Carmen: From Silent Film to MTV (Critical Studies 24) - download pdf or read online

By Chris Perriam, Ann Davies

ISBN-10: 1423791452

ISBN-13: 9781423791454

ISBN-10: 9042019646

ISBN-13: 9789042019645

Seeing that Prosper Merimee and Georges Bizet (with his librettists Meilhac and Halevy) introduced the determine of the Spanish Carmen to prominence within the 19th century an superb 80 or so movie types of the tale were made. This selection of essays gathers jointly a distinct physique of scholarly critique eager about that Carmen narrative in movie. It covers the phenomenon from a few elements: cultural reviews, gender experiences, stories in race and illustration, musicology, movie background, and the historical past of functionality. The essays take us from the times of silent movie to twenty-first century hip-hop type, exhibiting, via quite a few theoretical and ancient views that, regardless of social and cultural transformations-particularly by way of gender, sexuality and race-remarkably little has replaced by way of simple human wishes and anxieties, at the least as they're represented during this physique of flicks. The belief of Carmen's self sufficient sexuality as a resource of probability either to males (and sometimes ladies) and to decent society has been a continuing. Nor has sexual and ethnic otherness misplaced its allure. nonetheless, the corpus of Carmen motion pictures is greater than an easy recycling of stereotypes and every engages newly with the social and cultural problems with their time.

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Additional info for Carmen: From Silent Film to MTV (Critical Studies 24)

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The musical scores for D. W. Griffith’s Birth of a Nation (1914) and Intolerance (1916), for example, (which were made at the same time as the score for Carmen) were minutely cued in this fashion even though they changed music and tempo continuously, about every twenty to thirty seconds for two and a half to three and a half hours respectively. In the score for Carmen, however, sometimes there was no indication of what was happening at the beginning of a new section of music. Sometimes the titles were not correct (or they had been changed after the score was made).

He forgot what the intention had been in having Farrar play the title role, and he forgot how successful Carmen and Farrar were at changing the status of the motion picture and the performance of the opera itself. DeMille’s Carmen is a historic milestone and under the right circumstances even with but a pale shadow of the original operatic music, it still has the power to move, particularly a French audience, deeply. Notes 1. In New York Times, 13 May 1893. Quoted in Hendricks (1972: 104-105). 2.

Sometimes cuts in the music had to be made because there was dancing on screen. One could actually tell how fast the music was supposed to be going, and as a result you could see that there was simply too much music. Actually Farrar did her scenes to music; her accompanist played to get her in the mood. She claims to have been the first movie star to have had such accompaniment—I asked Lillian Gish about this and she said it was very likely—and afterwards all of the female stars wanted music on the set.

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Carmen: From Silent Film to MTV (Critical Studies 24) by Chris Perriam, Ann Davies


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