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Number of items: 10.

Cenciarelli, Carlo 2018. The sense of an ending: music, time and romance in Before Sunrise. In: Bayman, L. and Pinazza, N. eds. Journeys on Screen: Theory, Ethics and Aesthetics, Edinburgh: Edinburgh University Press, pp. 167-182.

Cenciarelli, Carlo 2016. The limits of operatic deadness. Cambridge Opera Journal 28 (2) , pp. 221-226. 10.1017/S0954586716000276

Cenciarelli, Carlo 2015. "Warped singing": opera from cinema to YouTube. In: Vincent, Delphine ed. Verdi on Screen, Lausanne: L'Age d'Homme, pp. 251-267.

Cenciarelli, Carlo 2014. Lucrezia in 3D: il fallimento di critica, gli scollamenti formali e le epistemologie web della prima opera in tridimensione. In: Fornoni, Federico ed. Donizetti in Scena: Attualità del testo-spettacolo, Bergamo: Fondazione Donizetti, pp. 384-404.

Cenciarelli, Carlo 2013. At the margins of the televisual: picture frames, loops and ‘cinematics’ in the paratexts of opera videos. Cambridge Opera Journal 25 (2) , pp. 203-223. 10.1017/S0954586713000074

Cenciarelli, Carlo 2013. "What Never Was Has Ended": Bach, Bergman and the Beatles in Christopher Münch’s 'The Hours and Times'. Music and Letters 94 (1) , pp. 119-137. 10.1093/ml/gct038

Cenciarelli, Carlo 2012. Dr Lecter’s taste for 'Goldberg', or: the horror of Bach in the Hannibal franchise. Journal of the Royal Musical Association 137 (1) , pp. 107-134. 10.1080/02690403.2012.669929

Cenciarelli, Carlo 2011. Bach and cigarettes: imagining the everyday in Jarmusch’s Int. Trailer. Night. Twentieth-Century Music 7 (2) , pp. 219-243. 10.1017/S147857221100017X

Cenciarelli, Carlo 2009. Off key: when film and music won't work together. By Kay Dickinson [Book Review]. Music and Letters 90 (2) , pp. 320-322. 10.1093/ml/gcn123

Cenciarelli, Carlo 2006. The case against Nyman revisited: “affirmative” and “critical” evidence in Michael Nyman’s appropriation of Mozart. Radical Musicology 2006 (1) , 84 pars.

This list was generated on Sun Oct 20 08:49:33 2019 BST.