Ann DAVIES: Introduction Nicholas TILL: Space, Time And Gender In The Film d'Art Carmen of
1910 Gillian B. ANDERSON: Geraldine Farrar And Cecil B. DeMille: The Effect Of Opera On Film And Film On Opera In
1915 Winifred WOODHULL: Carmen And Early Cinema: The Case Of Jacques Feyder (1926) Harriet MARGOLIS: Shadow And Substance: Reiniger's Carmen Cuts Her Own Capers Hilaria LOYO: A Carmenesque Dietrich In The Devil Is A Woman: Erotic Scenarios, Modern Desires And Cultural Differences Between The USA And Spain Jose F. COLMEIRO: Rehispanicizing Carmen: Cultural Reappropriations In Spanish Cinema Peter W. EVANS: Putting The Blame On Carmen: The Rita Hayworth Version Nelly FURMAN: Screen Politics: Otto Preminger's Carmen Jones Amy HERZOG: The Dissonant Refrains Of Jean-Luc Godard's Prenom Carmen Andres LEMA-HINCAPIE: Carlos Saura's Carmen : Hybridity And The Inevitable Cliche Jeremy TAMBLING : Cinematic Carmen And The `Oeil Noir' Mary P. WOOD: The Turbulent Movement Of Forms: Rosi's Postmodern Carmen Susan McCLARY: Carmen As Perennial Fusion: From Habanera To Hip-Hop List of Contributors Index.
(source: Nielsen Book Data)
Since Prosper Merimee and Georges Bizet (with his librettists Meilhac and Halevy) brought the figure of the Spanish Carmen to prominence in the nineteenth century an astonishing eighty or so film versions of the story have been made. This collection of essays gathers together a unique body of scholarly critique focused on that Carmen narrative in film. It covers the phenomenon from a number of aspects: cultural studies, gender studies, studies in race and representation, musicology, film history, and the history of performance. The essays take us from the days of silent film to twenty-first century hip-hop style, showing, through a variety of theoretical and historical perspectives that, despite social and cultural transformations-particularly in terms of gender, sexuality and race-remarkably little has changed in terms of basic human desires and anxieties, at least as they are represented in this body of films. The conception of Carmen's independent sexuality as a source of danger both to men (and occasionally women) and to respectable society has been a constant. Nor has sexual and ethnic otherness lost its appeal. On the other hand, the corpus of Carmen films is more than a simple recycling of stereotypes and each engages newly with the social and cultural issues of their time. (source: Nielsen Book Data)