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Статті в журналах з теми "Opéra au cinéma"

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Автор: Grafiati

Опубліковано: 27 липня 2024

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1

Autissier, Anne-Marie. "Théâtre, opéra, cinéma : la scène pour tous à Malmö, Saint-Denis et Delhi." Culture and Local Governance 9, no. 1 (July 10, 2024): 32–51. http://dx.doi.org/10.18192/clg-cgl.v9i1.7152.

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Анотація:

L’accès aux scènes de théâtre contemporain se pose depuis les premières années du récent nouveau millénaire. Or il semble que de Delhi (Inde)i à Malmö (Suède) et Saint-Denis (France), cette question se trouve en voie de résolution grâce à l’intervention d’artistes et de collectifs engagés dans l’engagement de tous et toutes dans la médiation et l’activité artistique amateure. Après avoir fait un survol des principaux enjeux relatifs à l’évolution des politiques culturelles et des débats sur l’accessibilité de la culture, cet article document des stratégies d’acteur et de nouvelles pratiques qui tendent à favoriser l’inclusion dans les pratiques artistiques et culturelles.

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2

Guido, Laurent. "De l’« opéra de l’oeil » aux « films à sensation » : musique et théâtralité aux sources de l’horreur cinématographique." Cinémas 20, no. 2-3 (January 7, 2011): 13–40. http://dx.doi.org/10.7202/045143ar.

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L’auteur s’interroge sur la théâtralité à l’oeuvre dans le cinéma d’horreur à partir de ses origines scéniques. Il s’attache plus particulièrement aux rapports entre le film et diverses attractions spectaculaires du xixe siècle comme la fantasmagorie ou le mélodrame, en prenant en considération les pratiques comme les discours théoriques liés aux fonctions qu’y occupe la musique. Le texte central Komposition für den Film d’Hanns Eisler et Theodor Adorno, trop souvent réduit à une critique unilatérale de la culture de masse, sert ici de fil conducteur à la réflexion. Différentes stratégies musicales sont identifiées et discutées au regard de leur importance historique et de leurs implications esthétiques : le leitmotiv, la dissonance et la répétition. Si l’article se concentre sur les premières années du xxe siècle — du cinéma des premiers temps au film classique hollywoodien —, il lance tout de même quelques pistes de recherche pour aborder la période postérieure aux années 1960. La singularité profonde d’une « nouvelle horreur », telle qu’on peut la définir en fonction de la réception du public de l’époque, est ainsi partiellement nuancée par sa mise en perspective historique.

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3

Reis Vieira, Claudio. "A ópera a que assistimos: um estudo de caso." Viso: Cadernos de estética aplicada 4, no. 8 (March 4, 2010): 10–22. http://dx.doi.org/10.22409/1981-4062/v8i/82.

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Esse artigo discute as relações de produção que caracterizam as montagens operísticas contemporâneas a partir do programa "Ópera no cinema", que trasmite récitas do Metropolitan Opera House, em alta definição e ao vivo, para salas de cinema em diferentes países. Duas montagens desse programa – Lucia de Lammermoor e La Sonnambula, de Donizetti – são analisadas ao lado da versão de Dimitri Tcherniakov para o Macbeth, de Verdi, realizada pela Ópera de Novossibirski em parceria com a Opéra National de Paris.

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4

Haine, Malou. "Le magazine américain Vanity Fair (1913-1936) : vitrine de la modernité musicale à Paris et à New York." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (April 25, 2017): 23–37. http://dx.doi.org/10.7202/1039610ar.

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De sa création en 1913 à sa fusion avec Vogue en 1936, le magazine américain Vanity Fair a pour vocation de parler de l’art contemporain européen et américain par de courts articles de vulgarisation, des photographies et des caricatures. Plusieurs domaines artistiques sont couverts : musique, danse, opéra, littérature, peinture, sculpture, arts graphiques, cinéma, photographie et mode. La France constitue tout à la fois le rêve, l’attraction et le modèle des Américains : elle reste omniprésente jusqu’au milieu des années 1920, puis cède la place aux artistes américains. Vanity Fair reflète plus particulièrement la vie culturelle à New York et à Paris, même si ses ambitions sont plus largement ouvertes sur l’Europe et les États-Unis. Dans la rubrique intitulée « Hall of Fame », il n’est pas rare de trouver un Français parmi les cinq ou six personnalités du mois. La France est présente davantage pour ses arts plastiques et sa littérature. Le domaine musical, plus réduit, illustre cependant plusieurs facettes : les Ballets russes de Diaghilev, les ballets de Serge Lifar, les ballets de Monte-Carlo, les nouvelles danses populaires (tango, matchiche), l’introduction du jazz, la chanson populaire, les lieux de divertissements. Quant à la musique savante, le Groupe des Six, Erik Satie et Jean Cocteau occupent une place de choix au début des années 1920, avec plusieurs de leurs articles publiés en français. Dans les pages de Vanity Fair, des critiques musicaux américains comme Virgil Thomson et Carl Van Vechten incitent les compositeurs à se débarrasser de l’influence européenne. John Alden Carpenter ouvre la voie avec The Birthday of the Infanta (1917) et Krazy Kat (1922), mais c’est Rhapsody in Blue de Gershwin (1924) qui donne le coup d’envoi à une musique américaine qui ne copie plus la musique européenne. À partir de là, la firme de piano Steinway livre une publicité différente dans chaque numéro qui illustre, par un peintre américain, une oeuvre musicale américaine.

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5

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.

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Анотація:

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.

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6

Jorge, Marina Soler. "Cinefilia, cult movies e o filme Bastardos inglórios, de Quentin Tarantino." Galáxia (São Paulo) 13, no. 25 (June 2013): 99–100. http://dx.doi.org/10.1590/s1982-25532013000200009.

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Este artigo tem como objetivo discutir as aproximações entre a cinefilia e os cult movies com base na análise do filme Bastardos inglórios, de Quentin Tarantino (2009). O amor cinéfilo, conforme surge nos anos 1950 a partir da crítica dos Cahiers du Cinéma, legitima filmes que correm à margem do gosto elevado francês e abraça obras até então consideradas menores. Nesse processo, cria uma teoria e uma "política" que colocam um cinema B no rol das manifestações elevadas. O fenômeno dos cult movies também tenta a seu modo legitimar o "mau gosto", dessa vez por meio de práticas sociais que preferem antes cultuar o maldito a inseri-lo entre os bens culturais elevados. Tarantino opera uma junção das duas formas de amor ao cinema, abraçando ao mesmo tempo a citação àquilo que é marginal e àquilo que é elevado, numa esvaziamento pós-moderno das fronteiras culturais.

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7

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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Анотація:

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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8

Darelli, Virgil. "La storia dell’esercizio cinematografico di provincia in tre momenti storici. Il caso di Gardone Val Trompia." Schermi. Storie e culture del cinema e dei media in Italia 7, no. 13 (December 31, 2023): 151–67. http://dx.doi.org/10.54103/2532-2486/22534.

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Анотація:

The article uses a microhistorical approach to Gardone Val Trompia’s movie theatres. Using archives, local newspapers and other sources, it retraces historical change in management’s forms of out-of-the-city exhibitors. The aim is to highlight their radical difference: never cinema-only venues and always entangled with the local administration and civil society. Three particular moments are discussed: the origins of rural cinema among politicized mutualistic societies; the dominance of non-profit venues during the fascist era, especially those managed by Opera Nazionale Dopolavoro; the renewal and ‘professionalization’ in the mid-1950s. It is also discussed how the government license impacted locally on the cinemas’ existence.

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9

Lani, Silja. "Preference Dimensions of the Estonian Opera-Consumer: A Comparison of the Audiences at Opera Houses and Mediated Opera Performances." Baltic Screen Media Review 5, no. 1 (December 20, 2017): 70–89. http://dx.doi.org/10.1515/bsmr-2017-0013.

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AbstractThis article presents the results of a study in which the Estonian audiences of various stage versions of the same opera (live opera theatre performance and live-in-HD, which were shown at cinemas) during the same season were compared in a social constructivist paradigm to underline whether, and to what extent, audiences’ membership, cultural consumption preferences, attitudes, expectations, values and perceptions differ or coincide, thereby revealing what audiences distinguish as the differences or similarities between live and mediated opera performances. It presents the preference dimensions of the Estonian opera audience and provides an opportunity to discuss the issue of whether a technologically mediated cultural event offers any new opportunities for traditional opera to expand its audience, or whether it captures the audiences and creates competition for the theatres whose performances are not mediated. The survey was carried out among audiences attending performances of Carmen (Georges Bizet, 1875) in the 2014/2015 season at five different venues in Estonia. The findings revealed that, due to the fact that the hierarchy of motivators for the target groups of live and live-in-HD opera differs, it does not support the idea that opera theatre will gain new audiences from cinema or vice versa.

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10

Mendonça, Leandro José Luz Riodades. "Os Cinemas Que Falam Português: O Conceito De Cinema Nacional, Identidade e Resistência." Novos Olhares 4, no. 1 (June 17, 2015): 105. http://dx.doi.org/10.11606/issn.2238-7714.no.2015.102226.

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Анотація:

O presente artigo apresenta questões em torno do conceito de cinema nacional e suas formas de existência/resistência. Articula a dimensão espacial como limitante para consumo dos objetos culturais pois estes não têm livre circulação comercial. As identidades nacionais continuam a exercer pressão sobre o cinema e participam da produção da representação que opera mecanismos de inclusão ou exclusão dentro de um espaço geográfico. Reflete sobre a produção cultural e as artes pois parte da observação dos dados imediatos da realidade pensada parte de constrangimentos limitações a capacidade real de produzir filmes. As limitações são, por exemplo, capacidade técnica e treinamento diferenciados e uma desigual capacidade de financiamento e circulação. Estes elementos redundam em produtos estéticos marcadamente diferentes.

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11

Martín Quintanal, Ruymán. "Hollywood y Viena. Funciones y connotaciones del atonalismo en el cine y la ópera." Comunicación Revista Internacional de Comunicación Audiovisual Publicidad y Literatura 1, no. 18 (2020): 85–98. http://dx.doi.org/10.12795/comunicacion.2020.i18.05.

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Анотація:

In our investigation we make an approach to the uses of atonal music in the opera of the Vienese School and the cinema that became known in the second half of the 20th century. Likewise, we make a comparative study on the meanings in both media, that are constituted by the needs within this two kinds of drama that have certain similarities and differences.

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12

Landy, Marcia. "Opera, cinema, melodrama, and history: The case of Italian cinema." European Legacy 1, no. 4 (July 1996): 1597–601. http://dx.doi.org/10.1080/10848779608579617.

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13

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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Анотація:

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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14

Khokhlova, Elena. "Opera in cinema: aspects of video expressive means in modern opera." Musicologica Brunensia, no. 2 (2015): 147–55. http://dx.doi.org/10.5817/mb2015-2-11.

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15

Orazi, Veronica. "Faust secondo La Fura dels Baus: teatro, opera, cinema." Zeitschrift für Katalanistik 30 (July 1, 2017): 333–55. http://dx.doi.org/10.46586/zfk.2017.333-355.

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Анотація:

Summary: The article focuses on the Catalan theatre group La Fura dels Baus’s works on the myth of Faust. The analysis is based on the drama F@ust versió 3.0 (1998), the free adaptation of Berlioz’s La damnació de Faust (1999), the cyber show Faust Shadow (1999), the movie Fausto 5.0 (2001) and the opera staging of Gounod’s Faust (2014). In its interpretations of the myth, the group recreates it in different artistic dimensions: drama, cyber theatre, lyric opera, cinema. Nevertheless, the study of these productions demonstrates that all of them share some common basic elements: the multifaceted personality of the protagonist, his fragmented perception of himself and reality, a postmodern vision of the Self and life. At the same time, La Fura deepens its investigation on theatre/performance and technology, reaching impressive and groundbreaking results. Keywords: La Fura dels Baus, Catalan contemporary drama, performing arts, cinema, lyric opera, cyber theatre

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16

Bennett, Benjamin. "Cinema, Theater and Opera: Modern Drama as Ceremony." Modern Drama 28, no. 1 (March 1985): 1–21. http://dx.doi.org/10.3138/md.28.1.1.

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17

Rumyantseva, Alina V., and Liliana Yu Malkova. "“Rigoletto”: Variety of Screen Forms and Specifics of Staging Solutions for Classical Opera in Cinema and on Television." Vestnik of Saint Petersburg University. Arts 12, no. 2 (2022): 259–74. http://dx.doi.org/10.21638/spbu15.2022.203.

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Анотація:

In domestic science there is a perception that today’s opera, under the pressure of massification, simultaneously tries to preserve the elusive traditions of “high” art and lowers the bar to the level of mass culture, while the availability of technological possibilities of transferring opera to the screen is not able to change the preferences of the mass audience, unable to perceive it adequately. It cannot be denied that in the 21st century an uninitiated mass audience’s perception of classical opera is largely formed on the basis of screen representations of musical drama. In this context, the analysis of the applied staging solutions in cinema and television in the incarnation of opera, which includes the determination of the components that are necessary for the qualitative screen representation of musical drama, becomes a relevant subject for scientific research. In this article, which is dedicated to 170th anniversary of Giuseppe Verdi’s opera Rigoletto, an attempt is made to analyze four screen forms of one musical drama different from each other with the aim to reveal variability of staging solutions used for the realization of classical opera on TV and in cinema. The specific features of cinematographic and television representation of musical drama influencing the actualization and popularization of opera in the modern screen space are revealed within different genre frames (film-opera, TV version of musical drama, live TV film, musical TV contest). The author identifies the central figure in the latter processes the director-director, a professional in the field of television, who understands the fundamental laws and staging techniques of musical theater, the expressive means of cinematography.

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18

Bikkulova, Diana R. "Cinematographic techniques in 1920s Russian opera theatre." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 104–13. http://dx.doi.org/10.35852/2588-0144-2023-1-104-113.

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The article examines cinematography’s influence on the Soviet opera theatre of the 1920s. By the beginning of this decade, cinema rapidly gained popularity and began being perceived as a serious competitor to theatre. Awareness and comprehension of the new “threat” reasonably led to appeals for upgrading theatrical language with the help of new technical means. There were several innovations in the operas on stage: the use of intense straight lighting with the help of floodlights, montage as a director’s technique, the use of film screen in opera productions. It all confirmed that the process of cinemafication of the theatre had also affected the opera stage. The new trends expressed themselves in the productions of Sergey Radlov (“Vozzek” by Alban Berg), Nikolay Smolich (“The Golden Cockerel” by Nikolay Rimsky-Korsakov, “Johnny Plays” by Ernst Krenek), Iosif Lapitsky (“Salome” by Richard Strauss, “The Queen of Spades” by Petr Tchaikovsky). Thus, in his version of “The Golden Cockerel” (1923), the opera director N. Smolich used a film projection, and then, staging E. Kshenek’s opera “Johnny Plays” (1928), he used animation. In the “The Queen of Spades” (Experimental Theatre), I. Lapitsky while trying to make the action cinematically dynamic, divided it into forty small episodes. The influence of cinema can also be traced in opera performances of the 1920s. The most vivid example is Dmitry Shostakovich’s opera “The Nose” with his special montage style of action. Opera cinemafication didn’t reach such heights as in dramatic theatre and faced a different, not always approving, reaction from the musical press. The time of ambitious experiments ended in the 1930s with a change in the country’s cultural policy.

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19

Joe, Jeongwon. "Korean opera-film Chunhyang and the trans-cultural politics of the voice." Muzikologija, no. 5 (2005): 181–93. http://dx.doi.org/10.2298/muz0505181j.

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This essay examines a Korean opera-film Chunhyang (2000) to show how it departs from the standard practice of Western opera-film and how its uniqueness is generated by the characteristics of indigenous Korean opera P'ansori. In spite of its uniqueness, however, Chunhyang shows its affinities with its Western sisters by confirming what has been criticized by many feminist scholars as one of the most serious problems in the Western tradition of cinema, especially Hollywood's classical films: namely, the gendered politics of the voice.

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20

Mattl, Siegfried. "Utopies du cinéma parlant ou les Semaines internationales du cinéma de Vienne et la connexion entre l’opérette et le cinéma autrichien." Austriaca 64, no. 1 (2007): 27–38. http://dx.doi.org/10.3406/austr.2007.4529.

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The First Vienna Film Festival in 1934 focused on film music as one of the most promising means of rejuvenating the Austrian film industry. Composers of classical and entertainment music were to work together with opera singers, famous local actors, music academies, operetta directors and distinguished Viennese orchestras to establish artistic networks located in a third space between high-cultural and popular traditions. While established genres in Vienna’s movie industry in the 30s and 40s (comedies and romances) and stylistic particularities (like the reworking of operettas for film) are often considered in terms of the ideological function of the label “Wien¬ film,” I complicate this discourse by analyzing these developments according to the economic logics of the music-based local entertainment industry. The sensational international success of Lehars Merry Widow, including its cinematic adaptations, prefigured not only the strategy of producing hybrids of classical and popular art, but also that of generating a complex image of local Viennese culture. Seen through the lens of such cultural politics, the genuine “sound” of “Wienfilm” gains new significance. Though a transnational artefact by origin -as in the case of Lehar — music-based “Wienfilm” became a central signifier for a specifically Austrian “national” product and — with great importance for postwar considerations -a prime referent for an “Austrian” continuity in the shadow of the “Third Reich.”

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21

Parker, Ben. "IMAX and Its Doubles." Film Quarterly 67, no. 1 (2013): 22–26. http://dx.doi.org/10.1525/fq.2013.67.1.22.

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22

Vieira, Luciana Oliveira. "(Re)Pensar a direção cinematográfica." Grau Zero – Revista de Crítica Cultural 11, no. 2 (May 4, 2024): 179–202. http://dx.doi.org/10.30620/gz.v11n2.p179.

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Анотація:

Este artigo reúne algumas reflexões da tese de doutorado em andamento no campo da sociologia, na qual investigo a prática da direção cinematográfica de mulheres negras brasileiras do contemporâneo, que desafiando as opressões de gênero, raça e classe, estão ocupando esta função-poder. Por meio de seus modos de pensar, fazer e sentir, o cinema nos provoca a repensar a direção, se contrapondo a uma noção de autoria ocidental, mais precisamente a política de autores francesa. À luz do pensamento de Leda Maria Martins (2021), entendendo essa função como local de possibilidade de circularidade, discuto uma perspectiva de direção “responsorial”. Na esteira do conceito de Cinema Negro no Feminino de Edileuza Penha de Souza (2013), considero que ancestralidade, espiritualidade, relações familiares e territorialidades, são categorias determinantes para compreender a condução das lideranças de diretoras negras em seus sets de filmagens e suas relações com seus pares de trabalho. Nesse sentido, realizo um diálogo entre intelectuais negras brasileiras, Beatriz Nascimento e Sueli Carneiro, a fim de discutir a influência e presença da forma africana na sociedade brasileira, bem como o modo como o racismo opera, e seus ecos nas vidas dessas profissionais. A partir dessa bibliografia, analiso os discursos de algumas diretoras, observando como as categorias citadas estão presentes em seus cinemas. [Recebido em: 30 out. 2023 – Aceito em: 25 nov. 2023]

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23

Benghozi, Pierre-Jean, and Claire Nénert. "Création de valeur artistique ou économique : Du Festival International du film de Cannes au marché du film." Recherche et Applications en Marketing (French Edition) 10, no. 4 (December 1995): 65–76. http://dx.doi.org/10.1177/076737019501000404.

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Анотація:

Cet article montre comment le festival de Cannes a évolué, dans son organisation et sa stratégie, pour répondre à la multiplication des acteurs impliqués dans le cinéma, l'ampleur des enjeux économiques, la diversité des marchés et des publics. En multipliant les sections et les activités, en organisant un véritable «marché du film», le festival a opéré une différenciation de l'offre et une segmentation de la demande.

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24

Durão, Fabio Akcelrud, and Ana Karla Canarinos. "O século XVIII é mais avançado que o XXI: uma experiência de autoetnografia." Acta Scientiarum. Language and Culture 41, no. 2 (October 1, 2019): e44694. http://dx.doi.org/10.4025/actascilangcult.v41i2.44694.

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Este artigo pretende fazer uma autoetnografia cultural negativa de uma ida ao cinema para assistir à ópera Cosi fan tutte (1789), de Wolfgang Amadeus Mozart, no Shopping Galleria, em Campinas. A produção foi realizada musicalmente por Philippe Jordan e coreograficamente por Anne Teresa De Keersmaeker para a orquestra da Opéra National de Paris, lançada na Europa em 2017 e que chega ao Brasil no primeiro semestre de 2018, graças ao Festival Ópera na Tela. Tendo em vista as contradições da relação entre ópera e cinema e como essas tensões se intensificam quando transferidas do eixo Europa e EUA para países de modernização tardia, este estudo autoetnográfico da ida à ópera pretende fazer uma crítica à ideia de uma noção de tempo como progressão abstrata e homogênea.

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Hampshire, Kathryn. ""Man's Hatred Has Made Me So"." Digital Literature Review 3 (January 13, 2016): 119–35. http://dx.doi.org/10.33043/dlr.3.0.119-135.

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By using artistic conventions only availablethrough cinema, The Phantom of the Opera (1925) manipulates the gaze to create a character so inhuman and unsympathetic, he transcends the position of the freak into the realm of the monster. The silent horror version of this film extends the social construct of the freak into cinema so that, while the freak shows may have been closing their doors, the legacy of the freak lived on.

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Tse, Priscilla. "“One Opera, Two Nationalisms”: Negotiating Hong Kong Identity and Chinese Nationalism in Cantonese Opera." Asian Theatre Journal 40, no. 2 (September 2023): 381–402. http://dx.doi.org/10.1353/atj.2023.a912921.

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Abstract: While scholarly attention on nationalism of recent Hong Kong sheds light mostly on social movements, social media, and cinema, the performative role of yueju (Cantonese opera), as a Chinese vernacular theatre, in post-1997 Hong Kong is often neglected. This case study examines how different ideologies, political consciousness, and cultural ideals come into conflict and are mediated within the Cantonese opera circle since the 2014 Umbrella Movement. By investigating both the top-down and bottom-up approaches of propaganda as well as the potential of performing the opera as pro-democracy activism, this essay interrogates the dynamics between the hegemonic Chinese nationalism and the rising political consciousness of seeing Hong Kong as a separate entity.

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Roll, Julia, and Sven-Ove Horst. "The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany." Baltic Screen Media Review 5, no. 1 (December 20, 2017): 90–109. http://dx.doi.org/10.1515/bsmr-2017-0014.

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AbstractToday, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.

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28

Law. "King Hu’s Cinema Opera in his Early Wuxia Films." Music and the Moving Image 7, no. 3 (2014): 24. http://dx.doi.org/10.5406/musimoviimag.7.3.0024.

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29

Kuhn, Bernhard. "Film Melodrama and Opera: La Tosca in Italian Cinema." Italianist 37, no. 2 (May 4, 2017): 135–48. http://dx.doi.org/10.1080/02614340.2017.1332722.

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Teixeira, Francisco Elinaldo. "Do experimental ao filme-ensaio: passagens." Significação: Revista de Cultura Audiovisual 49, no. 58 (September 2, 2022): 190928. http://dx.doi.org/10.11606/issn.2316-7114.sig.2022.190928.

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Filme experimental e filme-ensaio são territórios ou concepções do cinema-audiovisual, com convergências e rupturas entre si. Eles convergem quanto à experimentação estético-formal, de materiais e modos de composição na produção de sentidos. Mas enquanto no filme-ensaio isso se opera com ênfase no pensamento do ensaísta através de sua inscrição em corpo e/ou voz no próprio filme, assim como com a solicitação e criação de intercessores, no experimental tal modo de inscrição do pensamento se opera de outras maneiras. Desse modo, pode-se propor que o experimental é imanente ao filme-ensaio, embora nem todo experimental seja ensaístico. O propósito do artigo é, assim, analisar como se operam tais convergências e disjunções entre ambos os territórios do cinema, a partir de um corpus fílmico e de referências teóricas que embasam um novo olhar, na atualidade, sobre as relações entre filme experimental e filme-ensaio.

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Alvim, Luíza Beatriz, and Diana Maron. "Da ópera para o cinema, do cinema para a ópera: a arte do ator-cantor." Significação: Revista de Cultura Audiovisual 47, no. 54 (July 8, 2020): 83–101. http://dx.doi.org/10.11606/issn.2316-7114.sig.2020.164518.

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Neste artigo, consideramos o aspecto da atuação no cinema silencioso de estrelas da ópera com o objetivo de trazer questionamentos sobre uma possível influência das experiências desses artistas em sua atuação operística no sentido de um maior naturalismo. Colocando a atuação nos palcos dentro de uma esfera mais ampla, estudamos o “pictorialismo” (as poses), comum no teatro não musicado do final do século XIX e adotado também na ópera. Para nossas reflexões, usamos um caso com boa documentação de exibição cinematográfica, o da estrela do Metropolitan Opera House, a soprano Geraldine Farrar, como Carmen, no filme homônimo de 1915 de Cecil B. DeMille.

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32

Giuggioli, Matteo. "Source and Myth: Opera in Italian Cinema of the 1960s." Journal of Film Music 8, no. 1-2 (September 27, 2018): 13–31. http://dx.doi.org/10.1558/jfm.37318.

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Biancorosso, Giorgio. "The Phantom of the Opera and the Performance of Cinema." Opera Quarterly 34, no. 2-3 (2018): 153–67. http://dx.doi.org/10.1093/oq/kby009.

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34

Atkinson, Sarah. "The Labor of Liveness: Behind the Curtain of Opera Cinema." Opera Quarterly 34, no. 4 (2018): 306–23. http://dx.doi.org/10.1093/oq/kbz010.

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35

Rindom, Ditlev. "Celluloid Diva: Staging Leoncavallo's Zazà in the Cinematic Age." Journal of the Royal Musical Association 144, no. 2 (2019): 287–321. http://dx.doi.org/10.1080/02690403.2019.1651515.

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AbstractGeraldine Farrar's performances in Ruggero Leoncavallo's Zazà (1900) at New York's Metropolitan Opera House in the early 1920s were widely acclaimed as an unexpected triumph for the soprano. This article examines Farrar's Zazà in the context of New York's post-war operatic crisis, the concurrent emergence of Hollywood cinema and Farrar's own highly prominent movements between operatic and cinematic media throughout the 1910s. While Leoncavallo's opera raised a number of pressing difficulties for New York critics, Farrar's critical and popular success in Zazà points to new understandings of operatic performance at the dawn of the cinematic age.

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36

Soares, Leonardo Francisco. "A ópera aberta: A força do destino, de Nélida Piñon, e E la nave va, de Federico Fellini." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 250–61. http://dx.doi.org/10.17851/2317-2096.8..250-261.

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Resumo: Análise dos processos contemporâneos de produção mimética e de representação, a partir do romance A força do destino e do filme E la nave va, com vistas a articular os conceitos e noções de imagem-cristal, espetacularização, dialogismo, polifonia e desreferencialização como operadores constitutivos dessas narrativas.Palavras-chave: literatura contemporânea; representação; cinema ópera.Abstract: An analysis of the contemporary processes of mimetic production and representation considering Nélida Piñon’s A força do destino and Federico Fellini’s E la nave va, which intends to articulate the concepts of spectacularization, dialogism, polyphony, and others, as constituent parts of these narratives.Keywords: contemporary literature; representation; cinema; opera.

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37

McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (February 1, 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.

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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.

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38

d'Amora, Mariano. "Nuove visioni drammaturgiche e sociali nel teatro e nella letteratura di Giuseppe Patroni Griffi." Forum Italicum: A Journal of Italian Studies 52, no. 2 (February 12, 2018): 600–630. http://dx.doi.org/10.1177/0014585818755383.

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Il napoletano Giuseppe Patroni Griffi s’impone in Italia nel secondo Novecento per la poliedricità espressiva che, fin dagli esordi, caratterizza il suo operato. Radio, letteratura, cinema, teatro, televisione sono gli ambiti nei quali egli opera lasciando, puntualmente, chiara impronta del suo estro. In questo saggio ci soffermeremo su larga parte della sua produzione letteraria e teatrale.

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39

CITRON, MARCIA J. "Subjectivity in the Opera Films of Jean-Pierre Ponnelle." Journal of Musicology 22, no. 2 (2005): 203–40. http://dx.doi.org/10.1525/jm.2005.22.2.203.

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ABSTRACT A leading director of stage opera in the late 20th century, Jean-Pierre Ponnelle is also important as a director of opera film for television. Unlike full-length opera films that stress ideology (for example those of Losey, Rosi, or Syberberg), Ponnelle's opera films are striking in their emphasis on subjectivity. Examples from Ponnelle's most cinematic opera films——Madama Butterfly (1974), Le nozze di Figaro (1976), and Rigoletto (1982)——demonstrate key elements of his subjective emphasis: camera work that highlights the individual, including point-ofview technique, zoom shots, and low-angled shots; doubling, where mirrored or duplicated elements tell us more about a character; interior singing, where the viewer hears the soundtrack but sees no moving lips on screen; and manipulations of time, especially structural flashback, circularity, and quick flashes of past and future. Although Ponnelle's devices are cinematic, we see how his approach is more suited to television than to cinema. His emphasis on music and subjectivity would seem to preclude the term auteur, which usually describes a highly individual approach that minimizes handed-down elements. Yet the marriage of innovation and tradition witnessed in his work suggests that he may indeed be considered a major auteur of screen opera.

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CENCIARELLI, CARLO. "At the Margins of the Televisual: Picture Frames, Loops and ‘Cinematics’ in the Paratexts of Opera Videos." Cambridge Opera Journal 25, no. 2 (June 4, 2013): 203–23. http://dx.doi.org/10.1017/s0954586713000074.

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AbstractThis article focuses on the paratexts of opera DVDs as a route into the status and cultural placement of opera videos in contemporary visual culture. In particular, it analyses the picture covers, menus and openings credits of four productions of Verdi's Don Carlo, arguing that, although the videos fall within the broader discourse of the ‘televisual’ (a discourse that encourages the viewer to conceive the image as a transparent document of the performance on-stage), these paratexts put forward alternative ways of conceiving the relationship between medium and subject matter, imagining opera's materials, however briefly, in terms of narrative cinema and music video, video games and computer loops.

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Rogowski Pozzo, Renata. "O poder de narrar: geopolítica da distribuição cinematográfica no Brasil." Liinc em Revista 16, no. 1 (May 30, 2020): e5144. http://dx.doi.org/10.18617/liinc.v16i1.5144.

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RESUMO O presente ensaio desenvolve uma investigação dentro do campo da economia política da cultura que objetiva problematizar e desvendar caminhos para o entendimento do quadro de hegemonia do cinema hollywoodiano no Brasil, tendo como foco a distribuição em salas. Coloca-se como hipótese que o subdesenvolvimento econômico do cinema nacional tem origem em questões de ordem macroeconômica, a saber, na estrutura oligopolista da indústria cinematográfica em escala mundial que logrou a dominação do mercado, especialmente da esfera da distribuição, pelas majors. À luz do que escreve Ellen Wood sobre o imperialismo contemporâneo, opera-se com as ideias de tríade competitiva de Alfred Chandler, centralização do capital de Harry Braverman e mundialização do capital de François Chesnais, para entender a estrutura e a organização contemporânea das grandes corporações de mídia. A partir de dados publicados pelo Observatório Brasileiro do Cinema e do Audiovisual (OCA-ANCINE), analisa-se a atuação das distribuidoras estrangeiras no Brasil, bem como dois movimentos contemporâneos que reconfiguram o mercado: a digitalização das salas e a emergência do streaming. Palavras-chave: Economia Política do Cinema; Distribuição Cinematográfica; Cultura e Imperialismo; Cinema Brasileiro.

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42

Smith, M. W. "Michal Grover-Friedlander: Vocal Apparitions: The Attraction of Cinema to Opera." Opera Quarterly 22, no. 1 (December 13, 2006): 170–72. http://dx.doi.org/10.1093/oq/kbi079.

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43

Santos, Yasmin Bidim Pereira dos. "A Consciência Cinematográfica na Poesia de Marília Garcia." Opiniães, no. 18 (July 31, 2021): 388–409. http://dx.doi.org/10.11606/issn.2525-8133.opiniaes.2021.180065.

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Este artigo parte do conceito deleuziano de imagem-movimento para pensar a obra da poeta brasileira Marília Garcia. Parte-se do princípio que o cinema, enquanto arte industrial, trouxe um novo paradigma para o pensamento e para as artes no século XX. Tendo em vista esta mudança, pretende-se compreender brevemente como uma determinada poesia contemporânea se relaciona com conceitos como fora de campo, plano e montagem, partindo da premissa de que o regime da imagem-movimento não se manifesta exclusivamente no cinema e pode ser observado em outras artes, especialmente na poesia, arte que, assim como o cinema, opera a criação de imagens. Serão abordados poemas dos livros Engano Geográfico (2012) e Um teste de resistores (2014) levando em conta como conceitos predominantes do campo cinematográfico ou que foram observados por Deleuze por meio da análise cinematográfica podem ser, agora, observados numa determinada produção poética contemporânea.

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44

Silva, Odair José Moreira da. "Observações sobre o tempo e a memória em Cidadão Kane." REVISTA POIÉSIS 10, no. 14 (October 11, 2018): 144–55. http://dx.doi.org/10.22409/poiesis.1014.144-155.

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A memória e o interesse pela exposição temporal que a fundamenta são um dos recursos que torna o cinema uma arte do tempo por excelência. Tomando como premissa de trabalho os conceitos de localização temporal, debreagem e embreagem, oriundos da semiótica francesa, o que se pretende aqui é verificar como o filme em questão opera com as categorias de tempo e a memória em sua diegese.

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45

Andrade, Érico. "O cinema de Kleber Mendonça em três tempos: Davi contra Golias." Viso: Cadernos de estética aplicada 14, no. 26 (May 13, 2020): 6–25. http://dx.doi.org/10.22409/1981-4062/v26i/359.

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O presente artigo tem como objetivo central apresentar o cinema de Kleber Mendonça Filho como uma compreensão radical do presente cujo foco repousa nas relações de opressão que atravessam a história do Brasil. Ele opera com um regime de historicidade presentista que toma a narrativa presentista como modo de lidar com o tempo e toma a própria disputa pela memória (tempo) como objeto principal de nossa experiência estética da história.

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46

Huiyu, Zhang. "Genre Metamorphoses of Modern Chinese Ballet." Университетский научный журнал, no. 75 (August 25, 2023): 67–72. http://dx.doi.org/10.25807/22225064_2023_75_67.

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The article discusses genre metamorphoses of modern Chinese ballet. The author notes that the genre of Chinese ballet has undergone signifi cant changes in its relatively short history. Currently, there is a tendency to rethink classical works of opera and cinema in the choreographic aspect. One of the brightest examples of the new ballet genre was the ballet “Raise the Red Lantern”, which is the focus of this study.

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47

Huiyu, Zhang. "Genre Metamorphoses of Modern Chinese Ballet." Университетский научный журнал, no. 75 (August 25, 2023): 67–72. http://dx.doi.org/10.25807/10.25807/22225064_2023_75_67.

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Анотація:

The article discusses genre metamorphoses of modern Chinese ballet. The author notes that the genre of Chinese ballet has undergone signifi cant changes in its relatively short history. Currently, there is a tendency to rethink classical works of opera and cinema in the choreographic aspect. One of the brightest examples of the new ballet genre was the ballet “Raise the Red Lantern”, which is the focus of this study.

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La Rochelle, Réal. "Parcours québécois et canadiens en cinéphonographie." Cinémas 3, no. 1 (March 8, 2011): 95–112. http://dx.doi.org/10.7202/1001182ar.

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Depuis Norman McLaren durant les années 40 jusqu’à récemment, la frange expérimentale et exploratoire des cinémas au Québec et au Canada a produit un nombre significatif de films qui sont au coeur de la problématique de la musicalité filmique. Depuis les images el les sons gravés ou peints sur pellicule par McLaren, en passant par le concept d’opéra audiovisuel de Maurice Blackburn et de son Atelier de conception sonore à l’ONF, ou encore par les travaux des Charles Gagnon. Michael Snow, William MacGillivray, Pierre Hébert, les frères Gagné el André Duchesne, entre autres, s’est tissée une tapisserie visuelle et sonore digne de figurer dans le musée imaginaire du nouvel opéra de Michel Fano.

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49

Gomes Barbosa, Karina. "Leslie e Ofelia, meninas que ousam sair do quarto: espaço, feminilidade e corpo em Ponte para Terabítia e O labirinto do fauno." Revista Mídia e Cotidiano 14, no. 1 (February 19, 2020): 133. http://dx.doi.org/10.22409/rmc.v14i1.38707.

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Este artigo busca refletir acerca de representações cinematográficas que articulam o ser-menina com uma temporalidade, mas também com os espaços percorridos pelas personagens, compreendendo também como esses corpos ocupam tais espaços. Investigamos os modos pelos quais a tecnologia de gênero do cinema opera em produtos culturais que veiculam representações de meninas desafiadoras das narrativas da contenção patriarcal e de feminilidade hegemônica. Para tanto, partimos de uma análise cultural crítica das personagens Leslie e Ofelia, protagonistas dos filmes Ponte para Terabítia e O labirinto do fauno, respectivamente, cotejando os estudos feministas de inflexão culturalista, sobretudo, assim como teorias do cinema. Em ambos os filmes, o dispositivo pedagógico cinematográfico oferece lições para esses corpos que ousam ocupar espaços que não lhes pertencem.

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Thériault, Mélissa. "Documentaire et jeux de fiction. Le cas du cinéma québécois1." Globe 17, no. 1 (February 12, 2015): 131–52. http://dx.doi.org/10.7202/1028636ar.

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Ce texte propose d’étudier, du point de vue de la philosophie contemporaine, les rapports qu’entretiennent fiction et non-fiction à l’aide de quelques exemples choisis de la cinématographie québécoise des cinquante dernières années. L’examen de ce va-et-vient entre les genres (c’est-à-dire du jeu de brouillage volontairement opéré sur la frontière), qui est une tendance persistante au sein du cinéma québécois, permettra d’identifier et de discuter les problèmes théoriques posés par toute tentative de démarcation. Cela permettra également d’observer ce qui distingue et rapproche la fiction du documentaire dans l’expression d’une réalité sociale singulière, rapport constamment (re)négocié à mesure que les genres se développent et remettent en question leurs frontières habituelles, au gré des tendances artistiques, des modes et des expérimentations. Il s’agira d’abord d’esquisser quelques remarques sur les concepts de fiction et de documentaire à l’aide des récentes propositions des philosophes Gregory Currie et Noel Carroll. Nous fournirons ensuite quelques exemples issus du corpus qui nous intéresse, ce qui nous permettra d’exposer les motifs qui sous-tendent cette tendance marquée aux « jeux de fictions ». Ce regard contemporain sur l’histoire du cinéma québécois permettra enfin d’esquisser quelques remarques générales sur l’ontologie du septième art.

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