DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.050


J. Radigales
Thursday 6 October 2016 by Libadmin2016

References: 3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2016, www.sgemsocial.org , SGEM2016 Conference Proceedings, ISBN 978-619-7105-53-7 / ISSN 2367-5659, Apr 06-09, Book 4, Vol.1, 391-398 pp, DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.050

The relationship between opera and cinema is the topic of a vast literature documenting how important opera on screen was, even in silent films. At the beginning of the 21st century and facing the challenges of new technology, including social networks, we aim to critically review the process of these relations, as well as proposals for future studies.
We begin this study by looking at the various uses (and abuses) that cinema has made of opera and the new exhibition proposals of musical theatre on the big screen today —from filmed opera or diegetic uses of opera in contemporary cinema to live broadcasts in a cinematic context.
In particular and among other issues, one of the challenges that this paper raises is the analysis of a common market between opera and the audio-visual industry, from the point of view of the opera business in theatres. Once the technological and commercial features that make these broadcasts sustainable film products are defined, the focus is now on knowing what are the audio-visual properties that make opera simulcasts what many recognize as a new exclusive media event in sociological terms. Once a technological perspective is hurdled, the evolution towards an aesthetic analysis of the audio-visual formula offered by these cultural products could explain some of the sociological behaviours adopted by people attending films in theatres. Knowledge of these narrative peculiarities that seem to bring new rewards in operatic audiences can help the film industry to explore new and future relations between these traditional arts.

Keywords: Opera, Cinema, Mass Communication

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