Academic literature on the topic 'Huangmei Opera Film genre'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Huangmei Opera Film genre.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Huangmei Opera Film genre"
1
Helman, Alicja. "Opera w filmie — opera filmowa." Literatura i Kultura Popularna 24 (April 18, 2019): 83–96. http://dx.doi.org/10.19195/0867-7441.24.7.
Full textAbstract:
Opera in film — film operaThe author discusses possible relationships between cinema and opera. Both of them belong to the realm of synthetic art Gesamtkunstwerk, which has been evolving since the reforms of Richard Wagner, but nowadays has a completely new status. The author claims that cinema incorporates numerous strategies characteristic of opera. Yet proper film opera does not exist as a separate genre, and cinema only occasionally uses opera’s compositional patterns.
2
Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.
Full textAbstract:
ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
3
Citron, Marcia J. "Opera-Film as Television: Remediation in Tony Britten's Falstaff." Journal of the American Musicological Society 70, no. 2 (2017): 475–522. http://dx.doi.org/10.1525/jams.2017.70.2.475.
Full textAbstract:
Tony Britten's film Falstaff (2008) is an unusual, even radical opera-film. An updated treatment with a colloquial English translation and a chamber arrangement, and lacking many operatic elements, the film enacts a remediation of opera-film through the medium of television. Remediation, as conceived by Jay Bolter and Richard Grusin, refers to “the representation of one medium in another,” and its goal “is to refashion or rehabilitate other media.” Britten's Falstaff is strongly influenced by British popular television, especially British situation comedy. Sitcoms that emphasize working-class culture and “lads’ humor”—such as Only Fools and Horses and Men Behaving Badly respectively—resonate conspicuously with this Falstaff. In addition, television features prominently in it by virtue of the fact that protagonist John Falstaff is a former television star. The implications of this remediated opera-film for Verdi and Boito's opera are also of considerable interest. In critical ways associated with music, text, and narrative, the opera is highly suited to Britten's conception. Building on the work of Denise Gallo, I propose that Britten's film marks another moment in the struggle for national ownership of the Merry Wives material. In this sense the film articulates an “Englishizing” of Verdi and Boito's opera. The new kind of opera-film represented by Britten's Falstaff reinforces the idea of “television opera” as a genre that takes advantage of television's medial and aesthetic capabilities, and expands its purview to adaptations as well as new operas.
4
Citron, Marcia J. "A Night at the Cinema: Zeffirelli's Otello and the Genre of Film-Opera." Musical Quarterly 78, no. 4 (1994): 700–741. http://dx.doi.org/10.1093/mq/78.4.700.
Full text
5
Kim, Sangkyun, and Philip Long. "Touring TV Soap Operas: Genre in Film Tourism Research." Tourist Studies 12, no. 2 (May 30, 2012): 173–85. http://dx.doi.org/10.1177/1468797612449249.
Full textAbstract:
There is a growing body of literature that addresses the relationships between film and television programmes and tourism. However, we argue in this paper that much of this research has not considered the critical issue of genre and how this may be a key factor in shaping tourist demand, expectation, experience and behaviour. In particular, we suggest that the distinctive characteristics of TV soap operas have been neglected, with much of the literature focused on English language, ‘blockbuster’ Hollywood produced film releases. In this paper, we address TV soap operas as genre in relation to audience consumption and their possible links with tourism. We discuss the defining features of soap operas including their serialisation, the level of audience exposure and emotional engagement along with their connections with personal and domestic everyday life. We note their being a platform for interpersonal, intercultural and inter-textual discourse. We argue in the context of film tourism, that viewing soap operas may promote identification, empathy, emotional connection and parasocial interactions, and that these may motivate some audience members to visit soap opera locations, and also contextualise their anticipation concerning what they might expect to experience.
6
Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (August 5, 2014): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26295.
Full textAbstract:
The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of majornetworks intervention policy towards the local market
7
Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (December 29, 2013): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26287.
Full textAbstract:
The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of majornetworks intervention policy towards the local market
8
YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (November 2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.
Full textAbstract:
AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron makes possible a deeper scrutiny of traditional gender roles in the production and reception of Western art. The film's formulaic plot and the backstage musical format render transparent the commercial impetus behind the creative process and demystify the role of the Romantic artist-genius. Finally, the transnational and transhistorical elements of the film – a mostly Australian production team and crew, American and British pop songs, a Parisian backdrop, the Bollywood-inspired show-within-a-show, numerous anachronisms that refuse to stay confined within the specified time setting of the late nineteenth century – disrupt the Classical ideals of artistic unity and integrity and suggest new postmodern geographies and temporalities. This article considers how Luhrmann, by simultaneously paying homage to and critiquing operatic practices in Moulin Rouge!, deconstructs and reinvents opera for the postmodern age.
9
SHEPPARD, W. ANTHONY. "Cinematic realism, reflexivity and the American ‘Madame Butterfly’ narratives." Cambridge Opera Journal 17, no. 1 (March 2005): 59–93. http://dx.doi.org/10.1017/s0954586705001941.
Full textAbstract:
This article focuses on two cinematic versions of the ‘Madame Butterfly’ tale. Produced near the beginning of the sound era, the 1932 Madame Butterfly struggles to co-opt Puccini's opera and thereby create a fully cinematic Butterfly. My Geisha, created three decades later, aspires to subvert Orientalist representation by reflecting back upon Puccini's and Hollywood's Butterflies with hip sophistication. Both films work simultaneously with and against the Butterfly canon in intriguing ways and both are shaped by prevailing American perceptions of race and gender. In investigating the relationship between these films and Puccini's opera, I raise broader issues of comparative genre analysis, focusing particularly on exotic representation on stage and screen. Does film, in its bid to project exotic realism in both sound and image, succeed in surpassing the experience of staged Orientalist opera?
10
O'Rawe, Catherine. "Avanti a lui tremava tutta Roma: opera, melodrama and the Resistance." Modern Italy 17, no. 2 (May 2012): 185–96. http://dx.doi.org/10.1080/13532944.2012.665288.
Full textAbstract:
Italian neorealism is conventionally read as the authoritative cinematic chronicle of Italy's experience of the Second World War and the Resistance, through canonical films such as Rossellini'sRoma città aperta(Rome, Open City, 1945). It is important, however, to restore a full picture of the array of genres which narrated and refracted the Resistance experience in the post-war period. To this end, this article looks at a key genre that has been overlooked by scholarship, the opera film ormelodramma. In examiningAvanti a lui tremava tutta Roma(Before Him All Rome Trembled, Gallone, 1946), the article considers Mary Wood's contention (inItalian cinema. Oxford: Berg, 2005, 109) that in this period ‘realist cinematic conventions were insufficient for the maximum perception of the historical context’, and that the ‘affective charge’ of melodrama was essential for restoring this complexity. It assesses the appeal to the emotions produced by the film, and the ways in which this is constructed through the bodily and vocal performance of the operadivo, and questions the critical division between emotion (always viewed as excessive) and authenticity (seen in neorealism, the mode of seriousness) which has seen the opera film relegated to the margins of post-war Italian film history.
Dissertations / Theses on the topic "Huangmei Opera Film genre"
1
Chen, Yeong-Rury, and na. "A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film medium." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20061009.132620.
Full textAbstract:
This doctoral research project intends to institute the study of the unique
and significant Huangmei Opera film genre by pioneering in making a
series of documentaries and writing an academic text. The combination
of a documentary series and academic writing not only explores the
relationship between the distinctive characteristics of the Huangmei Opera
film genre and its enduring popularity for its fans, but also advances a film
research mode grounded in practitioner research, where the activity of
filmmaking and the study of film theory support and reflect on each other.
The documentary series, which incorporates three interrelated subjects
- Classic Beauty: Le Di, Scenic Writing Director: Li Han Hsiang and
Brother Lian: Ling Po - explores the remarkable film careers of each figure
while discussing the social and cultural context in which they worked.
The section on Le Di introduces the subject of melodrama as a Chinese
tradition. The section on Li Han Hsiang discusses Li's film aesthetics and
his representation of a utopian Chinese world of the imagination. The final
section focuses on the popularity actor Ling Po gained through her roles of
male impersonation. All three topics provide an opportunity to rethink our
understanding of the social, political and cultural forces that contribute to
the genre, and to build an emotional connection between past and present
for the viewers. Meanwhile, by interviewing those surviving key figures
and assembling materials that have been lost, the documentary series not
only fulfils the needs of many fans, but also serves field studies in the area
by setting a direction in research and providing a valuable resource for
scholars involved in Chinese film and cultural studies. It is both accessible
to mainstream audiences and academically warranted.
As an adjunct to the documentary series, the written text explores
aspects of the same material in more depth through the use of structuralist
methodology, and psychoanalytic, auteur and genre theories. The text
combines these Western approaches with aspects of Chinese culture,
philosophy and aesthetic traditions, proposing links between Chinese
aesthetics and Western film theories that contribute new understandings
to both Chinese and Western film studies. On the other hand, because
these film theories were originally developed to study Western films, the
Chinese origins of the Huangmei Opera film genre may challenge existing
theoretical paradigms and so provide new interpretations. This doctoral
project also includes a complete report of all phases of the documentary
production and design process, and a unique, comprehensive filmography
of Huangmei Opera films, and as such supplies a research foundation
for both documentary filmmakers and academics who are interested in
studying the Huangmei Opera film genre further.
2
Chen, Yeong-Rury. "A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film medium /." Australasian Digital Thesis Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20061009.132620/index.html.
Full textAbstract:
Thesis (DDes) - National Institute of Design Research, Swinburne University of Technology, 2006.A doctoral research project presented to the National Institute of Design Research, Swinburne University of Technology in partial fulfilment of the requirements for the degree of Doctor of Design, 2006. Typescript. Bibliography: p. 109-120.
3
Askerfjord, Christer. "The American Film Musical Genre Today: A New Breed or Just More of the Same? : The Development of the American Film Musical 2000-2013." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-37484.
Full textAbstract:
Since the introduction of synchronized sound at the end of the 1920s the film musical has had a special place in American film. But even with that special place the interest in the film musical has varied a lot during the 20th century. From the high interest during the “Golden Age” in the 1930s, 1940s, and 1950s, through low interest in the following decades and then renewed interest in musicals with the animated film musicals from Disney in the 1990s. But what has happened after the millennium? Has there been any development in the American film musical genre or is it just more of the same? This thesis tries to answer the question by analyzing three successful film musicals from the period 2001-2013, Moulin Rouge! (Baz Luhrmann, 2001), The Phantom of the Opera (Joel Schumacher, 2004), and Les Misérables (Tom Hooper, 2012) and comparing them to classical traditional musicals. According to this thesis there is a split answer, some areas of the classical American film musical have developed while other areas still remains the same.
Books on the topic "Huangmei Opera Film genre"
1
Chao, Shi-Yan. Queer Representations in Chinese-language Film and the Cultural Landscape. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033.
Full textAbstract:
Queer Representations in Chinese-language Film and the Cultural Landscape provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao’s discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.
2
Chen, Xiangyang. Woman, Generic Aesthetics, and the Vernacular. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0013.
Full textAbstract:
This chapter examines the hybrid origins of Hong Kong's Huangmei opera film. It shows how the Chinese Communist Party's demand for a cinema showcasing the national cultural past paradoxically facilitated the cross-border circulation of an indigenous, vernacular operatic tradition—featuring feisty rural women, female voice-over chanting, and frequent cross-dressing—into the modernizing idioms of Hong Kong's film industry. Under colonial suppression of local nationalist objectives, the resulting hybridized genre carried a vital female imaginary in nostalgic Chinese wrappings. In contrast to Indian cinema's culture of emotion, female performativity contests Chinese conventions of restraint, opening up imaginary female power. This is supported by the impact of the female voice on point-of-view shooting, spatial organization, and narrative structure, foregrounding, against Western feminism's focus on the male gaze, a female counter-gaze within a patriarchal drama of conflicting desires.
3
Walden, Joshua S. Celebrity, Music, and the Multimedia Portrait. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.003.0005.
Full textAbstract:
Chapter 4 examines hybrid works of multimedia portraiture and the genre of the portrait opera. The chapter first views the Voom Portraits of the American avant-garde director Robert Wilson, an ongoing series of multimedia video portraits of celebrities begun in 2004, looking in particular at his portraits of actors Robert Downey Jr. and Winona Ryder, which combine high-resolution film image with eclectic sound effects and scores by composers Tom Waits and Michael Galasso. The chapter then turns to the portrait opera Einstein on the Beach, created by Wilson, Philip Glass, and choreographer Lucinda Childs, to explore how they produced a multimedia portrait of Einstein that employs disparate allusions to popularly known elements from his life in a highly abstract work of opera that leaves the viewer to engage in a particularly imaginative act of interpretation about how the music describes this well-known modern icon.
4
Hallam, Lindsay. Twin Peaks: Fire Walk with Me. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325642.001.0001.
Full textAbstract:
When David Lynch's film Twin Peaks: Fire Walk with Me, a prequel to the television series Twin Peaks, premiered at the 1992 Cannes Film Festival, it was met with met with outright hostility. Subsequent reviews from critics were almost unanimously negative, and many fans of the show felt betrayed, as their beloved town was suddenly revealed as a personal hell. Yet in the years since the film's release, there has begun to be a gradual wave of reappraisal and appreciation, one that accelerated with the broadcast of Twin Peaks: The Return in 2017. What has been central to this reevaluation is the realization that what Lynch had created was not a parody of soap opera and detective television but a horror movie. This book argues that the horror genre aids Lynch's purpose in presenting the protagonist Laura Palmer's subjective experience leading to her death as the incorporation of horror tropes actually leads to a more accurate representation of a victim's suffering and confusion. The book goes on to explore how the film was an attempt by Lynch to take back ownership of the material and to examine the initial reaction and subsequent reevaluation of the film, as well as the paratexts that link to it and the influence that Fire Walk with Me now has on contemporary film and across popular culture.
5
Gordon, Robert, ed. The Oxford Handbook of Sondheim Studies. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.001.0001.
Full textAbstract:
This book examines the scope and ambition of Stephen Sondheim’s musicals by drawing on the perspectives of musicological and dramaturgical scholars, literary and film critics, and musical theater practitioners. Consisting of twenty-seven essays, it analyzes Sondheim’s radical re-invention of the artistic form of the Broadway musical in response to various traditions of artistic innovation and popular entertainment and how his work with several collaborators has radically transformed the history of American musical theatre. It explores problematic questions of authorship peculiar to the cultural milieu of Broadway musical theater by focusing on intertextuality in works ranging from Anthony Shaffer’s Sleuth (1970) to the film Hangover Square (1945) and Johann Sebastian Bach’s St Matthew Passion. It also probes the dramaturgical technique of songs that enable comic performers to act out the logic of character and plot in a meta-theatrical style and discusses the notion of the musical as a performance event, patterns of interpretation in the repeated performance of Sondheim’s musicals in the United Kingdom, the pleasures and challenges of performing these musicals in international opera houses, Sondheim’s work for cinema and television and his “cinematic” approach to musical theater, and his subtle and often ironic exploitation of genre conventions such as pastiche and parody. Finally, the book considers questions of cultural, political, and personal identity raised by Sondheim’s musicals in relation to contemporary American society.
6
Walden, Joshua S. Musical Portraits. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.001.0001.
Full textAbstract:
This book explores the wide-ranging but underexamined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in which conceptions of identity have changed alongside increasing innovation in musical composition as well as in the uses of abstraction, mixed media, and other novel techniques in the field of visual portraiture. In the absence of physical likeness, an element typical of portraiture that cannot be depicted in sound, composers have experimented with methods of constructing other attributes of identity in music, such as character, biography, and profession. By studying musical portraits of painters, authors, and modern celebrities, in addition to composers’ self-portraits, the book considers how representational and interpretive processes overlap and differ between music and other art forms, as well as how music is used in the depiction of human identities. With focus on a range of musical portraits by composers including Peter Ablinger, Pierre Boulez, Morton Feldman, Philip Glass, György Ligeti, and Virgil Thomson, and through studies of director Robert Wilson’s ongoing series of video portraits of modern-day celebrities and his “portrait opera” Einstein on the Beach, Musical Portraits offers to contribute to the study of music since 1945 through a detailed examination of contemporary understandings of music’s capacity to depict identity, and of the intersections between music, literature, theater, film, and the visual arts.
Book chapters on the topic "Huangmei Opera Film genre"
1
Chen, Yeong-Rury. "An Investigation of the Huangmei Opera Film Genre: The Audience’s Perception of Ling Po’s Male Impersonation." In (En)Gendering Taiwan, 85–94. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63219-3_6.
Full text
2
Trifonova, Temenuga. "From Genre Flick to Art Film: Seijun Suzuki’s Branded to Kill and Pistol Opera." In Genre in Asian Film and Television, 149–62. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230301900_10.
Full text
3
André, Naomi. "Carmen." In Black Opera, 120–66. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0005.
Full textAbstract:
This chapter follows the character of Carmen from her genesis in the middle of the nineteenth century with Prosper Mérimée’s novella (1845-46) through Bizet’s opera (1875), the film adaptation of Carmen Jones (1954), the MTV hip hopera (2001), and the South African U-Carmen eKhayelitsha (2005). With a transnational lens, this chapter brings together the same story as it moves across the Atlantic from Europe to the United States to South Africa and becomes a focal point for looking at text and genre. The emphases are on the intricacies of representation across the parameters of race, gender, expressions of hypersexuality, class, and nation while they are juxtaposed and held in dialogue with each other.
4
Çetin, Derya. "Gendered Genre." In Advances in Media, Entertainment, and the Arts, 74–81. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1774-1.ch005.
Full textAbstract:
This chapter aims to make general assessment of melodrama and the melodramas of Yeşilçam period which was named as the golden age of the cinema between 1960-1975. In this study, the concept of genre is discussed primarily. ‘Genre' is a concept that emerged in a certain period of American film industry. During the reign of the studio system, genre films comprised the vast majority of the most popular and profitable productions and this trend has continued even after its death. Afterwards, the definition of melodrama, which develops in literature, performing arts, and cinema is made. As a social phenomenon, melodrama is linked to the development of modernity. As an aesthetic genre, it became important, at times dominant, during the nineteenth century, and it remains with us today, notably in the fixed genres of television (soap opera, westerns, and thrillers), but it also survives in some musicals and videos. Then, a general evaluation of the melodrams of the Yeşilçam period is made.
5
Kam, Tan See. "Shanghai and Peking Blues: Fiction as Imagined History." In Tsui Hark's Peking Opera Blues. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208852.003.0004.
Full textAbstract:
Peking Opera Blues is a mixed-genre film built out of intertextual allusions to other film genres and texts. This enriches the film’s addressivity and is achieved particularly by functioning as a companion piece to Tsui’s 1984 film Shanghai Blues. Both films share narrative devices that mesh historicity and fictionality, creating narratives framed by history imagined into fiction and fiction imagined as history. This may be theorized as a jiegu fengjin mode of social and political criticism (using the past to comment on or lampoon the present). This jiegu fengjin mode of narration in the two Blues films, especially in the context of relating the films’ political relevance to 1980s Hong Kong, is that it yokes together, in metafictional ways, a spatio-temporal imaginary that sutures the past (turbulent times in China) to the present (political uncertainties in contemporary Hong Kong), while simultaneously seeking to engage the future (Hong Kong’s futurity as a special administrative region under Chinese sovereignty after 1997).
6
White, Frederick H. "A Slap in the Face of American Taste: Transporting He Who Gets Slapped to American Audiences." In Border Crossing. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411424.003.0007.
Full textAbstract:
This chapter discusses the impact of Leonid Andreev’s 1915 play He Who Gets Slapped on the U.S., where it was adapted into three genres: film, novel, and opera. Andreev’s play represents an example of his invented genre of panpsyche theater, in which the external action is driven by inner, psychological struggle, in this case of a clown who runs from a failed marriage and tries to find solace in the world of the circus. Victor Sjöström’s 1924 film of the play, the first MGM production, emphasized motifs of romance and revenge rather than Andreev’s focus on psychological development. Later, the play was adapted into a novel by George Carlin (1925) and a 1956 opera by Robert Ward and Bernard Stambler. The semiotic system of the circus allowed this play to be transported successfully to American audiences.
7
Archer, Robyn. "Off the Beaten Track." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3007.
Full textAbstract:
One of the key elements of success in any festival is its authenticity. This is often more easily achieved in generically specific celebrations of dance, theatre, opera, food, film – anything where the context allows for a deep exploration of the genre, rather than the cherry-picking approach which a large multi-arts festival demands. But authenticity can also be achieved through a serious engagement of the host city, town or region. There are festivals whose programs, at first sight, live and breathe a sense of place: you want to be there, to experience a program which will allow you to understand the cultural depth of a place. Many religious festivals demand pilgrimage, and those arts festivals that necessitate getting you off the beaten track already have a head start in generating excitement and devotion. This isn’t a travel pitch, but the business of getting there, arriving and grabbing as much as you can while you’re there, including serious engagement with the local culture and creating the possibility of collaboration or exchange, is central to the experience. You don’t go to these places to slow down, but to be informed and re-invigorated by a socio-geographic and cultural environment which you may never have expected to discover. East Arnhem Land sits at the top of Australia’s Northern Territory. It is the traditional land of the Yolgnu people who have been there for tens of thousands of years. Each year, the GARMA festival takes place on this land. Attendance is by invitation only, though that can be extended to you by application. Its defining agenda is Indigenous cultural exchange.