Cinema's Illusions, Opera's Allure : The Operatic Impulse in Film

SUMARIO. // PART ONE. APPROPRIATION OF OPERA IN EARLY CINEMA / 1. Silent opera: DeMille's Carmen / 2. D. W Griffith as a Wagnerian / 3. Stage fright: Phantom of the Opera / 4. A life at the opera / 5. Synesthesia: Alexander Nevsky as opera // PART TWO. THE FILM SCORE / 6. The leitmotif / 7. Titles music as operatic overture // PART THREE. CINEMA GIVES OPERA THE FINGER / 8. Casting opera in our teeth: Chaplin's Carmen / 9. Attack of the anarchists: A Night at the Opera / 10. Deflated and flat: opera in Citizen Kane / 11. Bursting out into opera: Fellini's E la nave va / 12. The charming opera snob in Hannah and Her Sisters 140 // PART FOUR. WAGNER'S BASTARDS / 13. Misreading Wagner: the politics of Lang's Siegfried / 14. Cinema as grand opera: politics, religion and DeMille / 15. Bombarding the senses: Apocalypse Now / 16. Wagnerian images of sound and sensuality / 17. Wagner's Ring cycle for adolescents: Star Wars / 18. What's opera, Doc // PART FIVE. CINEMA AS OPERA / 19. Dizzying illusion: Vertigo / 20. Carmen copies / 21. Operastruck / 22. Outing opera in Philadelphia / 23. Opera obsession / 24. Surrogate voice: Maria Callas as Medea / 25. Orpheus reincarnated // PART SIX. OPERA RETURNS AS CINEMA / 26. Finale: directors' operas