Romantic Affinities?

Bibliographic Details
Main Author: Cachopo, João Pedro
Publication Date: 2014
Language: eng
Source: Repositórios Científicos de Acesso Aberto de Portugal (RCAAP)
Download full: http://hdl.handle.net/10362/30385
Summary: PEst-OE/EAT/UI0693/2014 SFRH/BPD/79759/2011
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spelling Romantic Affinities?Cavell on Opera, Film, and the Claim of ExpressionCavellcinemaóperamúsicaMalickPEst-OE/EAT/UI0693/2014 SFRH/BPD/79759/2011In “Opera and the Lease of Voice,” as in a smaller essay entitled “Opera in (and as) Film,” Cavell makes a challenging argument about the historical link between opera and film. For him, they represent two historically juxtaposed attempts to solve the same problem, that of a “cultural trauma having to do with a crisis of expression, a sense that language as such, reason as such, can no longer be assured of its relation to a world apart from me or to the reality of the passions within me”. And he adds: “Nothing less than such a trauma could meet the sense of language as requiring as it were a rescue by music” 1. Just as opera – to which Cavell is referring in this passage –, cinema would be a way of coming to terms with such a “traumatic crisis of expression”. And yet, film provides a different – more optimistic – response, on account of which cinema may be seen as both an inheritor and a competitor of opera. Cavell’s take on the agonistic affinity between film and opera (with music at its core) turns out to be relevant to understand film’s arguable expressive power (its capacity, as he might put it, to grasp the human being’s experience of the world) in at least two different senses: (1) as it sheds light on the main assumption of silent film (think of DeMille’s Carmen or Lang’s Die Nibelungen), that the movement of images is as compellingly expressive as the movement of music, and (2) as it suggests the importance of the use of music (be it operatic or not) in sound cinema. The second line of thought interests me further, in that it leads to a couple of philosophical questions I aim to discuss in a critical manner. Is the affirmation of this affinity between opera and cinema a way of postulating – as Adorno put it, changing Nietzsche’s dictum – the “birth [not of tragedy anymore, but] of film from the spirit of music”2? Are there consequences to be drawn from such na assumption in terms of time being more crucial than space to characterize the human experience? What kind of music is required to meet such an expressive demand? Is Romantic music, by virtue of its pervasive influence over the listener, to take the lead? I shall discuss these questions against the backdrop of a critical analysis of the use of music in Malick’s The Tree of Life (2011) and To the Wonder (2012). Two reasons justify the option: Malick’s use of a great deal of Romantic music in these films, and Cavell’s admitted admiration for his former student and friend’s oeuvre.Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)RUNCachopo, João Pedro2018-02-12T23:16:35Z20142014-01-01T00:00:00Zconference objectinfo:eu-repo/semantics/publishedVersion1application/pdfhttp://hdl.handle.net/10362/30385engPURE: 2976642info:eu-repo/semantics/openAccessreponame:Repositórios Científicos de Acesso Aberto de Portugal (RCAAP)instname:FCCN, serviços digitais da FCT – Fundação para a Ciência e a Tecnologiainstacron:RCAAP2024-05-22T17:30:38Zoai:run.unl.pt:10362/30385Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireinfo@rcaap.ptopendoar:https://opendoar.ac.uk/repository/71602025-05-28T17:01:49.889204Repositórios Científicos de Acesso Aberto de Portugal (RCAAP) - FCCN, serviços digitais da FCT – Fundação para a Ciência e a Tecnologiafalse
dc.title.none.fl_str_mv Romantic Affinities?
Cavell on Opera, Film, and the Claim of Expression
title Romantic Affinities?
spellingShingle Romantic Affinities?
Cachopo, João Pedro
Cavell
cinema
ópera
música
Malick
title_short Romantic Affinities?
title_full Romantic Affinities?
title_fullStr Romantic Affinities?
title_full_unstemmed Romantic Affinities?
title_sort Romantic Affinities?
author Cachopo, João Pedro
author_facet Cachopo, João Pedro
author_role author
dc.contributor.none.fl_str_mv Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)
RUN
dc.contributor.author.fl_str_mv Cachopo, João Pedro
dc.subject.por.fl_str_mv Cavell
cinema
ópera
música
Malick
topic Cavell
cinema
ópera
música
Malick
description PEst-OE/EAT/UI0693/2014 SFRH/BPD/79759/2011
publishDate 2014
dc.date.none.fl_str_mv 2014
2014-01-01T00:00:00Z
2018-02-12T23:16:35Z
dc.type.driver.fl_str_mv conference object
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
status_str publishedVersion
dc.identifier.uri.fl_str_mv http://hdl.handle.net/10362/30385
url http://hdl.handle.net/10362/30385
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv PURE: 2976642
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv 1
application/pdf
dc.source.none.fl_str_mv reponame:Repositórios Científicos de Acesso Aberto de Portugal (RCAAP)
instname:FCCN, serviços digitais da FCT – Fundação para a Ciência e a Tecnologia
instacron:RCAAP
instname_str FCCN, serviços digitais da FCT – Fundação para a Ciência e a Tecnologia
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reponame_str Repositórios Científicos de Acesso Aberto de Portugal (RCAAP)
collection Repositórios Científicos de Acesso Aberto de Portugal (RCAAP)
repository.name.fl_str_mv Repositórios Científicos de Acesso Aberto de Portugal (RCAAP) - FCCN, serviços digitais da FCT – Fundação para a Ciência e a Tecnologia
repository.mail.fl_str_mv info@rcaap.pt
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