When Opera Meets FilmOpera can reveal something fundamental about a film, and film can do the same for an opera, argues Marcia J. Citron. Structured by the categories of Style, Subjectivity, and Desire, this volume advances our understanding of the aesthetics of the opera film encounter. Case studies of a diverse array of important repertoire including mainstream film, opera film, and postmodernist pastiche are presented. Citron uses Werner Wolf's theory of intermediality