Cardiff University | Prifysgol Caerdydd ORCA
Online Research @ Cardiff 
WelshClear Cookie - decide language by browser settings

Browse by Current Cardiff authors

[up] Up a level
Number of items: 16.

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2025. Spectacular silence and the ends of moviegoing: The cinema as A Quiet Place (c. 2021). Music, Sound, and the Moving Image 19 (1) , pp. 1-26. 10.3828/msmi.2025.1
file

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2025. Falstaff in Brixton: The humour and ironies of Opera 'Live in HD'. Fuchs, Sarah and Zechner, Ingeborg, eds. Mediality in Music Theatre, Music and Mediality, Rombach Wissenschaft,

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2023. 'Hello darkness, my old friend': The company of music in a cinema of (shared) loneliness. New Formations 2023 (109) , pp. 29-46. 10.3898/NEWF:109.03.2023
file

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2021. The possibilities of cinematic listening - an introduction. Cenciarelli, Carlo, ed. The Oxford Handbook of Cinematic Listening, Oxford University Press, pp. 1-26. (10.1093/oxfordhb/9780190853617.013.1)
file

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2021. iPod listening as an I-voice: solitary listeners and imagined interlocutors across cinema and personal stereos. Cenciarelli, Carlo, ed. The Oxford Handbook of Cinematic Listening, Oxford Handbooks, Oxford: Oxford University Press, pp. 669-689. (10.1093/oxfordhb/9780190853617.013.35)
file

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509, ed. 2021. The Oxford handbook of cinematic listening. Oxford Handbooks, Oxford: Oxford University Press.

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2018. The sense of an ending: music, time and romance in Before Sunrise. Bayman, L. and Pinazza, N., eds. Journeys on Screen: Theory, Ethics and Aesthetics, Edinburgh: Edinburgh University Press, pp. 167-182.

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2016. The limits of operatic deadness. Cambridge Opera Journal 28 (2) , pp. 221-226. 10.1017/S0954586716000276

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2015. 'Warped singing': opera from cinema to YouTube. Vincent, Delphine, ed. Verdi on Screen, Lausanne: L'Age d'Homme, pp. 251-267.

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 2014. Lucrezia in 3D: il fallimento di critica, gli scollamenti formali e le epistemologie web della prima opera in tridimensione. Presented at: Convegno internazionale di studi: Donizetti in scena. Vedere l’opera, Bergamo, Italy, 12-14 October 2012. Published in: Fornoni, Federico ed. Donizetti in scena: attualità del testo spettacolo. Bergamo: Fondazione Donizetti, pp. 385-404.
file

Cenciarelli, Carlo ORCID: https://orcid.org/0000-0001-7162-9509 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 ORCID: https://orcid.org/0000-0001-7162-9509 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 ORCID: https://orcid.org/0000-0001-7162-9509 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 ORCID: https://orcid.org/0000-0001-7162-9509 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 ORCID: https://orcid.org/0000-0001-7162-9509 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 ORCID: https://orcid.org/0000-0001-7162-9509 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 Mon Nov 10 10:32:00 2025 GMT.


Maintained by Cardiff University IT