Opera and Film

2013 ◽  
pp. 43-71 ◽  
Author(s):  
Marcia J. Citron
Keyword(s):  
Feature Films ◽  
Scholarly Attention

This chapterexamines the relation between opera and film. It describes how opera is integrated into films and how it can signify in wide-circulation dramatic feature films. It analyzes opera in mainstream film and opera-films that have attracted scholarly attention, and suggests that future movies will continue to find imaginative ways to involve opera, as suggested by the postmodern opera visit in the film Quantum of Solace.

ReFocus: The Films of Andrei Tarkovsky

2020 ◽  
Keyword(s):  
Early Career ◽  
Film Genre ◽  
Theoretical Approaches ◽  
Feature Films ◽  
Lars Von Trier ◽  
Profound Influence ◽  
Theoretical Perspectives ◽  
Andrei Tarkovsky ◽  
Film Method ◽  
Scholarly Attention

Despite an output of only 7 feature films in 20 years, Andrei Tarkovsky has had a profound influence on international cinema. Famous for their spiritual depth and incredible visual beauty, his films have gained cult status among cineastes and are often included in ranking polls and charts dedicated to the best movies ever made. Beginning with the late 1980s, Tarkovsky’s highly complex cinema has continuously attracted scholarly attention by generating countless hermeneutic challenges and possibilities for film critics. This book provides a fresh look at the director’s legacy, with critical essays by both world-famous and early-career film scholars. It consists of four parts covering biographical, aesthetic, and philosophical aspects of Tarkovsky’s work as well as tracing his influence on other filmmakers. Part one, entitled ‘Backgrounds’ (chapters one to three), discusses extra-cinematic factors that influenced Tarkovsky’s cinema, such as his biography and theoretical statements. Part two, entitled ‘Film Method’ (chapters four to eight), examines Tarkovsky’s cinematic techniques, including his treatment of film genre, documentary style, temporality, landscape, and sound. Part three, ‘Theoretical Approaches’ (chapters nine to thirteen), discusses Tarkovsky’s work in the contexts of psychoanalytical, philosophical, and other theoretical perspectives. The fourth and final part of this volume, ‘Legacy’ (chapters fourteen and fifteen), is dedicated to Tarkovsky’s longstanding influence on such prominent auteurs as Andrei Zvyagintsev and Lars von Trier, who are often hailed as the heirs of the Russian master.

Translating Code-Switching on the Screen

2019 ◽  
Vol 2 (2) ◽  
pp. 72-91 ◽  
Author(s):  
Montse Corrius ◽  
Patrick Zabalbeascoa
Keyword(s):  
Interpersonal Communication ◽  
Code Switching ◽  
Notation System ◽  
Feature Films ◽  
Different Types ◽  
Type Classification ◽  
Main Language ◽  
Scholarly Attention

This paper outlines the complexity of accounting for multilingual audiovisual films for the purpose of their translation. In particular it focuses on an issue that has not received much scholarly attention so far, the fictional representation of code-switching in feature films, with particular attention to Spanglish, given that language and its interlinguistic barriers towards interpersonal communication is one of the main themes of the film. The paper distinguishes different types of language shifts (alternations) as part of a film’s plot or script, like straightforward translation between characters, in order to better characterize code-switching as concept borrowed from sociolinguistics. This, in turns allows for a broader notion of language shifts, of which code-shifting is a part. Finally, the paper also includes a three-type classification of films depending on the amount and importance of languages other than the main language of a film: anecdotal, recurrent, and L3-as-theme, L3 being the notation system used to label all instances of languages in a text (written, oral or audiovisual) other than the main language.

The Formation of a Budding Man Alone: The God Boy (Murray Reece, 1976)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
New Zealand ◽  
Religious Beliefs ◽  
Coming Of Age ◽  
World War ◽  
Value System ◽  
Feature Films ◽  
The Family

This chapter analyses the earliest of the New Zealand coming-of-age feature films, an adaptation of Ian Cross’s novel The God Boy, to demonstrate how it addresses the destructive impact on a child of the puritanical value-system that had dominated Pākehā (white) society through much of the twentieth century, being particularly strong during the interwar years, and the decade immediately following World War II. The discussion explores how dysfunction within the family and repressive religious beliefs eventuate in pressures that cause Jimmy, the protagonist, to act out transgressively, and then to turn inwards to seek refuge in the form of self-containment that makes him a prototype of the Man Alone figure that is ubiquitous in New Zealand fiction.

Beyond Eastern Noir

2018 ◽  
Author(s):  
Anna Estera Mrozewicz
Keyword(s):  
Eastern Europe ◽  
Case Studies ◽  
Feature Films

This book addresses representations of Russia and neighbouring Eastern Europe in post-1989 Nordic cinemas, investigating their hitherto-overlooked transnational dimension. Departing from the dark stereotypes that characterise the hegemonic narrative defined as ‘Eastern noir’, the author presents Norden’s eastern neighbours as depicted with a rich, though previously neglected in scholarship, cinematic diversity. The book does not deny the existence of Eastern noir or its accuracy. Instead, in a number of in-depth case studies of both popular and niche feature films, documentaries and television dramas, it interrogates and attempts to add nuance to the Nordic audiovisual imagination of Russia and Eastern Europe. Tracing approaches of and beyond the Eastern noir paradigm across cinematic genres, and in relation to changing historical contexts, the author considers how increasingly transnational affinities have led to a reimagining of Norden’s eastern neighbours in contemporary Nordic films. Making the notions of border/boundary and neighbourliness central to the argument, the author explores how the shared geopolitical border is (re)imagined in Nordic films and how these (re)imaginations reflect back on the Nordic subjects.

The origins of the Catholic Social Guild in Scotland: ‘We have not attacked the Socialists professedly’

2018 ◽  
Vol 69 (2) ◽  
pp. 131-146 ◽  
Author(s):  
Piotr Potocki
Keyword(s):  
Working Class ◽  
Social Movement ◽  
Catholic Church ◽  
Social Reform ◽  
Socialist Society ◽  
The West ◽  
Main Activity ◽  
Social Message ◽  
Scholarly Attention ◽  
The Catholic Church

The activities of John Wheatley's Catholic Socialist Society have been analysed in terms of liberating Catholics from clerical dictation in political matters. Yet, beyond the much-discussed clerical backlash against Wheatley, there has been little scholarly attention paid to a more constructive response offered by progressive elements within the Catholic Church. The discussion that follows explores the development of the Catholic social movement from 1906, when the Catholic Socialist Society was formed, up until 1918 when the Catholic Social Guild, an organisation founded by the English Jesuit Charles Plater, had firmly established its local presence in the west of Scotland. This organisation played an important role in the realignment of Catholic politics in this period, and its main activity was the dissemination of the Church's social message among the working-class laity. The Scottish Catholic Church, meanwhile, thanks in large part to Archbishop John Aloysius Maguire of Glasgow, became more amenable to social reform and democracy.

Sūrat Maryam (Q. 19): Lexicon, Lexical Echoes, English Translation

2011 ◽  
Vol 13 (1) ◽  
pp. 25-78 ◽  
Author(s):  
Shawkat M. Toorawa
Keyword(s):  
English Translation ◽  
Comparative Religion ◽  
Individual Treatment ◽  
General Consensus ◽  
The Subject ◽  
Interfaith Community ◽  
Scholarly Attention

Q. 19 (Sūrat Maryam) – an end-rhyming, and, by general consensus, middle to late Meccan sura of 98 (or 99) verses – has been the subject of considerable exegetical and scholarly attention. Besides commentary, naturally, in every tafsīr of the Qur'an, Sura 19 has also benefited from separate, individual treatment. It has been the object of special attention by modern Western scholars, in particular those of comparative religion and of Christianity, whose attention has centred largely on the virtue and piety of Mary, on the miraculous nature of the birth of Jesus, on Jesus' ministry, and on how Jesus' time on Earth came to an end. In addition, Sura 19 is a favourite of the interfaith community. Given this sustained and multivectored scrutiny, it is remarkable how little analysis has been devoted to its lexicon. This article is a contribution to the study of the lexicon of this sura, with a particular emphasis on three features: rhyming end words, hapaxes, and repeating words and roots, some of which occur in this sura alone.

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