<oai_dc:dc xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
  <dc:creator>Vincent, Delphine</dc:creator>
  <dc:date>2018</dc:date>
  <dc:description xmlns:ns0="xml" ns0:lang="en">Giacomo Meyerbeer is famous for his contribution to opera, developing the style of  grand opéra, with Robert le diable (1831), Les Huguenots (1836), Le Prophète (1849)  and L’Africaine (1865). The modernity of his musical and dramatic methods of  representation led some researchers to assume that Meyerbeer’s writing is partly  cinematic. It is the validity of this assumption that I will question in this paper,  examining a few examples of cinematic analysis of Meyerbeer’s operas in critical  literature. The most frequent association of Meyerbeer and film is linked to the  concept of editing. Therefore I will discuss the pertinence of using terms like “cross- cutting”, “dissolve”, “cut” or “shot” when analysing Meyerbeer’s operas. I will argue  that they are not well suited to describe the musical heterogeneity characteristic of  Meyerbeer’s style. Hence I will suggest to resort instead to narratological concepts as  focalisation. Moreover a series of critics call one of the most dramatic effects in  Meyerbeer’s music “suspense effect” after cinematic thrillers, which will be another  point of my study. The presence of pantomimes in Meyerbeer’s operas has been  considered as cinematic, which is linked to a partial view of what film music is. The  recurrent association of Meyerbeer and cinema in critical literature is for sure due to  his care for optic effects and mise en scène but in the end it does not seem to be a  pertinent association regarding the understanding of his works even if a long  historiographical tradition exists.</dc:description>
  <dc:format>application/pdf</dc:format>
  <dc:identifier>https://folia.unifr.ch/global/documents/309418</dc:identifier>
  <dc:identifier>https://folia.unifr.ch/documents/309418/files/vincent_2018_propheten.pdf</dc:identifier>
  <dc:language>eng</dc:language>
  <dc:relation>https://www.hkb-interpretation.ch/fileadmin/user_upload/documents/Publikationen/Bd.9/HKB9_119-131_Vincent.pdf</dc:relation>
  <dc:rights>info:eu-repo/semantics/openAccess</dc:rights>
  <dc:rights>License undefined</dc:rights>
  <dc:source>Bild und Bewegung im Musiktheater: Interdisziplinäre Studien im Umfeld der Grand opéra = Image and Movement in Music Theatre: Interdisciplinary Studies around Grand Opéra / Brotbeck, Roman ; Moeckli, Laura ; Schaffer, Anette ; Schroedter, Stephani ; Allenbach, Daniel. - Argus. - 2018, p. 119-131</dc:source>
  <dc:subject xmlns:ns1="xml" ns1:lang="en">Giacomo Meyerbeer</dc:subject>
  <dc:subject xmlns:ns2="xml" ns2:lang="en">operatic</dc:subject>
  <dc:subject xmlns:ns3="xml" ns3:lang="en">cinematic</dc:subject>
  <dc:subject xmlns:ns4="xml" ns4:lang="en">Robert le diable</dc:subject>
  <dc:subject xmlns:ns5="xml" ns5:lang="en">Les Huguenots</dc:subject>
  <dc:subject xmlns:ns6="xml" ns6:lang="en">Le Prophète</dc:subject>
  <dc:subject xmlns:ns7="xml" ns7:lang="en">L'Africaine</dc:subject>
  <dc:subject xmlns:ns8="xml" ns8:lang="en">cross-cutting</dc:subject>
  <dc:subject xmlns:ns9="xml" ns9:lang="en">dissolve</dc:subject>
  <dc:subject xmlns:ns10="xml" ns10:lang="en">cut</dc:subject>
  <dc:subject xmlns:ns11="xml" ns11:lang="en">shot</dc:subject>
  <dc:subject>info:eu-repo/classification/udc/78</dc:subject>
  <dc:title xmlns:ns12="xml" ns12:lang="en">"Den Propheten der neuen Welt" : Is Meyerbeer’s style cinematic?</dc:title>
  <dc:type>http://purl.org/coar/resource_type/c_3248</dc:type>
</oai_dc:dc>