650		0	_aMotion pictures and opera.
650		0	_aOpera in motion pictures.
650		0	_aMusical films _xHistory and criticism.
830		0	_aCambridge studies in opera.
907			_a.b15102841 _b2021-05-28 _c2019-11-12
942			_c01 _n0 _kPN1995.9.O64C584
914			_avtls003472969
990			_aza
991			_aFakulti Sains Sosial dan Kemanusiaan
998			_at _b2011-07-07 _cm _da _feng _genk _y0 _z.b15102841
999			_c494647 _d494647