This work formulates a new language for speaking about the operatic voice in film. Beyond cultural signifiers, opera has a more specific purpose in film, and this thesis will provide a new language for speaking about it in such a way. Borrowing from Michel Chion's acousmetre, the current document develops a new lexicon for the way operatic music functions, beyond the traditional diegesis, and points out the agency of such voices in film. After outlining the specific attributes of the diva-acousmetre, the agent outlined in the thesis, three chapters explore its use in the films Philadelphia, The Shawshank Redemption, and Transamerica.
| Identifer | oai:union.ndltd.org:RICE/oai:scholarship.rice.edu:1911/20557 |
| Date | January 2007 |
| Creators | Hoffman, Thomas J., II |
| Contributors | Citron, Marcia J. |
| Source Sets | Rice University |
| Language | English |
| Detected Language | English |
| Type | Thesis, Text |
| Format | 94 p., application/pdf |
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