Abstract
The article explores three versions of Offenbach's opera: the Powell/Pressburger film, the video of John Schlesinger's production for Covent Garden, and the production at the Opera de Lyon. It reads all three in the light of the questions they pose regarding the voice and its fantasmatic appeal, the fantasy of the body in pieces, the uncanny impossibility of deciding between real bodies and the automaton, and the function of the double. Using Freud and Lacan, it asks how opera on film and video continues the ironisations of opera that Offenbach begins. © The Author (2005). Published by Oxford University Press. All rights reserved.
| Original language | English |
|---|---|
| Pages (from-to) | 22-37 |
| Number of pages | 15 |
| Journal | Forum for Modern Language Studies |
| Volume | 42 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - Jan 2006 |
Keywords
- Benjamin
- Dance
- Foucault
- Freud
- Homosexuality
- Kraucauer
- Lacan
- Opera
- Performance
- Repetition
- The double
- The inorganic
- The organic
- The uncanny
- The voice