Opera Meets Film: The Ambiguous Thematic Use of ‘La Traviata’ in Rainer Werner Fassbinder’s ‘The Bitter Tears of Petra von Kant’

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Rainer Werner Fassbinder’s {…}

Opera Meets Film: How the ‘Così Fan Tutte’ Moment in ‘The Greatest Showman’ Is Emblematic of Film’s Structure

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features “The Greatest Showman.” {…}

Opera Meets Film: How Bach & Schubert Provide Thematic Unity to Prologue & Epilogue of ‘The Killing of a Sacred Deer’

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Yorgos Lanthimos’ “The {…}

Opera Meets Film: How ‘Le Nozze di Figaro’s’ Overture Provides Best Picture Winner ‘The King Speech’ With Narrative Structure & Subtext

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Tom Hooper’s Academy {…}

Opera Meets Film: How ‘Teen Spirit’ Provides Healing For the ‘Madama Butterfly’ Narrative of Family Abandonment

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment Max Minghella’s “Teen Spirit.” {…}