Academic literature on the topic 'Operas – film adaptations'
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Journal articles on the topic "Operas – film adaptations"
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Adams, Christy Thomas. "Staging the Cinematic: Puccini, Fanciulla, and Early Silent Film." Journal of the American Musicological Society 76, no. 1 (2023): 1–55. http://dx.doi.org/10.1525/jams.2023.76.1.1.
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Abstract Giacomo Puccini’s operas have a long history of being hailed as “cinematic.” Such descriptions began to appear during his lifetime and persisted in the years following his death, and more recent scholarship has continued to echo them. Associations between Puccini and film also extend to the cinematic screen: there are numerous filmed versions and adaptations of his operas, and his music has been featured in film soundtracks since the 1930s. Nevertheless, even though Puccini’s career roughly coincided with the first three decades of film history, surprisingly little is known about his attitude toward film or how it may have influenced his oeuvre. Taking La fanciulla del West as a case study, I investigate the complex historical relationship between early cinema, Puccini, and his operas, focusing particularly on the connections between Fanciulla and three American silent film genres that were popular in the years leading up to the opera’s premiere: early or “Eastern” Westerns, chase films, and lynching or execution films. I begin by investigating the filmic world to which Puccini and his creative team were exposed, tracing the evolution of cinema to 1910. I then turn specifically to the chase scene and attempted lynching in act 3 of Fanciulla, which I analyze in relation to the aforementioned genres, as well as to Belasco’s play The Girl of the Golden West, on which the libretto is based. Finally, I offer new perspectives on what it means—and meant—to understand Puccini’s operas as cinematic. In so doing, I demonstrate that the meaning of the adjective “cinematic” is historically contingent, not determined by immutable characteristics or qualities.
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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.
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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.
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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.
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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.
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Radigales, Jaume, and Isabel Villanueva-Benito. "Technology, Audio-visual Adaptation and Cultural Re-education of Opera." Tripodos, no. 51 (January 27, 2022): 131–42. http://dx.doi.org/10.51698/tripodos.2021.51p131-142.
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Considering the various uses that cinema has made of opera, this paper focusses on the new exhibitive and distributive mediums of musical theatre on the big screen today. This ranges from live broadcasts to the use of the screen in contemporary opera stagings. The paper raises several challenges, but particularly analyses the common market shared between opera and the audio-visual industry, from the perspective of the opera business in theatres. After defining the technological and commercial features that transform these broadcasts into sustainable film products, the focus is on ascertaining the audio-visual properties that establish opera simulcasts as a new media event in sociological terms.
Once the technological perspective has been explored, the paper goes on to an aesthetic analysis of the audio-visual formats offered by combining opera and cinema. This analysis also offers an explanation of some of the sociological behaviours adopted by people attending films in theatres. Determining the characteristic narrative quality of opera enjoyed by audiences can facilitate a new exploration in the film industry of the future relations between these traditional art forms.
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González Chávez, Carmen Milagros. "El mundo bajo la máscara: el vórtice creativo en Le Fantôme de l’Opera." Latente Revista de Historia y Estética audiovisual 20 (2022): 81–102. http://dx.doi.org/10.25145/j.latente.2022.20.03.
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This article aims to analyse some film adaptations of Gaston Leroux’s novel Le Fantôme de l’Opéra (especially The Phantom of the Opera, a silent film from 1925 and Andrew Lloyd Webber’s The Phantom of the Opera, a musical from 2004). Film and literature go hand in hand to create a mystery that raises associations to other literary sources and other artistic manifestations.
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ZECHNER, INGEBORG. "Multiple-Music Versions?" Music, Sound, and the Moving Image 15, no. 2 (December 1, 2021): 133–64. http://dx.doi.org/10.3828/msmi.2021.9.
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With the advent of sound film in the early 1930s the German film industry produced so-called multiple-language versions as a part of its internationalisation strategy. These versions were produced for the French, English, and Italian markets (often) with a new cast of actors. Despite the importance of music in these films, a systematic study on the role of music in these multiple-language versions is still lacking. This article offers a first case study on the topic by comparing the German, Italian, and French versions of the sound film-operetta Paprika (1932/1933). It will be illustrated that the music (rather than sound) as well as the use of the musical material in the versions of Paprika differed significantly. Musical adaptation was used as an important means to shape the film’s narrative and to create a distinct aesthetic for each of the film’s versions. Historically, there are evident parallels to the adaptation practice of opera and operetta over the past centuries.
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Kujawska-Lis, Ewa. "(Trans)fusions of Conrad’s darkness: Selected adaptations of Heart of Darkness." Journal of Adaptation in Film & Performance 14, no. 1 (March 1, 2021): 65–86. http://dx.doi.org/10.1386/jafp_00043_1.
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Heart of Darkness, due to its semantic complexity, interpretative openness and universal thematic interests, has been frequently intersemiotically adapted in a variety of media, encompassing radio broadcast, films, opera, graphic narratives and video games, as well as rewritten in the form of interlingual translations and refracted, with refractions including reviews and critical assessments, but also textual versions radically different from the source text. This article considers selected reinterpretations of Conrad’s text and comments briefly on how in each case the adaptation illustrates a fusion of Conrad’s vision with that of the adapter, hence (trans)fusion, and how this may give a new life to the source text via interpretative shifts. The article presents case studies: the film adaptation ‐ Francis Ford Coppola’s Apocalypse Now (1979), Tarik O’Regan’s one-act chamber opera (both the United Kingdom in 2011 and the US staging in 2015), the graphic narrative by Catherine Anyango and David Zane Mairowitz (2010) and Jacek Dukaj’s Polish language version Serce ciemności (2017). This selection is governed by the variety of media and by the dissimilar approaches of the adapters to their source text. What is evident based on these variants is the role of the adapter as a creative participant in the process of transmitting the ideas of the original text, often updating them to make them relevant to new recipients of various cultural backgrounds. Additionally, reinterpretations and recontextualizations of the novella result directly from adaptive strategies specific to a given medium.
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Bren, Frank. "Connections and Crossovers: Cinema and Theatre in Hong Kong." New Theatre Quarterly 14, no. 53 (February 1998): 63–74. http://dx.doi.org/10.1017/s0266464x0001174x.
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From the run-up to its return to Chinese rule in July 1997 to the stock-market crash in October, Hong Kong has seldom been out of the news during the past year. But the attention paid to its political and economic provenance has not been matched by much interest in its cultural output – despite the existence in Hong Kong of a cinema industry with a prodigious output now approaching ten thousand films. Although a professional theatre has been a relatively more recent development, the connections between film and theatre in Hong Kong have always been close – from the film adaptations of Cantonese opera in the 1930s, through the ‘female’ films of the post-war period and the western following for Bruce Lee's kung fu movies, to the present dominance of the cross-generic production company, Springtime, in the 1990s, with a creative interest in its own past which verges on the metatheatrical. Frank Bren, who is presently living and working in Hong Kong, here captures something of the history and the distinctive flavour of the overlapping movie and theatre industries, and assesses why the relationship remains mutually profitable in artistic as well as economic terms.
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Pascal, Marie. "A Conversation with Linda Hutcheon on Film Adaptation." Transcr(é)ation 1, no. 1 (September 15, 2022): 1–5. http://dx.doi.org/10.5206/tc.v1i1.15008.
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Linda Hutcheon is a pioneer on cinema adaptation, with her book A Theory of Adaptation (2006), where she envisions adaptation as a transmedial process rather than as a faithful relationship a film must respect with a book. She has rejuvenated research in the field, overwhelmed dead-ends encountered by the adaptation critique, and offered thrilling perspectives on how to conceive such relationships between medias as different as comics, novels, drama, opera, video games, etc. Although her research interests now shifted to the operatic genre, she was as kind as to answer my questions for this first dossier of Transcr(é)ation.
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Wilson, Alexandra. "Unreliable Authors, Unreliable History: Opera in Joe Wright’s Adaptation ofAtonement." Cambridge Opera Journal 27, no. 2 (July 2015): 155–74. http://dx.doi.org/10.1017/s095458671500004x.
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AbstractMusic is frequently overlooked by scholars of adaptation, who concentrate primarily on questions of literary and visual transformation. Undertaking a close reading of a pivotal scene in Joe Wright’sAtonement, this article demonstrates the vital contribution music can make to the adaptation process. Wright uses music, and Puccini’s in particular, in ways that are both narrative and reflexive, creating shifts of emphasis, deliberate ambiguities and intertextual allusions. Opera becomes a tool that allows the film-maker to interrogate notions of authorial and historical reliability, themes that lie at the heart of Ian McEwan’s highly self-aware novel.
Dissertations / Theses on the topic "Operas – film adaptations"
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Martucci, Maurício Dotto. "Dialogismo e tradução intersemiótica em Pink Floyd The Wall: luto e melancolia na Inglaterra do pós-guerra." Universidade Federal de São Carlos, 2010. https://repositorio.ufscar.br/handle/ufscar/5590.
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Previous issue date: 2010-09-10The film Pink Floyd The Wall, adaptation to the cinema of the Pink Floyd´s concept album, tells the Pink´s story, a musician, that was born in England during the World War II final years, he had his father died in a battle and this fact start a process of depression and melancholy that culminate in his total apathy towards life. This research has its focus on the literary content of the songs from the original album, the aim is study the film formal structure, its differences, similarities and complementarities comparing to the album narrative, observing the translation and artistic recreation process from the album to the movie and also confirming the dialogical relations between the different problems, contextualization, languages and representations explored in this art piece.
O filme Pink Floyd The Wall, adaptação para o cinema do álbum conceitual da banda Pink Floyd, narra a história, desde a infância até sua completa alienação, do protagonista Pink, um músico nascido na Inglaterra nos anos finais da Segunda Guerra Mundial, cuja morte do pai durante a guerra lhe desencadeia um processo de depressão e melancolia que culmina em sua total apatia diante da vida. A presente pesquisa, tendo como foco o teor literário das canções do álbum original, tem por objetivo o estudo da estrutura formal do tecido fílmico, suas diferenças, semelhanças e complementaridades com a narrativa musical contida no álbum, observando e constatando os processos de tradução e recriação de uma obra para outra, além das relações dialógicas entre as diferentes problemáticas, contextualizações, linguagens e representações exploradas na obra.
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Sen, Suddhaseel. "The Afterlife of Shakespeare's Plays: A Study of Cross-cultural Adaptations into Opera and Film." Thesis, 2010. http://hdl.handle.net/1807/32186.
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This study considers the ways in which Shakespeare’s plays have been adapted in cross-cultural contexts from the nineteenth century to the present, specifically in Europe and India, through the media of opera and film. I bring into dialogue reception theory, adaptation studies, Shakespeare scholarship, musicology, film studies, and postcolonial theory in order to examine the mechanisms of Shakespeare’s reception in these two culturally diverse regions of the globe, and argue that there are significant parallels between European and Indian adaptations of Shakespeare. Despite the different cultural and political histories of the two regions, Shakespeare’s plays reached out to local audiences only when they were modified in order to make them relevant to the cultural and ideological concerns of the new audiences that were far removed from Shakespeare’s own. Moving away from understanding Shakespeare’s reception either in terms of the dramatist’s “universal appeal” or in terms of colonial instrumentality, as has usually been the case, I argue that such predetermined critical paradigms take away from what in Shakespeare various cultures have found truly valuable, truly affective. Moreover, I argue that the degree of transculturation, both with European and Indian adaptations, is greater when Shakespeare is adapted in media that involves performance, than when he is adapted in a purely verbal medium, such as translations. This process of indigenization through performance, one that I have termed “performative transculturation,” has opened up fresh avenues of cross-cultural exchange over the ages. The works I examine in detail are Ambroise Thomas’ opera Hamlet, Giuseppe Verdi’s opera Otello, Ishwarchandra Vidyasagar’s Bhrantibilash, a prose adaptation of The Comedy of Errors, and Vishal Bhardwaj’s films Maqbool and Omkara, based on Macbeth and Othello respectively.
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Kolich, Tomáš. "Makabrózní, mysteriózní, monstrózní. Architektura a prostředí v gotickém hororu." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-353862.
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The topic of this thesis is architecture and settings of gothic horrors, particularly in films. The work explores the relationship between the genre of gothic horror and gothic architecture, mainly within examples of haunted castles. The aim of the work is to study in what way the haunted castles are depicted in films and how the gothic architecture is applied in their appearance. The thesis is divided in two parts. The first one is an analysis of some of the gothic horror tendencies which have an influence on the image of haunted castles. These can be observed in films as well as in literature and theatre since the beginnings of gothic horror in the second half of the 18th century until today. The second part uses these tendencies to analyse images of haunted castles in films Dracula (John Badham, 1979), Bram Stoker's Dracula (Francis Ford Coppola, 1992) and Van Helsing (Stephen Sommers, 2004).
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Kupková, Marika. "Z písaře ministerským radou: Působení Jiřího Mařánka v kinematografii čtyricátých a padesátých let." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-371279.
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1 Abstract The thesis focuses on the involvement of Jiří Mařánek in the management of the Film Department of the Ministry of Information during the years 1945 - 1948. His ministe- rial engagement is related to the contemporary strengthening of the importance of literary preparation of the film and to the associated state dramaturgical supervision. Jiří Mařánek belongs to the circle of writers connected on one hand through their affiliation with the interwar avant-garde movements, on the other hand by their postwar involve- ment in the power apparatus that ended by the political and economic changes in the late forties and fifties. His professional fate speaks about the changes of cultural policy of the state, about the institutional development of the cinema and about the relations between literary and cinematic arts. It is a testimonial of what a successful professional career meant for a man of letters and what relationship it had to the cinema. We follow therefore a relatively brief but breakthrough episode of a writer and retired officer in the position of the Ministerial Counsellor, and we try to place its course and causes into a complex network of historical and social contexts and personal motivation. Focusing on this personality unburdened neither by a historical uniqueness, fundamental role of...
Books on the topic "Operas – film adaptations"
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Demonet, Gilles, and Jean-Pierre Saez. Opéra à l'écran: Opéra pour tous? : nouvelles offres et pratiques culturelles. Paris: L'Harmattan, 2013.
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Kacem, Mehdi Belhaj. La seconde vie de l'opéra. Paris: Scheer, 2012.
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Danièle, Huillet, Straub Jean-Marie, and Schoenberg Arnold 1874-1951, eds. Moïse et Aaron. Toulouse: Ombres, 1990.
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Tambling, Jeremy. Opera, ideology and film. Manchester: Manchester University Press, 1987.
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Tambling, Jeremy. Opera, ideology, and film. New York: St. Martin's Press, 1987.
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Rochelle, Réal La. Opérascope: Le film-opéra en Amérique. Montréal, Québec: Triptyque, 2003.
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Freitag, Wolfgang. Amadeus & Co: Mozart im Film. Mödling-Wien: Edition Umbruch, 1991.
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Künzig, Bernd. Richard Wagner und das Kinematographische. Eggingen: Edition Isele, 1990.
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Croissant, Charles R. Opera performances in video format: A checklist of commercially released recordings. Canton, Mass: Music Library Association, 1991.
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Salzburger Symposion (1989- ) (11th 1999). Das Musiktheater in den audiovisuellen Medien: "--ersichtlich gewordene Taten der Musik" : Vorträge und Gespräche des Salzburger Symposions 1999. Anif/Salzburg: Mueller-Speiser, 2001.
Find full textBook chapters on the topic "Operas – film adaptations"
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Newell, Kate. "Transferring Handmaids: Iconography, Adaptation, and Intermediality." In Beyond Media Borders, Volume 2, 33–57. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49683-8_2.
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Abstract This chapter examines the intermedial transfer of Handmaid iconography across platforms and contexts, and the mechanisms that facilitate such movement. The author begins with a consideration of the intermedial network established within Margaret Atwood’s novel The Handmaid’s Tale to show that, even prior to adaptation, the Handmaid is understood as a product of intermedial transfer. The author then surveys the movement of Handmaid iconography in a variety of print- and motion-based media, such as book cover design, illustration, graphic novel, ballet, film, and television, and also in more generalized spheres. The image of the Handmaid transfers through processes of adaptation that interpret visual markers in distinct modalities, each of which emphasizes particular traits or characteristics over others. The emphasis or disclosure that characterizes each iteration is accompanied by concealment; that is, as an adaptation foregrounds one particular modality, it simultaneously represses another. This tension between disclosing and concealing operates thematically and in terms of its foregrounded media.
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McHugh, Dominic. "“We’re Not in Kansas Any More”." In Adapting The Wizard of Oz, 161–82. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663179.003.0009.
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Chapter 8 explores three contrasting attempts to adapt the film for the theater. First, following the release of the MGM film, in 1942 the St. Louis Municipal Opera hoped to capitalize on the success of the movie by commissioning a stage production that incorporated the familiar songs. Second, in the mid-1980s, the Royal Shakespeare Company returned to the MGM film as the basis for a new stage adaptation. Though their version promoted the supposed authenticity of this approach, expanding the movie into a full theater piece nevertheless caused tensions between practice and nostalgia. Third, a generation later, Andrew Lloyd Webber reteamed with his best-known collaborator, Tim Rice, to write some new songs to interpolate into a new stage version. Here, the text was revised with a new audience and new era in mind: though the movie was celebrating its sixtieth anniversary, the new adaptation brought contemporary values, and therefore a shift of emphasis, to the beloved text. Each of the three adaptations had its pros and cons, though none could match the success of the original movie. This chapter therefore also serves to explore the problems of adapting screen musicals for the stage, as can also be seen from two other disappointing stage adaptations of MGM movies, Meet Me in St. Louis and Seven Brides for Seven Brothers.
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Iyengar, Sujata. "Beds, Handkerchiefs and Moving Objects in Othello." In Variable Objects, 21–36. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481397.003.0002.
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This chapter opens our discussion of “variable objects” by exploring the extent to which objects in Othello can act expressively in the visual medium of film. In tandem, it offers another methodological approach to global Shakespeare, one that addresses concerns about how Shakespeare might speak or play in translation and through variable objects. In Vibrant Matter Bennett argues for a renewed vital materialism — an emphasis on objects in the world and on attributing agency or actantial ability to them. In Shakespeare's Othello two objects dominate the play: most obviously, the handkerchief; less obviously, because it is sometimes part of the stage, the bed in which Desdemona is smothered. Watching three films of Othello in an unfamiliar language, without subtitles – a South Indian art film in the Dravidian language Malayalam, a North Indian ‘Bollywood’ movie in the Uttar Pradesh dialect Khariboli, and an Italian teen movie adaptation – allows focus more narrowly upon what, adapting Bennett, we might call the life of things in the play and in adaptations or appropriations of it. These adaptations (Kaliyattam; Omkara; Iago) indigenize and transform both the handkerchief and the “tragic loading"” of the bed, in the last case turning (or returning) the Shakespearean source from tragedy to comedy.
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Kam, Tan See. "Three-Women Fiction, Mandarin Ducks and Butterflies." In Tsui Hark's Peking Opera Blues. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208852.003.0006.
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At work in Peking Opera Blues is a deeply intertextual relation to the film adaptations (three-women films) of a popular form of sentimental romance fiction - mandarin duck and butterfly fiction (yuanyang hudie) - which emerged when China, after thousands of years of dynastic rule, first experimented with democracy as an alternative mode of governance and lifestyle. This “fiction of comfort” came under attack by the May Fourth Movement after 1919, and was eventually consigned to the margins of modern Chinese literature. Reading through the lens of “three-women” films like Fate in Tears and Laughters (1932), Three Modern Girls (1933), Sun Moon Star (1960), and The Story of Three Loves (1963), and their women-centered narratives, enables a reading of Peking Opera Blues which reveals some of the ways in which Tsui Hark is able to emphasize the idea of women as narrative images; to highlight female agencies and subjectivities and to explore the rising status of women in the more globally connected, post-Confucian, and post patriarchal consumerist society of Hong Kong.
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Dagna, Stella. "Dangerous Liaisons: Quo vadis? (1913, dir. Enrico Guazzoni) and the Previous Theatrical Adaptations of Sienkiewicz’s Novel." In The Novel of Neronian Rome and its Multimedial Transformations, 123–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0008.
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Quo vadis?, directed by Enrico Guazzoni in 1913, is still one of the most faithful film adaptations of the novel by Sienkiewicz. When the silent feature came to cinemas around the world, the story was already familiar to the majority of the audience, due to the popular success of the book and a proliferation of many derivative works, especially theatrical. In various ways, these adaptations developed audiences’ previous knowledge of the plot and the characters. Some of them were set in an openly illustrative relationship; others focused on a single narrative thread of the novel. The most complex examples, especially the 1909 opera by Jean Nouguès, offered a skilled concentration of the plot in a few scenes that were complex both in terms of narrative and staging. The director Guazzoni was quite familiar with the ‘horizons of expectation’ that adaptations of such a popular novel created, but he decided to use them differently. In his film, faithfulness to the original text became the most important trait of a new, ambitious staging strategy: the protection of the plot’s complexity and its spatial fragmentation. Performing a comparative analysis of the narrative spaces in Guazzoni’s film and in a few theatrical adaptations, this chapter delves into two different examples of interaction between the original novel, the adaptation, and viewer expectations: the centripetal model, in which the most important quality is the ability to synthesize, and the centrifugal one, based precisely on fidelity to the original text and to historical accuracy.
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Panova, Olga Yu. "Contemporary British-American Stage and Cinema Adaptations of Fyodor Dostoevsky’s Notes from Underground." In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 692–713. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-692-713.
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Despite the fact that Dostoevsky’s Notes from Underground (1864) is not an easy text for creative transmedia projects there appeared several adaptations in 1990s–2010s in the English-speaking countries. The paper compares two stage adaptations — the British (dir. G. Garutti, 2014) and the American one (Yale Repertory Theatre, dir. Robert Woodruff, 2009) and considers the unique experience of screening Dostoevsky’s novella — Gary Walkow’s indie film (Walkow-Gruber Pictures & Renegade Film Production, 1995): it was highly appreciated by the critics and got several awards at film festivals. Another breakthrough work was J. Symonds’ and Pierce Wilcox’s opera staged in Sydney Chamber Opera by Netta Yashchin (2011) and five years later by Patrick Nolan (2016) who won international acclaim with his 1980’s Russian update.
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André, Naomi. "Carmen." In Black Opera, 120–66. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0005.
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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.
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Roberts, Gillian. "The Empire Gazes Back? The Portrait of a Lady and Vanity Fair." In Race, Nation and Cultural Power in Film Adaptation, 19–48. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474483537.003.0002.
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This chapter discusses the effects that foregrounding a settler-colonial or postcolonial positioning in the framing or selection of elements from the literary source has on the adaptation of canonical literary texts. It engages with the transnationalism of filmmaking at the same time as it addresses the specificities of national film industries and the national and cultural contexts in which individual filmmakers operate. Focusing on Australia-based New Zealander Jane Campion’s 1996 adaptation of Henry James’s The Portrait of a Lady and Indo-American director Mira Nair’s 2004 adaptation of William Makepeace Thackeray’s Vanity Fair, the chapter argues that these films constitute settler- and postcolonial and feminist refractions of these American and British male-authored canonical novels. While both films interrogate the figure of the white, male collector, they unevenly address their source texts’ representations of race, with Campion privileging white characters’ European experiences and Nair seeking to represent India but in an exoticist manner that aligns with Orientalism. In different ways, however, in grappling with these canonical novels, Campion’s and Nair’s films intervene in prevailing representations of empire and the nineteenth century.
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"The Spoken Opera-Film Fedora (1942): Intermedial Transposition and Implicit Operatic References in Film." In Essays on Word/Music Adaptation and on Surveying the Field, 75–92. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789004358041_006.
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Turquety, Benoît. "The Power of Speech (or the Voice), of Seeing and the Path: Moses And Aaron." In Danièle Huillet, Jean-Marie Straub. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463722209_ch03.
Full textAbstract:
This chapter contains a detailed analysis of Straub and Huillet’s 1974 filmic adaptation of Arnold Schoenberg’s unfinished opera Moses und Aron. It pays closes attention to the similarities and differences between the films and how the filmmakers’ choices of adaptation and mise-en-scène, which flatten out the opera and its story, result in an analytic posture that allows viewers to see the powers at play in the opera in a more objective manner.