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Realistic elements in the plays of Tom TaylorKasl, Virginia Gail January 2011 (has links)
Photocopy of typescript. / Digitized by Kansas Correctional Industries
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[en] POLITICAL DIMENSIONS OF THE MELODRAMA IN THE CONTEMPORARY ARGENTINEAN CINEMA: PRINCIPLES, COMMUNITARIAN VALUES AND MARKET IN ADOLFO ARISTARAIN AND JUAN JOSÉ CAMPANELLA MOVIES / [pt] DIMENSÕES POLÍTICAS DO MELODRAMA NO CINEMA ARGENTINO CONTEMPORÂNEO: PRINCÍPIOS, VALORES COMUNITÁRIOS E MERCADO EM FILMES DE ADOLFO ARISTARAIN E JUAN JOSÉ CAMPANELLAGUILHERME MUNIZ SAFADI 18 March 2015 (has links)
[pt] Este trabalho se dedica a investigar formas de tratamento do político presentes em algumas narrativas cinematográficas de corte melodramático, realizadas na Argentina nos anos iniciais deste século. A articulação de polarizações morais e de forte apelo emotivo, característicos do melodrama, com referências a marcos da política nacional, mostrou-se persistente no cinema argentino naqueles anos, quando a produção cinematográfica do país vivia um novo impulso. Lugares Comuns, de Adolfo Aristarain e O Clube da Lua, de Juan José Campanella, são alguns filmes representativos dessa persistência e constituem o foco central deste trabalho. Em primeiro lugar, sustentamos a forte presença de mensagens políticas que se opõe a uma ampliação do papel do mercado na sociedade, a partir da adesão a valores e princípios comunitários. Em segundo lugar, observamos um radical fechamento do espaço para ação política. Assim, através do modo melodramático, tais narrativas articulam uma moral associada a princípios políticos na escala reduzida das relações locais e familiares. / [en] This work investigates forms of treating politics, which are present in some of the cinematic narratives of a melodramatic nature, produced in Argentina during the first years of the twentieth century. The melodrama typical features, such as the articulation of moral polarizations and strong emotional appeal, together with references to critical events of the internal politics, were persistent in the Argentinean cinema of those years, when the cinematographic production in the country was experiencing a new boom. Common Ground, by Adolfo Aristarain and Moon of Avellaneda, by Juan José Campanella, are two of the key movies that represent that persistence and they are the main focus of this analysis. Firstly, we argue that there is a strong presence of political messages that opposed the expansion of the role of free market in society, which is countered with the embrace of communitarian principles and values. Secondly, we observed a radical restriction of the space for political action Thus, through the melodramatic mode, these narratives articulate a moral associated to political principles in the reduced scale of the local and familiar relations.
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A imaginação melodramática e o cinema de Pedro Almodovar / The melodramatic imagination and the cinema of Pedro AlmodovarOliveira, Caroline Anielle Souza Batista Pires de 28 November 2013 (has links)
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Previous issue date: 2013-11-28 / This paper proposes the questioning and appropriation of the concept of imagination
melodramatic , coined by Peter Brooks (1995 ) , in cinema. We apply the method of film
analysis in the film Women on the Verge of a Nervous Breakdown (1988 ) by filmmaker Pedro
Almodovar . We chose to dedicate ourselves to the analysis of a film that departs in some
respects from the classical structure of cinema, just to understand, with more depth , strength
and inexhaustible vitality of the melodramatic imagination . In this process , it is necessary to
recover the historical birth of melodrama and its recurrence in the theater so we can
understand more clearly the breadth and scope of the concept . Question the concept of
melodrama as a genre and work with the hypothesis of a melodramatic imagination before
being impregnated in various theatrical and film productions , is built mainly by the look that
the public launches on the work . The melodrama , or rather this imagination , thus , would be
a lens through which the modern individual would structure and accelerated relatively solidly
values appease him, at least superficially . / Este trabalho propõe a problematização e apropriação do conceito de imaginação
melodramática, cunhado por Peter Brooks (1995), no cinema. Aplicaremos o método da
análise fílmica no filme Mulheres à beira de um ataque de nervos (1988) do cineasta Pedro
Almodovar. Optamos por nos dedicar à análise de um cinema que se afasta, em determinados
aspectos, do cinema de estrutura clássica, justamente para compreender, com ainda mais
profundidade, a força e vitalidade inesgotável da imaginação melodramática. Nesse processo,
se faz necessário retomar o histórico do nascimento do melodrama e sua recorrência no teatro
para que possamos compreender com mais clareza a amplitude e extensão do conceito.
Questionamos a concepção do melodrama enquanto gênero e trabalhamos com a hipótese da
presença de uma imaginação melodramática que, antes de estar impregnado nas mais diversas
produções teatrais e cinematográficas, é construído prioritariamente pelo olhar que o público
lança sobre a obra. O melodrama, ou melhor, essa imaginação, seria, assim, uma lente por
onde o indivíduo moderno e acelerado estruturaria de maneira relativamente sólida valores
que lhe apaziguam, ao menos superficialmente.
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Unconditionally and at the heart's core : Twilight, neo-Victorian melodrama, and popular girl cultureKapurch, Katherine Marie 11 November 2013 (has links)
Through a study of Twilight literary texts, fangirls' online discourse, and cinematic adaptations, I theorize the rhetorical dimensions of "neo-Victorian melodrama," a pervasive mode of discourse in girl culture. These rhetorical functions include the validation of girls' emotional lives, especially affective responses to coming-of-age experiences. Through the confessional revelation of interiority, neo-Victorian melodrama promotes empathy and intimacy among girls and functions to critique restrictive constructions of contemporary girlhood, which has inherited Victorian discourses related to female youth. Theorizing these rhetorical dimensions helps advance an appreciation for girls' rhetorical activities and their cultural preferences. These preferences have often been derided by ageist and sexist critiques of Twilight, a phenomenon initiated by Stephenie Meyer's young adult vampire romance. In order to determine the rhetorical dimensions of neo-Victorian melodrama in girl culture, I use generic rhetorical criticism. Specifically, Meyer's Twilight Saga appeals to contemporary girls through melodramatic moments shared with Charlotte Brontë's nineteenth-century Jane Eyre. Fangirls' online discourse certifies this appeal while also demonstrating how melodrama qualifies girls' own speech practices. Thus, generic criticism is complemented by ethnographic approaches to fandom. In addition, a focus on narrating voiceover, a sound convention with a legacy in girls' media, helps make sense of the Twilight cinematic adaptations' translation of neo-Victorian melodrama from page to screen. The rhetorical dimensions of neo-Victorian melodrama in girl culture are consistent with previous feminist theoretical insights related to the revelation of affect, intimacy, and personal experience for the purpose of community building. While feminist rhetoricians have addressed women's rhetorical practices, they have not theorized girls to the same extent, nor have they used generic criticism to account for melodrama's redemptive or progressive potential. Likewise, while scholars of literature, film, and media studies have advanced an appreciation for women's preferences for melodrama, these feminist scholars generally have not treated girls' preferences for the melodramatic mode. And while feminist critics in girls' studies have theorized girls' productive cultural contributions, as well as their complex reading and viewing strategies, such scholarship has not accounted for girls' preferences for melodrama. My study at once builds on and remedies the gaps in this theoretical foundation. / text
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The claustral gaze : visions of imprisonment in the gothic novel and French melodramaWright, Angela January 2002 (has links)
This thesis provides a critique of the gaze in Gothic novels and French melodramas between 1790 and 1825. After situating itself historically in relation to the eighteenth century's prioritization of vision, the thesis then progresses in chapters two to seven to textual examinations of visual critiques provided by Gothic novelists. It examines the following authors: Sophia Lee; Ann Radcliffe; Matthew Lewis; the Marquis de Sade; Charles Maturin; James Hogg, and William Godwin. The thesis contends that these Gothic novelists demonstrate the function of the gaze in its most violent and reductive light. In the novels examined, the thesis posits that vision is used as a tool of power, rather than one of education and enlightenment. An examination is made of the imprisoning function of the gaze with reference to psychoanalytical essays on the gaze written by Sigmund Freud and Jacques Lacan. These essays help to promote the theory that the Gothic novels studied all portray some form of transgressive gazing: the punishment for this lies in the characters' temporary transition into some form of inanimate image. Whether this be a portrait, a statue, or a dramatic tableau, the transition is indicative of the regressive gaze to the past that the characters have been using. The eighth and final chapter of the thesis turns the focus from Gothic novels to French melodramas. This is done to represent the failure of French melodramatists to regulate the visual responses of their audiences. By examining their critical projects, and the results of them, the thesis concludes by demonstrating the practice, and failure, of the gaze.
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Between the violence and virtue of desire : film noir and family melodrama in the transgeneric cinema of Hollywood's late studio era /Norton, Jonathan January 1900 (has links)
Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 115-117). Also available in electronic format on the Internet.
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TränenReiche BürgerTräume Wunsch und Wirklichkeit in deutschsprachigen Filmmelodramen 1933 - 1945Pohl, Astrid January 2007 (has links)
Zugl.: Marburg, Univ., Diss., 2007 u.d.T.: Pohl, Astrid: Deutschsprachige melodramatische Spielfilme 1933 - 1945
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Coração de Ouro:o Cinema melodramático de Lars Von TrierRodrigues, Virgínia Jorge 20 April 2011 (has links)
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VirgíniaJorge.pdf: 945184 bytes, checksum: 1e629a48fa48e7df6a14fb9cfa8d9887 (MD5) / Este trabalho pretende investigar os mecanismos da representação melodramática em um determinado período filmográfico da obra do cineasta dinamarquês Lars Von Trier,
conhecido como Trilogia do Coração de Ouro, que compreende os seguintes filmes: Ondas
do Destino (1996), Os Idiotas (1998) e Dançando no Escuro (2000). Para tanto o trabalho divide-se em quatro partes: a primeira promove uma revisão da literatura acadêmica sobre o melodrama cinematográfico; a segunda traça um panorama da evolução do modo de representação melodramático ao longo do tempo, localizando suas origens e seus modos de operação; a terceira e quarta partes focam no trajetória filmica de Lars Von Trier até o corpus analítico escolhido, investigando o modo de organização interna dos elementos fílmicos e os efeitos que tais composições visam provocar no espectador.
Esta dissertação utilizou como perspectiva teórico-analítica o método conhecido como
Poética, proposto no Laboratório de Análise Fílmica do Programa de Pós-graduação em
Comunicação e Cultura Contemporâneas da Universidade Federal da Bahia, sob a
orientação do Professor Wilson Gomes.
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The Melodramatics of Turkish Modernity: Vurun Kahpeye [Strike the Slut] and its Cinematic AfterlifeGermen, Baran 11 January 2019 (has links)
Proposing melodrama as an aesthetics of victimhood, my dissertation examines the intermedial itineraries of notable feminist Halide Edib’s Vurun Kahpeye [Strike the Slut]. Originally serialized in 1923 and published as a novella in 1926 in Ottoman Turkish, Vurun Kahpeye was translated into modern day Turkish in 1946. The melodramatic story was then adapted for screen three times in 1949, 1964, and 1973, respectively, by Ömer Lütfi Akad, Orhan Aksoy and Halit Refiğ. With the circulation of these films on TV, the title Vurun Kahpeye has since the 90s morphed into an idiom designating the unjust treatment of the innocent.
The persistent repetition of Vurun Kahpeye across media, I suggest, signifies melodrama’s aesthetic durability due to its affective excess: its efficacy in making a disaffected public experience its own victimhood. Thus, my dissertation provides an archeology of melodrama as a political technology through a reading of each of Vurun Kahpeye’s media iteration as embedded in its socio-historical context. In this account, the affective medium of cinema emerges as the main site for the formation of a secular mass public by linking secularism to structures of feeling rooted in victimization, suffering, and injury.
And yet, the affective excess of melodrama, I demonstrate, renders Vurun Kahpeye’s normative project unstable and uncontainable with each iteration. At different moments in time, Vurun Kahpeye is a queer text exposing the heteropatriarchal nature of secular nationalism; lays the infrastructural, spectatorial, and aesthetic foundation of the classical cinema of Turkey; and serves as the project of a social realist, counter-populist, and anti- Western theory of cinema. Therefore, this dissertation traces the conflicting projections, aspirations, and feelings central to Turkish republican modernity that congeal and clash in, through, and around Vurun Kahpeye. / 2021-01-11
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As (arqueo)genealogias perversas no cinema de Pedro AlmodóvarFelippe, Renata Farias de 24 October 2012 (has links)
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Literatura, Florianópolis. 2009 / Made available in DSpace on 2012-10-24T22:16:13Z (GMT). No. of bitstreams: 1
267261.pdf: 1070666 bytes, checksum: ab75cf01e866eb24c0c8db8d0b942da8 (MD5) / Os conceitos de arqueologia e de genealogia desenvolvidos por Michel Foucault são referenciais e elementos dinamizadores da análise em questão, voltada às possíveis articulações entre o cinema de Pedro Almodóvar e as suas textualidades fundadoras # o melodrama cinematográfico, o cinema clássico hollywoodiano, a filmografia de Luís Buñuel, a trilogia materna de Garcia Lorca #, ligações permeadas pela subversão e pela perversidade.
Na filmografia do diretor/autor, o caráter transgressivo vai além da inversão e do deslocamento, fazendo-se presente também através de ausências inquietantes. O silenciamento das vozes que representam o poder patriarcal, em Almodóvar, revela uma perturbadora ausência. No entanto, sob a superfície de suas conhecidas #cores#, sob a efusividade de suas personagens, sob o complexo emaranhado de suas tramas, podemos entrever os #fantasmas#, as #sombras# que permeiam a história e a cultura espanholas.
A ênfase na temática do desejo, do hedonismo, da maternidade; a insistente representação dos laços de solidariedade estabelecidos entre mulheres, entre mães e filhos/as, podem ser vistas como estratégias discursivas que abafam as vozes pretéritas opressoras e as suas ruínas.
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