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Romantic Affinities?: Cavell on Opera, Film, and the Claim of Expression
CONVERSATIONS 3! Romantic Affinities?: Cavell on Opera, Film, and the Claim of Expression JOÃO PEDRO CACHOPO ! ! ! ! I. In “Opera and the Lease of Voice,” a chapter of A Pitch of Philosophy (1994),1 as in a relatively recent essay entitled “Opera in (and as) Film” (2005),2 Cavell develops a compelling argument about the link between these two art forms. According to him, opera and film represent two historically distant attempts to come to terms with the same “cultural trauma,” one he characterizes as “having to do with a crisis of expres- sion, a sense that language as such, reason as such, can no longer be assured of its rela- tion to a world apart from me or to the reality of the passions within me.”3 Such a crisis has a name: it is called skepticism. It comes as no surprise to those familiar with Cavell’s work, namely with The Claim of Reason (1979), and his books on cinema — The World Viewed (1971), Pur- suits of Happiness (1981), Contesting Tears (1996), and Cities of Words (2005) — that skepticism and the manifold efforts to overcome it are among the major Leitmotive of Cavell’s thought.4 Likewise, it is well known fact that for him Shakespeare’s (tragic) theatre and Descartes’s (solipsistic) philosophy were crucial manifestations of — and, concomitantly, attempts to appease — the increasingly generalized anxiety, which came of age around the transition between the sixteenth and the seventeenth centuries, !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1. Cavell, “Opera and the Lease of Voice,” in A Pitch of Philosophy: Autobiographical Exer- cises (Cambridge, MA: Harvard University Press, 1994), 129-169. -
978–0–230–30016–3 Copyrighted Material – 978–0–230–30016–3
Copyrighted material – 978–0–230–30016–3 Introduction, selection and editorial matter © Louis Bayman and Sergio Rigoletto 2013 Individual chapters © Contributors 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–30016–3 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. -
Opera Enormous: Arias in the Cinema Benjamin Speed
The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 5-2012 Opera Enormous: Arias in the Cinema Benjamin Speed Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Film and Media Studies Commons, Music Performance Commons, and the Theatre and Performance Studies Commons Recommended Citation Speed, Benjamin, "Opera Enormous: Arias in the Cinema" (2012). Electronic Theses and Dissertations. 1749. http://digitalcommons.library.umaine.edu/etd/1749 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. OPERA ENORMOUS: ARIAS IN THE CINEMA By Benjamin Speed B. A. , The Evergreen State College, 2002 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Communication) The Graduate School The University of Maine May, 2012 Advisory Committee: Nathan Stormer, Associate Professor of Communication and Journalism, Advisor Laura Lindenfeld, Associate Professor of Communication and Journalism and the Margaret Chase Smith Policy Center Michael Socolow, Associate Professor of Communication and Journalism THESIS ACCEPTANCE STATEMENT On behalf of the Graduate Committee for Benjamin Jon Speed I affirm that this manuscript is the final and accepted thesis. Signatures of all committee members are on file with the Graduate School at the University of Maine, 42 Stodder -
How Corporate Giants Can Better Collaborate with Deep-Tech Start-Ups
Open Innovation How Corporate Giants Can Better Collaborate with Deep-Tech Start-ups. The Case of East and Southeast Asia Index Executive Summary 6 1. Introduction: The Stories of Toyota, Samsung, Alibaba, and Lenovo 9 2. Corporate Venturing in Deep Tech: An Emerging Trend 12 2.1 What Is Deep Tech? 12 2.2 What Is Corporate Venturing and What Is Its Connection to Deep Tech? 16 2.3 The Case of East and Southeast Asia 17 3. Corporate Venturing in Deep Tech: What We Don’t Know 19 3.1 Unsolved Questions in the Literature 19 3.2 A Relevant Field 21 4. Our Results 22 4.1 Analyzed Population and Sample 22 4.2 Corporate Venturing in Deep Tech: Adoption Rates 22 4.3 Corporate Venturing in Deep Tech: What Keeps Chief Innovation Officers Up at Night 25 4.4 Corporate Venturing in Deep Tech: Tackling Problems with Architecture 28 5. Connecting the Dots: Now What? 37 5.1 How Can These Results Help Chief Innovation Officers Around the World? 37 6. Appendixes 41 2 IESE Business School Open Innovation 3 Authors Josemaria Siota Mª Julia Prats IESE Business School IESE Business School [email protected] [email protected] Researcher Vittoria Emanuela Bria IESE Business School Published in May 2021 4 IESE Business School Corporate Venturing Corporate Giants Innovating with Deep-Tech Start-ups The Case of East and Southeast Asia The Term Deep Tech Is Not New Understand this concept to implement, measure and improve it properly. Artificial intelligence Robotics and drones Deep tech is “a group of emerging technologies based on scientific discoveries or meaningful Advanced materials Photonics and electronics engineering innovations, offering a substantial advance over established technologies, and Biotechnology Quantum computing seeking to tackle some of the world’s fundamental Blockchain challenges.” Corporate Venturing In Deep Tech Is Growing at Speed Don’t miss the opportunity: Consider partnerships in this field with (and from) East and Southeast Asia too. -
An Investigation of the Huangmei Opera Film Genre Through the Documentary Film Medium
Yeong-Rury Chen A Fantasy China: An Investigation of the Huangmei Opera Film Genre through the Documentary Film Medium DDes 2006 Swinburne A Fantasy China: An Investigation of the Huangmei Opera Film Genre through the Documentary Film Medium A Doctoral Research Project Presented to the National Institute of Design Research Swinburne University of Technology In Partial Fulfilment of the Requirements for the Degree of Doctor of Design by Yeong-Rury Chen August 2006 Declaration I declare that this doctoral research project contains no material previously submitted for a degree at any university or other educational institution. To the best of my knowledge, it contains no material previously published or written by another person, except where due reference is made in the text of the project. Yeong-Rury Chen A B S T R A C T This doctoral research project intends to institute the study of the unique and significant Huangmei Opera film genre by pioneering in making a series of documentaries and writing an academic text. The combination of a documentary series and academic writing not only explores the relationship between the distinctive characteristics of the Huangmei Opera film genre and its enduring popularity for its fans, but also advances a film research mode grounded in practitioner research, where the activity of filmmaking and the study of film theory support and reflect on each other. The documentary series, which incorporates three interrelated subjects – Classic Beauty: Le Di, Scenic Writing Director: Li Han Hsiang and Brother Lian: Ling Po – explores the remarkable film careers of each figure while discussing the social and cultural context in which they worked. -
INTERNATIONAL CONFERENCE on PHILOSOPHY and FILM Thinking Reality and Time Through Film
INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. …………………………………………………………………………….………….. 1 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. Thinking Reality and Time through Film Proceedings of the International Lisbon Conference on Philosophy and Film: PROGRAMME OVERVIEWS ABSTRACTS CV’S CONTACTS Edited by Susana Viegas …………………………………………………………………………….………….. 2 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….………….. Thinking Reality and Time through Film Proceedings of the International Lisbon Conference on Philosophy and Film - 6-10 May of 2014 Conference Directors Christine Reeh José Manuel Martins Pedro Calafate Scientific Committee Christine Reeh Claudio Rozzoni José Manuel Martins Maria Teresa Teixeira Susana Viegas Toni Hildebrandt Organizing Comittee Ângela Marques Carla Simões Filipa Afonso Filipa Seabra Filipe Pinto Isabel Machado Joana Ferreira Held at the Faculty of Letters of the University of Lisbon, National Library, Portuguese Film Museum and the Goethe-Institut Lissabon. Organized by the Centro de Filosofia da Universidade de Lisboa in collaboration with C.R.I.M. Productions, and the Goethe Institut Lissabon. Sponsored by Fundação para a Ciência e a Tecnologia. …………………………………………………………………………….………….. 3 INTERNATIONAL CONFERENCE ON PHILOSOPHY AND FILM Thinking Reality and Time through Film ………………………………………………………………………….…………. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
'The Films We Are Ashamed Of': Czech Crazy Comedy of the 1970S and 1980S
Petra Han kov ‘The Films We Are Ashamed of’: Czech Crazy Comedy of the 1970s and 1980s THE INEVITABLE ‘LOSTNESS’ to show that these comedies are more ‘hybrid’ OF SMALL than ‘crazy’ and look for the reasons for this NATIONAL CINEMAS formal anomaly. Unsurprisingly, there has not been, so The cinemas of small nations, which have typi- far, a significant academic attempt to research cally remained peripheral to the main cultural the mainstream cinema of the normalisation triumphs of big film industries, have managed times, either in terms of thematic and stylistic to enter the ‘great’ General History of Cinema analysis, or concerning the presence of ideology only through a couple of carefully selected works in the films of the period.5 This is not startling and movements that are exceptional in their in- ternal development. As a result, many important 1 It has been pointed out on several occasions that it is works, directors and periods (even though they very often difficult to retroactively distinguish between Czech might be central to the national context) remain and Slovak projects within the period of the centralised Czechoslovak film industry. The absurdity of the present di- ‘lost’, unknown to foreign viewers and readers. viding of ‘Czechoslovak cinema’ from the 1950s on into two The whole notion of ‘concise histories’ of cinema separate traditions for political reasons is also commented on by Iordanova 2005. can logically be comprised only of the history of milestones and emblems. However, there 2 Comedies became the emblematic genre of -
Theater Treats in the Capital
20 Monday, July 23, 2018 LIFE CHINA DAILY HONG KONG EDITION Stage sirens take THEATER TREATS to the silver screen By CHEN NAN Long March, says that unlike most opera performances in The National Centre for the theaters, the film production IN THE CAPITAL Performing Arts’ Internation gives the opera a more “cine al Opera Film Exhibition will matic” look and requires the take place at 17 cinemas in 10 actors to modify their per Chinese cities — including Bei formances and look at the jing, Dalian, Shanghai, cameras rather than the con Hangzhou and Chengdu — ductor or audience. from Aug 4 to Oct 13, and will “For the audience, it’s a dif see 265 screenings of 13 opera ferent way of appreciating the film productions by four of the art form, which is easier,” world’s leading theater com Wang says. panies. The upcoming exhibition The NCPA’s 2015 production also invited the Metropolitan of Giuseppe Verdi’s opera Opera, the Royal Opera House Simon Boccanegra, which was and the Teatro Real to show conducted by Chun Myung case their opera film produc Whun and features Placido tions. Domingo, will open the exhi Lucia di Lammermoor, bition. Donizetti’s tragic masterpiece, The NCPA initiated the and Francesco Cilea’s tragic opera film project in 2013 and opera Adriana Lecouvreur, of the 76 operas the NCPA has both by the Royal Opera produced since it opened in House, will be screened in Chi 2007, nearly 30 have been na for the first time. turned into opera films. Two works by the Metropol Audiences will be able to itan Opera, The Pearl Fishers watch another three opera by French composer Georges films produced by the NCPA, Bizet and The Sleepwalker by including the musical drama Italian composer Vincenzo After touring the country over the past two years, the play Three Comedies returns to Beijing and is being staged at the Beijing People’s Art Theatre through Aug 6. -
Hercules, Vampires, and the Opera of Attractions Brooke Mccorkle
Hercules, Vampires, and the Opera of Attractions Brooke McCorkle Preface If, as Marshall McLuhan famously claimed, that “the medium is the message,” what then is the message of the increasing number of hybridic music-media events appearing in concert halls across the globe?1 A revolutionary heterogeneity of mediums characterizes three main types of concerts that have arisen in the late twentieth and early twenty-first centuries: first, there are the live-to-projection film concerts (what I call cine-concerts) in which orchestras perform a score live with a film screened in its entirety. Video game symphonies performed live with projections of pre-recorded gameplay represent a second example of intermedial performance. And finally, opera productions with significant amounts of prerecorded visual media represent a third type. Among these three examples, the interaction between visual projections and opera is of course the oldest, dating back to the magic lanterns that dazzled nineteenth-century audiences.2 Scholars such as Marcia Citron, Jeremy Tambling, Jeongwon Joe, Rose Theresa, and Michal Grover-Friedlander have thoroughly interrogated the intersection of opera and film.3 I seek to build on their scholarship via an analysis of an opera that encapsulates the friction between the live and the recorded, the popular and the elite, the Apollonian and Dionysian: Hercules vs. Vampires. Introduction “Action packed, outlandish, and fun for the whole family”-Arizona Opera “Music, muscles, myth – this show has everything!”- North Carolina Opera 1 Marshall McLuhan, “The Medium is the Message,” in Understanding Media: The Extensions of Man, 2nd edition (New York: Signet, 1964), 23-35. -
Film Doc 70 1.28
P ERIODICO DI I NFORMAZIONE C INEMATOGRAFICA Anno 14 N.70 OVEMBRE ICEMBRE TARIFFA REGIME LIBERO: “POSTE ITALIANE S.P.A. - S.P.A. REGIME LIBERO: “POSTE ITALIANE TARIFFA - 70% DCB GENOVA” SPEDIZIONE IN ABBONAMENTO POSTALE N - D 2006 Tutto su JEAN RENO Woody Allen UN DURO GENEROSO PARLA Nei film DARIO ARGENTO crimini impuniti? I R C U I T I O C N Cinema L d'essai I E ASSOCIAZIONE G U R GENERALE ITALIANA L DELLO SPETTACOLO SERVIZIO SPETTACOLO DELEGAZIONE REGIONALE LIGURE Questa pubblicazione, ideata nel quadro della collaborazione tra Regione Liguria - Servizio Spettacolo - e la Delegazione Regionale Ligure dell’AGIS, contie- ne i programmi delle sale del Circuito Ligure Cinema d’Essai e viene distribuita gratuitamente, oltre che in dette sale, anche nei circoli cultura- li e in altri luoghi d’in- (dis. di Elena Pongiglione) contro e di spettacolo. IN QUESTO NUMERO FILM D.O.C. 3 KERMESSE ROMANA - FICE A RAVENNA 14 I REGISTI N.28 - WOODY ALLEN Periodico di informazione 4-6 FESTIVAL: FINALE LIGURE - ALESSANDRIA - MISSING 16 LA MORTE IN VACANZA cinematografica FILM FESTIVAL - ANTALYA - SACILE - TORINO 17 ROBERT REDFORD STAR SUO MALGRADO Anno 14 - Numero 70 7 NEI FILM DI OGGI IL CRIMINE PUÒ ANCHE PAGARE 18 INTERVISTA A ETHAN HAWKE - CAPRICCIO ITALIANO Novembre - Dicembre 2006 8 IL NUOVO CORSO TEDESCO 19 SCAMPAGNATA A CINECITTÀ INTERVISTA A DARIO ARGENTO 20 LIBRI & RIVISTE c/o A.G.I.S. LIGURIA 9 via S. Zita 1/1 10 INTERVISTA A JEAN RENO 21 LA POSTA DI D.O.C. HOLLIDAY - QUIZ 16129 Genova 11 ROLF’S PROJECT - ARGOMENTI 22-23 USCITI IN LIGURIA (APR.