| dc.description.abstract | This thesis analyzes the use of Mozarts opera in contemporary film, employing as a framework Lars Frankes three levels of opera scene analysis--literal, cultural, and dramatic. The first chapter analyzes the use of Voi che sapete? in the 1995 BBC adaptation of Pride and Prejudice, revealing the effect of music as narrator. Included in the analysis is the influence of dance forms, lyrics, and Classical and Romantic philosophies on the audiences interpretation of the developing relationship between Elizabeth Bennett and Mr. Darcy. The second chapter uncovers connections between Don Giovanni and Sherlock Holmes in the Guy Ritchie film Sherlock Holmes: A Game of Shadows. The film presents a modern retelling? of the Don Giovanni story as the presence of the operas Act II in the film establishes Sherlock Holmes as Don Giovanni; however, the association is complicated as Holmes represents the moral side of Giovanni while his nemesis, Professor Moriarty, represents the amoral Giovanni. The final chapter offers a reading of Wedding Crashers as an opera buffa, dividing the film into three acts, analyzing the primary couples as seria (John and Claire) and buffa (Jeremy and Gloria), and considering the handling of social issues such as homosexuality, gender roles, and rape-culture. Additionally, the chapter explores a connection between the opera buffa and Romantic Comedy genres. | en_US |
