{"title":"面具下的世界:Le fantomas de l 'Opera的创意漩涡","authors":"Carmen Milagros González Chávez","doi":"10.25145/j.latente.2022.20.03","DOIUrl":null,"url":null,"abstract":"This article aims to analyse some film adaptations of Gaston Leroux’s novel Le Fantôme de l’Opéra (especially The Phantom of the Opera, a silent film from 1925 and Andrew Lloyd Webber’s The Phantom of the Opera, a musical from 2004). Film and literature go hand in hand to create a mystery that raises associations to other literary sources and other artistic manifestations.","PeriodicalId":339824,"journal":{"name":"Latente Revista de Historia y Estética audiovisual","volume":"11 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"El mundo bajo la máscara: el vórtice creativo en Le Fantôme de l’Opera\",\"authors\":\"Carmen Milagros González Chávez\",\"doi\":\"10.25145/j.latente.2022.20.03\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article aims to analyse some film adaptations of Gaston Leroux’s novel Le Fantôme de l’Opéra (especially The Phantom of the Opera, a silent film from 1925 and Andrew Lloyd Webber’s The Phantom of the Opera, a musical from 2004). Film and literature go hand in hand to create a mystery that raises associations to other literary sources and other artistic manifestations.\",\"PeriodicalId\":339824,\"journal\":{\"name\":\"Latente Revista de Historia y Estética audiovisual\",\"volume\":\"11 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Latente Revista de Historia y Estética audiovisual\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.25145/j.latente.2022.20.03\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Latente Revista de Historia y Estética audiovisual","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.25145/j.latente.2022.20.03","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本文旨在分析加斯顿·勒鲁的小说《Fantôme de l ' opra》的一些电影改编(尤其是1925年的无声电影《歌剧魅影》和2004年的音乐剧《歌剧魅影》)。电影和文学携手创造了一种神秘感，使人们联想到其他文学来源和其他艺术表现形式。
El mundo bajo la máscara: el vórtice creativo en Le Fantôme de l’Opera
This article aims to analyse some film adaptations of Gaston Leroux’s novel Le Fantôme de l’Opéra (especially The Phantom of the Opera, a silent film from 1925 and Andrew Lloyd Webber’s The Phantom of the Opera, a musical from 2004). Film and literature go hand in hand to create a mystery that raises associations to other literary sources and other artistic manifestations.
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