¹ See Marcia Citron, Opera on Screen (New Haven, CT, and London: Yale University Press, 2000), and by the same author, When Opera Meets Film (Cambridge: Cambridge University Press, 2010); see also Jeongwon Joe and Rose Theresa, eds., Between Opera and Cinema (New York and London: Routledge, 2002). The ongoing interest in opera–cinema interactions is indicated by, for instance, a recent special issue of Opera Quarterly devoted to operas derived from films: see Opera Quarterly 38/1–4 (2022), ‘From Film to Opera’, guest-edited by Jelena Novak and João Pedro Cachopo.

² Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA: MIT Press, 1999).

³ Ibid., 19.

⁴ This narrative of betrayal plainly retains its hold on producers, critics, and audiences of opera videos, for all that scholars have sought to complicate it: see, for instance, Emanuele Senici, ‘Porn Style? Space and Time in Live Opera Videos’, Opera Quarterly 26/1 (2010), 63–80.

⁵ James Steichen, ‘HD Opera: A Love/Hate Story’, Opera Quarterly 27/4 (2012), 443–59.

⁶ For two representative examples, see Emanuele Senici, ‘Opera on Italian Television: The First Thirty Years, 1954–1984ʹ, in Opera and Video: Technology and Spectatorship, ed. Héctor J. Pérez (Bern: Peter Lang, 2012), 45–70; and Danielle Ward-Griffin, ‘As Seen on TV: Putting the NBC Opera on Stage’, Journal of the American Musicological Society 71/3 (2018), 595–654.

⁷ While this debate is too broad to summarize here, Morris engages productively with interventions from film theorists such as Francesco Casetti, whose The Lumière Galaxy: Seven Key Words for the Cinema to Come (New York: Columbia University Press, 2015) is cited throughout the book.