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Books on the topic 'Melodram'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

Jonigk, Thomas. Melodram: Roman. Graz: Literaturverlag Droschl, 2013.

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2

Kadına melodram yakışır: Türk melodram sinemasında kadın imgeleri. Cağaloğlu, İstanbul: Bağlam, 2008.

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3

Kimchi, Alona. Lilly die Tigerin: Melodram. Mu˜nchen: Hanser, 2006.

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4

Manoel de Oliveira, oder, Das groteske Melodram. Berlin: Verbrecher Verlag, 2010.

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5

Keuler, Dorothea. Die Wahre Geschichte der Effi B.: Ein Melodram. 2nd ed. Zürich: Haffmans Verlag, 1998.

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6

Seidel, Gabriela. Zwischen Farce und Melodram: Restaurierte Klassiker der Griechischen Kinemathek Athen. Edited by Freunde der Deutschen Kinemathek. Berlin: Freunde der Deutschen Kinemathek, 2000.

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7

Als Bürger leben, als Halbgott sprechen: Melodram, Deklamation und Sprechgesang im wilhelminischen Reich. Köln: Böhlau, 2008.

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8

Batıdan doğuya, Hollywood'dan Yeşilçam'a melodram: 'zihniyet ve kültür etkileşimleri çerçevesinde Yeşilçam melodramı'na bakış'. Ayrancı, Ankara: Aşina Kitaplar, 2006.

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9

Gurumurthy, Premeela. Kathakalaksepa, a study. Madras: International Society for the Investigation of Ancient Civilizations, 1994.

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10

Giuseppe, Verdi. Macbeth: Melodramma in quattro atti = Melodrama in vier Akten : Textbuch Italienisch/Deutsch. Stuttgart: Philipp Reclam jun., 1986.

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11

Lorde. Melodrama. Milwaukee, WI: Hal Leonard, 2017.

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12

Ramos, Jorge Franco. Melodrama. 3rd ed. Bogotá: Editorial Planeta Colombiana, 2006.

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13

Ramos, Jorge Franco. Melodrama. Bogota: Editorial Planeta Colombiana, 2006.

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14

Casti, Giovanni Battista. Melodrammi giocosi. Modena: Mucchi, 1998.

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15

Marcantonio, Carla. Global Melodrama. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137528193.

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16

Dakovic, Nevena. Melodrama nije žanr: Holivudska melodrama, 1940-1960. Novi Sad: Prometej, 1994.

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17

Musica e dramma nel "dramma per musica": Aspetti dell'opera seria da Pergolesi a Mozart. Bari: Progedit, 2012.

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18

Lisboa: Un melodrama. Ciudad de Buenos Aires: Alfaguara, 2010.

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19

ill, Jenkins Todd, ed. Daniel: A melodrama. Redding, Calif., USA: House of Steno, 1993.

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20

Ur: Melodrama biológico. Montevideo: HUM, 2013.

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21

Maestro: O melodramă. Iași: Polirom, 2008.

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22

Lift: Politička melodrama. Zagreb: Azur Journal, 1993.

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23

Clement. Melodrammi profani. Firenze: Studio editoriale fiorentino, 1998.

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24

Jacoviello, Marco. Il suono e l'anima: Il paesaggio invisibile del melodramma. Udine: Campanotto, 1995.

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25

Clement. Melodrammi sacri. Firenze: Studio editoriale fiorentino, 1999.

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26

Plank, Christiane. Die melodramatische Szene in der Oper des 19. Jahrhunderts: Eine musikdramatische Ausdrucksform. München: Utz, 2005.

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27

Melodramma. Venezia: Marsilio, 1993.

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28

Università degli studi di Milano-Bicocca, ed. Arrigo Boito librettista, tra poesia e musica: La 'forma ideal', purissima del melodramma italiano. Firenze: Franco Cesati, 2013.

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29

Przyboś, Julia. L' entreprise mélodramatique. Paris: Corti, 1987.

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30

John, Mercer. Melodrama: Genre, style, sensibility. London: Wallflower, 2004.

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31

Ekaterina Furt͡seva: Politicheskai͡a melodrama. Moskva: Algoritm, 2007.

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32

Melodías argentinas. Buenos Aires: Letranómada, 2008.

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33

Azurmendi, Mikel. Melodías vascas. Donostia: Hiria, 2011.

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34

Lawal, Adebayo. Melodreams: Poems. Ilorin, Nigeria: Paragon Books, 1994.

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35

Il melodramma. Milano: Il castoro, 2012.

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36

1928-, Gerould Daniel Charles, and Carlson Marvin A. 1935-, eds. Four melodramas. New York: Martin E. Segal Theatre Center Publications, 2002.

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37

Hahn, Martín. El paradigma melodramático en el teatro latinoamericano contemporáneo. Caracas: Comisión de Estudios de Postgrado, Facultad de Humanidades y Educación, Universidad Central de Venezuela, 1997.

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38

1944-, Gubar Susan, ed. Masterpiece theatre: An academic melodrama. New Brunswick, N.J: Rutgers University Press, 1995.

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39

Giuseppe, Verdi. Rigoletto: Melodrama in tre atti. Torino: Teatro Regio, 2000.

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40

Pavlovskiĭ, Aleksandr. V ritme tango: Kriminalʹna︠i︡a melodrama. [Russia?]: ZAO NTV-Kino, 2006.

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41

Nasta, Dominique. le Melodrame Filmique Revisite/Revisiting Film Melodrama. Lang Publishing, Incorporated, Peter, 2014.

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42

Heins, Laura. Germany’s Great Love vs. the American Fortress: Home Front Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0005.

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This chapter compares Hollywood and Nazi uses of melodrama during World War II and demonstrates that the American home front film portrayed the war effort as a defense of middle-class domesticity, while the Nazi home front melodrama suggested that war provided a means to intensified erotic experience. Home front melodramas featuring female main protagonists, contemporary settings, and a thematization of the war were produced in Hollywood and in Babelsberg, but the form and extent of this treatment was not identical in the two cinemas. The chapter considers the approaches to cinematic propaganda advocated by the leadership of both sides, by looking at the paradigmatic Hollywood home front films Mrs. Miniver and Since You Went Away (1944) in detail. It then examines Nazi home front melodramas in relation to conventions established by these Hollywood films.
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43

Heins, Laura. An Aesthetics of Aggression: German Fascist vs. Classical Hollywood Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0002.

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This chapter attempts to delineate the generic and aesthetic differences between film melodrama in Third Reich and classical Hollywood cinema, and to a lesser extent, between German and Italian Fascist film. Hollywood cinema's greater emphasis on the communicative codes of mise-en-scène, dynamic editing, and camera movement was countered in Nazi cinema with a greater stress on bodily displays and a theatrical acting style that subordinated the intimacy of the face in close-up to the authority of the actor's voice and scripted dialogue. Subtle formal and narrative differences in the Nazi melodrama also encouraged a more aggressive form of voyeurism than was common in the Hollywood melodrama. Instead of the masochistic aesthetic of many Hollywood melodramas, therefore, the Nazi melodrama distinguished itself by its formally encoded appeals to spectatorial sadism and by the masculinity of its pathos.
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44

Heins, Laura. Breaking Out of the Bourgeois Home: Domestic Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0004.

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This chapter examines the domestic melodrama and argues that it was used by the Nazis in a genre-contradictory manner to effect a departure from the nuclear family, in accordance with the antibourgeois antipathies of the regime's leadership. It contends that Nazi films, far from universally reinforcing traditional family structures, actually profit from an undermining of sexual taboos—the ultimate goal being an increased level of efficiency of production and reproduction. Seemingly prohibited desires actually formed the core of Nazi film melodramas; just as fascist Germany's “leading man” found the family largely unattractive, so did the imaginary of its cinema. Filmmakers in the Third Reich preferred to offer images of the dissolution of the family rather than images of harmonious familial units, and the domestic melodrama in particular reveals the highly conflicted attitude of Nazi ideology and policy regarding bourgeois morality, marriage, and motherhood.
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45

Miklitsch, Robert. The Crimson Kimono. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040689.003.0011.

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Samuel Fuller’s Crimson Kimono (1959) is, like Odds against Tomorrow (1959), a paradigmatic late ‘50s American noir. Part policier, part melodrama, part “art” film, part “B” or exploitation picture, The Crimson Kimono deploys the sort of self-reflexive devices associated with Douglas Sirk’s ‘50s melodramas in order to “estrange” or “alienate” the dark crime film. For example, by portraying an interracial romance and commenting on the cliché of Oriental inscrutability, The Crimson Kimono foregrounds the black-and-white moral calculus of melodrama even as italicizes the racial difference, not to say racism, that has been a part, however occluded, of the history of “black film.” Equally importantly, by refiguring the film’s Asian-American police detective as the “hero” of the narrative who solves the case and “gets the girl,” Fuller’s film refashions one of the constitutive tropes of the genre, the “Shanghai gesture,” a trope that can itself be traced back to The Maltese Falcon (1941) and the origins of classic American film noir.
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46

Miklitsch, Robert, ed. Back to Black. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0001.

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This introductory chapter provides an overview of film nor. This “genre without a name” tends to reflect the films themselves, which are often about seduction and mystery, Sphinx-like secrets and labyrinthine riddles. One response to this mystique has been a determined demystification on the part of certain super-skeptical critics, the doom-and-gloom school, as a way to counter the “seductive power of film noir.” The result has been a series of grim pronouncements about the nothingness of film noir: that is to say film noir is a “black hole” that “never existed” and can only be found in books. However, “definitions of film noir differ” and these “dark crime films have also been called ‘crime melodramas.’” The disadvantage of thinking of film noirs as “crime melodramas” is that the word “melodrama” has become almost completely pejorative for contemporary audiences, if not film scholars.
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47

Melodrama. Taylor & Francis Group, 2017.

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48

Melodrama. Planeta, 2006.

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49

Mason, Alan. Melodrama. Scottish Book Trust, 1997.

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50

Melodrama. Keighley: Itp publications, 1999.

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