In the publishing house Robert Rühle, Berlin, a new film music collection appears under the label “Filmharmonie”. The collection comprises thirty numbers, compositions by Huppertz, Künnecke, Porret, Rust, Becce and others. The publication is edited by Werner Richard Heymann.
Hans Erdmann. Reichsfilmblatt, September 24, 1927.
Between the 1910s and 20s, countless film adaptations of operas originated as the consequence of a true medial competition between cinema and the bourgeois cultural institution par excellence: opera.
The film adaptation of an operatic original cannot be regarded as a mere ‘relocation’ of the stage’s subject on the big screen. The transposition of a music theater work into a cinematic work can be properly framed as a remediation: i.e., the transposition of a source text from its original form of presentation into a new textual system.
The paper focuses on a spectrum of music scenes – from Albert Capellani’s La vie de Boheme (1912) to Jacques Feyder’s Carmen (1916), and from Robert Wiene’s Rosenkavalier (1926) to Ludwig Berger’s Der Meister von Nürnberg (1927) – that represent different and complementary strategies in transposing operatic music numbers to the cinema.
F. Finocchiaro, Arias and Ensembles in the Film Adaptations of Operas: Some Preliminary Reflections, Musical Moments Conference, University of Salzburg, March 8–10, 2018.
“Greta spricht!” – In den 1930er Jahren revolutionierte der Tonfilm das Kino. Doch was bedeutete dieser Umbruch für die Filmmusik? Musikwissenschafter Francesco Finocchiaro sucht im journalistischen Diskurs der Stummfilm-Ära nach Antworten und macht seine Funde digital zugänglich.
Hanna Möller’s article on the FMJ Proejct is now available on Uni:View Magazin.
At the recent conference Novembergruppe 2018 (Dessau, March 3, 2018), PI Francesco Finocchiaro held a lecture on the role of musical metaphors in the aesthetic reflections that lie at the foundations of abstract cinema. In his paper, Dr. Finocchiaro described Walter Ruttmann’s Lichtspiel Opus 1 as the result of an inherently metaphorical creative process: a painted paraphrase of rhythm and musical phrasing that confers the cinematic work the content and character of a musical piece.
F. Finocchiaro, ‘Der absolute Film’: The Role of Musical Metaphors in the Aesthetic Manifesto of Abstract Cinema, Symposium Novembergruppe, Dessau, March 3, 2018.
The FMJ Project has adhered to the Music Criticism Network.
The Music Criticism Network, managed by Massimiliano Sala, is a center for the dissemination and interaction of research groups and projects on music criticism. The Network organizes an annual international three-day conference. Furthermore, it provides a vehicle for the dissemination of scholarly works through the Music, Criticism, & Politics series (Brepols Publishers), as well as the Journal of Music Criticism.
The FMJ Project has been inserted into the Kulturerbe digital platform.
Kulturerbe digital is a project of EUBAM, a Working Group at the Institute for Museum Research – Preußischer Kulturbesitz, Berlin, devoted to European matters affecting libraries, archives, museums and monument protection.
The English-language monograph Musical Modernism and German Cinema from 1913 to 1933 has been published in the book series “Film and Television Studies” by Palgrave Macmillan, UK.
Finocchiaro’s study delivers compelling insights into the relationship between Musical Modernism and German silent and early sound cinema. Approaching cinema from the vantage point of its engagement with modernist composers manages to move beyond the boundaries between “high” and “low” art, opening up the wider field of the cultural status of cinema in relation to coexisting art forms at a crucial historical moment.
Anna K. Windisch, University of Salzburg, Austria. Co-Editor of The Sounds of Silent Films. New Perspectives on History, Theory and Practice, 2014
Francesco Finocchiaro, Musical Modernism and German Cinema from 1913 to 1933, Basingstoke, Palgrave Macmillan, 2017.