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When Opera Met Film: Casa Ricordi and the Emergence of Cinema, 1905-1929.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	When Opera Met Film: Casa Ricordi and the Emergence of Cinema, 1905-1929./
作者:	Thomas, Christin.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	534 p.
附註:	Source: Dissertations Abstracts International, Volume: 78-05, Section: A.
Contained By:	Dissertations Abstracts International78-05A.
標題:	European history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10158181
ISBN:	9781369131895

When Opera Met Film: Casa Ricordi and the Emergence of Cinema, 1905-1929.
Thomas, Christin.

When Opera Met Film: Casa Ricordi and the Emergence of Cinema, 1905-1929. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 534 p.

Source: Dissertations Abstracts International, Volume: 78-05, Section: A.

Thesis (Ph.D.)--Yale University, 2016.

This item must not be added to any third party search indexes.

Taking Italian opera as its focus, this dissertation explores the relationship between opera and cinema from the start of Italian cinematic production in 1905 to the onset of the sound era in the late 1920s. Framed in a way that resonates with today's media landscape, these early encounters reveal historical developments that arguably shaped the relationship between opera and media technology for decades. I delve into this history by considering the evolving responses of the Ricordi company, the foremost Italian music publisher of the nineteenth and twentieth centuries, to the emerging cinematic medium and its developing industry during a critical period of transition for Italian opera's position within cultural and economic life. As such, I draw extensively on both original archival research and interdisciplinary scholarship, including research in musicology, film and performance studies, as well as legal history and cultural economics. In so doing, this study fills a notable gap in current scholarship on opera and cinema, which seldom investigates the earliest decades of the relationship between the two genres and also has yet to seriously consider the new media technology's cultural and economic ramifications for opera in general. I structure my examination around the Ricordi company's evolving responses to the various stages of cinema's rapid technological and industrial development as various general managers took the helm during the first decades of the twentieth century: Giulio Ricordi (1888-1912), Tito II Ricordi (1912-1919), and Renzo Valcarenghi and Carlo Clausetti (1919-1940), who shared responsibilities as co-gerenti. This institutional approach is complemented by an examination of artifacts a film and film score that are products of Ricordi's collaborations with Italian film companies, as well as by the comparison of the involvement of two opera composers Giacomo Puccini and Pietro Mascagni in the company's discussions of cinema. In the Introduction, I lay out the project as a whole and its engagement with various disciplinary discourses. This chapter also introduces the Ricordi company and the rationale behind the project's focus on this particular publisher as playing a central role in shaping the opera industry's responses to the emergence of cinema. Additionally, it provides a discussion of the project's relevance to existing scholarship and an overview of the source materials on which it draws. Chapter 1 considers the initial responses of the Ricordi company to the emerging cinematic medium and the birth of the Italian film industry in 1905. Although Ricordi's previous experiences with sound recording informed their responses to cinema, the new audio-visual medium raised distinct financial and artistic challenges. I argue that Giulio Ricordi leveraged the renewed discussion of copyright, catalyzed by the development of cinema, as a mechanism of economic and cultural control over technological engagements with their repertoire. The years of Tito II Ricordi's direction of the company before World War I are investigated in Chapter 2, which considers the publisher's partnerships with five Italian film companies on the cinematic adaptation of operas during the anni d'oro, the so-called golden years of Italian silent cinema. Although films based on literary and operatic narratives had already begun to emerge, the early 1910s marked the first time that Italy's foremost music publisher actively invested their own experience, repertoire, and reputation in experimenting with such endeavors. Chapter 3 approaches the central question of how the histories of opera and cinema in the first decades of the twentieth century are intertwined from a different angle. Analyzing two surviving artifacts the film for Film d'Arte Italiana's 1911 Aida and the score for Savoia Film's 1914 Germania-this chapter addresses the relationship between music and visuals in early filmic adaptations of operas. Chapter 4 returns to an examination of the Ricordi company under the leadership of Renzo Valcarenghi and Carlo Clausetti in the aftermath of World War I and until the emergence of sound film. I examine the various ways in which leading opera composers Mascagni and Puccini were included in the company's discussions of cinema during the late 1910s and early 1920s, and close with an overview of the company's policies in the late 1920s as the silent era came to a close. In the Epilogue, I engage with broader questions raised by the historical trajectory of the Ricordi company's engagements with cinema during the silent era, comparing the music publisher's conception of reproduction to that of Walter Benjamin and drawing connections between issues today and those that the Ricordi company faced a century earlier. I also consider how material and institutional approaches can reorient traditionally theoretical modes of understanding the relationship between opera and cinema.

ISBN: 9781369131895Subjects--Topical Terms:

1972904
European history.

When Opera Met Film: Casa Ricordi and the Emergence of Cinema, 1905-1929.
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506 $a This item must not be added to any third party search indexes.
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