When Opera Meets Film. By Marcia J. Citron. (Cambridge Studies in Opera.) Cambridge: Cambridge University Press, 2010. [xviii, 324 p. ISBN 970521895750. $95.] Music examples, illustrations, bibliography, filmography and videography, index. Over course of last six years, Cambridge Studies in Opera series has presented stimulating range of monographs that have greatly enlivened and strengthened field. One of its most recent offerings, Marcia J. Citron's When Opera Meets Film, continues series' tradition of expanding study of operatic influence in various aspects of culture, in this case proposing that the more ways we can approach [the opera/film encounter] better will be our sense of opera's place in contemporary society (p. 249). Citron, who has published widely on relationships between and opera, well positioned to take on this task. In this volume, three previously published essays on Francis Ford Coppola's Godfather trilogy (1972-90), Norman Jewison's 1987 and filmed operas of Jean-Pierre Ponnelle (1972-88), are interspersed with three chapters of new material focused on Don Boyd's 1987 Aria, Claude Chabrol's 1995 La Ceremonie, John Schlesinger's 1971 Sunday Bloody Sunday, and Mike Nichols's 2004 Closer (for earlier essays, see Operatic Style and Structure in Coppola's Godfather Trilogy, Musical Quarterly 87, no. 3 [Fall 2004]: 423-467; Subjectivity in Opera Films of Jean-Pierre Ponnelle, Journal of Musicology 22, no. 2 [Spring 2005]: 203-240; and 'An Honest Con - trivance': Opera and Desire in Moonstruck, Music and Letters 89, no. 1 [February 2008]: 56-83). As Citron well aware, this range of repertory dictates an ambitious scope for her investigations, taking into its purview not only mainstream film but also fulllength and postmodernist pastiche (p. 4), several national traditions, and number of extremely diverse directors, composers, and composers, over thirty-year historical span. Citron's project in this book, however, not to emphasize historical similarities, but rather to study factors that produce meaning when present in (p. 13), in order to show, through range of case studies, how can reveal something fundamental about film, and can do same for an opera (p. 1). While acknowledging that the circum stances of particular situation generate theory and categories that fit work, and that therefore volume is fundamentally 'perspectives' study [that] shies away from any sort of unitary viewpoint p. 13), she nonetheless proposes across chapters framework that can lead to larger observations and encourage comparative (p. 7) based on Werner Wolf's terminology of intermediality- a simple and elegant system to categorize relative importance of media when they combine (p. 7). With this emphasis on theoretical consistency, but across an array of contrasting repertory, Citron seems to be addressing some of few criticisms of her first full-length study of and film, Opera on Screen (New Haven: Yale University Press, 2000; see for example Byron Nelson's complaints in Opera Quarterly 17, no. 4 [Autumn 2001]: 718-21). Citron herself sees When Opera Meets Film as part of second generation of scholarship on and (p. 1), one that refines and expands our approaches to and film, adds important repertoire to scholarly purview, and advances our understanding of aesthetics of opera/film encounter (p. 1). The diversity of book's subject matter balanced by somewhat formulaic structure of volume: each chapter provides brief introduction to or films in question, review of Citron's goals, and detailed description of work from general and visual perspective prior to discussion of its music. Citron amply demonstrates her capabilities in visual analysis and her thorough knowledge of studies, making When Opera Meets Film aptly titled; unlike some other studies of music in film, non-musical analysis presented here thorough and insightful. …
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