{"id":520,"date":"2014-12-15T14:44:09","date_gmt":"2014-12-15T14:44:09","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/omf\/?page_id=520"},"modified":"2016-09-21T10:32:28","modified_gmt":"2016-09-21T10:32:28","slug":"documentation-24th-october","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/omf\/events\/october-24th-2014\/documentation-24th-october\/","title":{"rendered":"Documentation 24th October"},"content":{"rendered":"

Session one: Live Cinecasts<\/strong><\/p>\n

10.00-10.30 <\/strong><\/p>\n

Keynote<\/strong> Chris Morris, National University of Ireland Maynooth<\/strong><\/p>\n

The Next Best Thing<\/strong><\/a><\/p>\n

The mediatisation of opera is hardly new: audio recordings of opera have been produced since the technology first emerged, and television began broadcasting live opera over half a century ago. Meanwhile, the catalogue of opera on DVD now amounts to over 3000 titles. Yet the recent impact of webcasting and cinecasts has taken many by surprise. I reflect on these recent developments and ask what it means for the production of opera and for our understanding of the experience of opera. What does \u2018live\u2019 mean in this context? Can mediatised opera be understood in its own terms or is it merely what the Met has called \u2018the next best thing\u2019 to being in the opera house? Framing my discussion is the question of what the academic field of opera studies might bring to a consideration of these issues and whether anyone should care what it has to say.<\/p>\n