Table 3 - available via license: Creative Commons Attribution 4.0 International
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Source publication
Films focusing on music, whether musicals or biographies of singers, have had considerable success in the last decade; and opera has been increasingly incorporated into film soundtracks. But the modern opera film seems destined to be a subgenre associated with the 1980s. The majority of modern opera films from the mid-1970s through to the turn of t...
Contexts in source publication
Context 1
... reason for the focus on French films is that the majority of opera films made in the 1980s-1990s, the heyday of the modern opera film, were French-produced or co-produced (see Table 3), thanks in part to Daniel Toscan du Plantier, the director general of Gaumont 1975Gaumont -1984, who produced the asterisked films in Table 3. As he says in a statement that echoes the title of the book in which it appears, 'the history of opera films is key to what makes me different […] These are my films, those that I really wanted to produce, those that made me want to transmit their cultural emotion' (1995: 181-182). ...
Context 2
... reason for the focus on French films is that the majority of opera films made in the 1980s-1990s, the heyday of the modern opera film, were French-produced or co-produced (see Table 3), thanks in part to Daniel Toscan du Plantier, the director general of Gaumont 1975Gaumont -1984, who produced the asterisked films in Table 3. As he says in a statement that echoes the title of the book in which it appears, 'the history of opera films is key to what makes me different […] These are my films, those that I really wanted to produce, those that made me want to transmit their cultural emotion' (1995: 181-182). ...
Context 3
... shall first discuss the history of the French opera film and after some comments on the most successful of these, Carmen (Francesco Rosi, 1984), focus on three of the last opera films, all, like Carmen, produced by Toscan du Plantier: Žuławski, 1989), Madame Butterfly (Frédéric Mitterrand, French spectators (see Table 3), signalling the shift in spectator interest away from the opera film. ...
Context 4
... find the same sound effects and lighting effects (thunder and lightning) as in Un grand amour de Beethoven. But there is no music at all, and Gance uses somewhat Table 3 is therefore not definitive, but a representative list of opera films with theatrical distribution by well-known directors. ...
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