Table of Contents

Foreword by Tony Palmer
Introduction: Why Wagner and Cinema? Tolkien Was Wrong Jeongwon Joe
Part 1. Wagner and the Silent Film
1. Wagnerian Motives: Narrative Integration and the Development of Silent Film Accompaniment, 1908–1913 James Buhler
2. Underscoring Drama—Picturing Music Peter Franklin
3. The Life and Works of Richard Wagner (1913): Becce, Froelich, and Messter Paul Fryer
4. Listening for Wagner in Fritz Lang's Die Nibelungen Adeline Mueller
Part 2. Wagnerian Resonance in Film Scoring
5. The Resonances of Wagnerian Opera and Nineteenth-Century Melodrama in the Film Scores of Max Steiner David Neumeyer
6. Wagner's Influence on Gender Roles in Early Hollywood Film Eva Rieger
7. The Penumbra of Wagner's Ombra in Two Science Fiction Films from 1951: The Thing from Another World and The Day the Earth Stood Still William H. Rosar
Part 3. Wagner in Hollywood
8. "Soll ich lauschen?": Love-Death in Humoresque Marcia J. Citron
9. Hollywood's German Fantasy: Ridley Scott's Gladiator Marc A. Weiner
10. Reading Wagner in Bugs Bunny Nips the Nips (1944) Neil Lerner
11. Piercing Wagner: The Ring in Golden Earrings Scott D. Paulin
Part 4. Wagner in German Cinema
12. Wagner as Leitmotif: The New German Cinema and Beyond Roger Hillman
13. The Power of Emotion: Wagner and Film Jeremy Tambling
14. Wagner in East Germany: Joachim Herz's Der fliegende Holländer (1964) Joy H. Calico
Part 5. Wagner beyond the Soundtrack
15. Nocturnal Wagner: The Cultural Survival of Tristan und Isolde in Hollywood Elisabeth Bronfen
16. Ludwig's Wagner and Visconti's Ludwig Giorgio Biancorosso
17. The Tristan Project: Time in Wagner and Viola Jeongwon Joe
18. "The Threshold of the Visible World": Wagner, Bill Viola, and Tristan Lawrence Kramer
Postlude: Looking for Richard: An Archival Search for Wagner Warren M. Sherk
Epilogue: Some Thoughts about Wagner and Cinema; Opera and Politics; Style and Reception Sander L. Gilman
Interview with Bill Viola Jeongwon Joe
Filmography Jeongwon Joe, Warren M. Sherk, and Scott D. Paulin
List of Contributors
Index

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Discusses Wagner's legacy in sound and on screen

About the Author

Jeongwon Joe is Associate Professor of Musicology at the University of Cincinnati. She is editor of Between Opera and Cinema (with Rose Theresa) and has published articles on Milos Forman's Amadeus, Philip Glass's La Belle et la Bête, David Lynch's Blue Velvet, Gérard Corbiau's Farinelli, and other works related to opera and film music.
Sander L. Gilman is Distinguished Professor of the Liberal Arts and Sciences at Emory University. He is author of Fat: A Cultural History of Obesity; Multiculturalism and the Jews; Making the Body Beautiful: A Cultural History of Aesthetic Surgery; Freud, Race, and Gender; and Jewish Self-Hatred: Anti-Semitism and the Hidden Language of the Jews.

Reviews

"Timely, relevant, and absolutely central to what is going on in so many fields. The editors have done a terrific job in bringing together not only the most appropriate but also the most stimulating and exciting of contributors." --Linda Hutcheon, author of A Theory of Adaptation "[T]he book ... present[s] the reader with a strong and very varied attempt to discuss the relation between Wagner, opera and cinema and includes a vast array of densely detailed information covering large historical periods in many of its well-written essays." --Screening the Past, Issue 29 "A useful resource for serious students of film, theater, and/or music, the book includes numerous photos, and helpful music notation enhances the text... Recommended." --Choice "[Wagner and Cinema] looks at the plethora of senses in which Wagner's music and different kinds of Wagnerian reception histories have informed cinematic production throughout the twentieth and twenty-first centuries...Wagner and Cinema is a text that will no doubt be consulted for many years henceforward." - Nathan Waddell, Scope, Issue 24, 2012