Abstract
Here and there in this survey of opera movies, you come across the sort of vital insight that made Marcia J. Citron's Gender [End Page 660] and the Musical Canon such a groundbreaking book. This author is not a feeble seeker of the masculine and feminine in music, interpreted in vague and stereotyped ways, like many contributors to gender studies. She is aware of postmodern ideas, temporality, deconstruction, and popular culture.
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