| This thesis seeks to address how technology and film have come to influence operatic staging practices in recent years. It begins first with an assessment opera's place in the cinema by looking at how two film versions of Mozart's Die Zauberflote---Ingmar Bergman's Trollflojten (1975) and Kenneth Branagh's Magic Flute (2006)---both strive to fuse the theatrical and the cinematic into a hybridized artform, capable of engaging audiences as a combination of opera and film. The second chapter shifts focus to staged opera, but with an eye towards space and place and their interaction with filmic technologies. As a whole, this project seeks to confront what I see as a fundamental problem in the way scholarship has thus far approached the subject. This thesis argues for the need of a more integrated approach to how we think and write about operatic mediatization and intermediality in the twenty-first century. |
