{"id":9388,"date":"2017-08-31T00:00:15","date_gmt":"2017-08-31T04:00:15","guid":{"rendered":"http:\/\/operawire.wpengine.com\/?p=9388"},"modified":"2019-02-21T00:31:42","modified_gmt":"2019-02-21T05:31:42","slug":"opera-meets-film-how-pixars-up-illuminates-subverts-carmens-habanera","status":"publish","type":"post","link":"https:\/\/operawire.com\/opera-meets-film-how-pixars-up-illuminates-subverts-carmens-habanera\/","title":{"rendered":"Opera Meets Film: How Pixar’s ‘Up’ Illuminates & Subverts ‘Carmen’s’ Habanera"},"content":{"rendered":"

\u201cOpera Meets Film\u201d is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week\u2019s installment features Pete Doctor\u2019s \u201cUp<\/a>.\u201d<\/em><\/p>\n

Over the last few installments, we have repeatedly turned to opera to see how a filmmaker derives symbolic meaning from the intertextual dialogue between film and operatic work. But sometimes that intertextuality isn\u2019t so deep or important as the simple importance of combining music with the image.<\/p>\n

Such is the example in an early sequence of Pixar\u2019s \u201cUp.\u201d<\/p>\n

The famous Habanera from Bizet’s “Carmen,” or \u201cL\u2019amour est un oiseau rebelle,\u201d expl ores the titular character\u2019s view on love and in its ever-changing nature. Ironically, the opening sequence of \u201cUp,\u201d in which director Pete Doctor utilizes an orchestral version of the piece, depicts the main character Carl\u2019s morning routine. The film and music could not be more diametrically opposed in their respective meaning.<\/p>\n