The Opera Quarterly 34/2-3: 'The Phantom on Film'
- Submitting institution
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Guildhall School of Music & Drama
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- NEWCORD
- Type
- B - Edited book
- DOI
-
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- Publisher
- Oxford University Press
- ISBN
- 0000000000
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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6
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- As explained in Newark’s ‘Note from the guest editor’, this special double issue represents the first published findings of an international network. The research questions outlined there (to do with the spread of particular clichés about opera through extraordinarily numerous and widely distributed screen adaptations), and the processes for answering them, are therefore common to both the design and establishment of the network on the one hand and the conceptual and methodological framing of the present collection of initial findings on the other. “Screen Adaptations of Le Fantôme de l’Opéra: Routes of Cultural Transfer”, a project supported by the Leverhulme Trust International Networks scheme, stemmed from the PI Newark’s work on the representation of opera in other media (see footnotes) and preliminary project funded by the British Academy Small Research Grants scheme (2011-12).
Reconceiving the project as an interdisciplinary collaboration required
- preliminary reading in unfamiliar disciplines to identify colleagues with the necessary mix of geographical positioning (the material dictated that the US, Latin America, Italy and China had to be represented) and authority across film, fan and opera studies;
- designing the international schedule of events (group workshops with local experts around the world combined with sharing of the initial research at international conferences);
- writing the grant;
- chairing workshops and conference panels;
- gathering research footage for future outputs and impact.
The special-issue sub-project involved pitching to the journal editor, assembling the list of principal sources, co-ordinating complementary contributions, editing all the articles and translating (from Italian) that by Calabretto.
Newark’s single-authored article runs directly on from the ‘Note’, addressing a particular aspect of the memetic spread of the ‘Phantom on Film’ phenomenon through different cultures: the fetishisation of the score (or equivalent object of compositional mystique) and its metonymic link with the source of transcendant music.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -