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1
Akbulut, Hasan. "Kadına melodram yaraşır : Türk melodram sinemasında kadın imgeleri /." İstanbul : Bağlam, 2008. http://catalogue.bnf.fr/ark:/12148/cb41254519r.
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Sauder, Gerhard. "Rousseau und das Melodram." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37035.
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3
Schuler, Manfred. "Zur zeitgenössischen Kritik am Melodram." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37039.
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4
Drude, Matthias, and Friedrich Schiller. "Der Handschuh: Melodram für Sprecher und Klavier." Matthias Drude, 2008. https://slub.qucosa.de/id/qucosa%3A72919.
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5
Lindberg, Simon. "Leonardo DiCaprio och den melodramatiska klimatdiskursen : En retoriskt orienterad diskursanalys av The revenant och Before the flood." Thesis, Högskolan i Gävle, Media- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23600.
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Den här uppsatsen undersöker filmstjärnan Leonardo DiCaprios retoriska funktion såsom den manifesteras i klimatdiskursen. Undersökningen genomförs med speciellt avstamp i två av hans filmer vilka i uppsatsen anses särskilt relevanta med tanke på deras produktionsmässiga samtidighet med DiCaprios år som FN:s fredsbudbärare varunder han valde att uppmärksamma klimatfrågan: The revenant (2015) och Before the flood (2016). Filmerna betraktas i uppsatsen som diskurser, likaledes semiotiska texter. Denna undersökning utförs med stöd i ett antal analysverktyg och teoretiska utgångspunkter. Forskningsfälten klimatkommunikation och celebritetsstudier är viktiga utgångspunkter, medan melodrambegreppet och Lloyd F. Bitzers ”retoriska situation” är de viktigaste analysverktygen. Även västerngenren och tillhörande mytbildning bereds stor plats, inte minst på grund av att en av filmerna, The revenant, är en västernfilm. Melodrambegreppet, vars retoriska funktion betonas, sammankopplas med både klimatdiskursen och västerngenren samt George Lakoffs klimatkommunikatoriska tes som kortfattat och förenklat går ut på att känsloargument är det bästa sättet att informera om den globala uppvärmningen. Vidare diskuteras DiCaprios personas förhållande till dessa diskurser och begrepp. Uppsatsens analyser visar att melodrambegreppet är centralt för både klimatdiskursen och de analyserade filmerna. Och att DiCaprios funktion i klimatdiskursen vidare samspelar med dessa aspekter. Samtidigt upprättas frågetecken kring huruvida detta nödvändigtvis innebär att de retoriska diskurserna (filmerna), och likaledes DiCaprio, besvarar sina situationer. Snarare antyder analysresultaten paradoxalt nog att den melodramatiska klimatdiskursen, såsom den kommuniceras via filmerna, trumfas av andra, mer melodramatiska diskurser.This paper examines film star Leonardo DiCaprio’s rhetorical function as it is manifested within the climate discourse. The analysis is effected with especial focus on two of his films which by this paper are considered particularly relevant considering their productional concurrence with DiCaprio’s year as the UN’s Messenger of peace during which he chose to direct attention toward the climate issue: The revenant (2015) and Before the flood (2016). Both movies are herein considered discourses, likewise semiotic texts. This analysis is effected with the help of several analytical tools and theoretical perspectives. The research fields of climate communication and celebrity studies are important theoretical views for the study, while the narrative concept of “melodrama” and Lloyd F. Bitzer’s “rhetorical situation” are the most important analytical tools. Also, the western genre and its adherent formation of myths are payed a lot of attention, not least because one of the analyzed movies, The revenant, is a western. Melodramas, whose rhetorical function is emphasized, is connected to both the climate discourse and the western genre as well as George Lakoff’s thesis of climate communication which shortly and simply boils down to the view that appealing to feelings rather than reason is the most effective way to inform people about global warming. Furthermore, DiCaprio’s persona is discussed in relation to these discourses and concepts. The analyses of the paper show that the concept of melodrama is central both for the climate discourse and the analyzed movies. And furthermore, that DiCaprio’s function within the climate discourse play into these mentioned aspects as well. Doubts are however raised as to whether this necessarily means that the rhetorical discourses (i.e. the movies), and likewise DiCaprio, succeed in answering their respective situations. The results of the analysis paradoxically suggest that the melodramatic climate discourse, as it is communicated by the two movies, is trumped by other, even more melodramatic discourses.
6
van, der Meulen Sjoerd. "Empfindsamkeit and Melodrama." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37037.
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7
Schwarz-Danuser, Monika. "Die Rezeption des französischen Boulevard-Melodrams im deutschen Sprachraum. Zu den Melodramen von Ignaz Ritter von Seyfried, E.T.A. Hofmann und Josef Lindpaintner." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37041.
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8
Pilková, Zdeňka. "Georg (Jiři) Bendas Melodramen." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37036.
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9
Drude, Matthias. "Balduin und das Heu." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237145119116-68508.
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10
Braun, Werner. "Das Gebrauchsmelodram." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37038.
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Schimpf, Wolfgang. "Hekate als Medea. Beobachtungen zu einer melodramatischen Szene in «Macbeth»." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37034.
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Drude, Matthias. "Die Geschichte vom Festessen." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237404755101-00853.
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Drude, Matthias. "Das Märchen von der verkauften Zeit." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237405133636-15383.
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Zelm, Klaus. "Zur Entwicklung des Konzertmelodrams im 19. Jahrhundert." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37040.
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Drude, Matthias. "Von der Erfindung der Weihnachtsfreude." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237404116951-68550.
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Drude, Matthias. "Tiny tales." Matthias Drude, 2013. https://slub.qucosa.de/id/qucosa%3A72921.
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Die vier Tiny Tales entstanden 2013 für das Duo Pianoworte mit Helmut Thiele (Sprecher) und Bernd-Christian Schulze (Klavier). Tiny Tales sind Kurzgeschichten, die – entsprechend einer Twitter-Nachricht – mit max. 140 Zeichen auskommen.
1. Geehrter Herr Kritiker (Max Reger)
Geehrter Herr Kritiker, ich sitze auf dem stillsten Ort meines Hauses und habe Ihre Rezension vor mir, bald werde ich sie hinter mir haben.
2. Er kletterte immer höher (Helmut Thiele)
Er kletterte immer höher. Der Schweiß stand ihm auf der Stirn. Endlich hatte er die Tafel erreicht. Darauf stand: Ende der Fahnenstange.
3. Eine Ameise auf der Flucht (Helmut Thiele)
Eine Ameise auf der Flucht. Vor ihr ein reißender Fluss. Wie komme ich ans andere Ufer, dachte sie. Da warf sie das A ab und flog hinüber.
4. Die Stille (Helmut Thiele)
„Warum bemerkt mich niemand?“ klagte die Stille. Sie schrie erbost: „Hier bin ich!“ Und alle bemerkten sie. Und niemand erkannte sie.:1, Geehrter Herr Kritiker
2. Er kletterte immer höher
3. Eine Ameise auf der Flucht
4. Die Stille
17
Mårs, Daniel. "Den homosexuella mannen i tragedi och melodram. En jämförelse av homosexuell identitet och genre i teaterpjäserna The River and the Mountain och The Boys in the Band." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23723.
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Examensarbetets syfte är att undersöka påståendet om att homosexuella mäns identitet inte bör representeras i tragedi, på grund av genrens maskulina ideal. Istället bör representationen ske i melodram då genren relaterar till feminina värden. Textanalysen av två teaterpjäser, tragedin The River and the Mountain (Uganda, 2012) och melodramen The Boys in the Band (USA, 1968), visar att tragedin står för en essentialistisk (biologisk) syn på sexuell identitet medan melodramen står för en konstruktivistisk (kulturell och social). Kunskap om homosexuell kultur kan inte ses som en nödvändighet för en homosexuell identitet. Tragedi bör därför inte avfärdas som en politiskt svag genre att representera homosexuella män i. Vad som dock saknas i tragedin är gestaltandet av sexuellt begär mellan män, något som historiskt varit politiskt viktigt i teater om manlig homosexualitet.The aim of this thesis is to investigate the claim that homosexual men should not be represented in tragedy, because of the genres masculine ideal. Instead, the representation should take place in melodrama since this genre relates to feminine values. The text analysis of two plays, the tragedy The River and the Mountain (Uganda, 2012) and the melodrama The Boys in the Band (USA, 1968), shows that tragedy uses an essentialist (biological) view on sexual identity while the melodrama uses a constructionist (cultural and social) view. Knowledge about gay culture cannot be seen as a necessity for a gay identity. Tragedy should therefore not be dismissed as a politically weak genre for the representation of homosexual men. What is missing from tragedy is the depiction of sexual desire between men, something that has been politically important in the history of theatre about male homosexuality.
18
Reid, Margaret. "Melodrama : metropolis : modernity." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6541/.
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The principal aim of this thesis is to extend current understandings of the dynamics of stage melodrama, as it was practised on the stages of the minor theatres in London during the second quarter of the nineteenth century, specifically by exploring the ways in which the genre represented, mediated, inflected, processed and systematised the experience of life in the new metropolis. A critical methodology has been employed in this study that is best described as hybrid, combining elements of cultural materialist analysis with a more performance-oriented mode of textual analysis. Where appropriate, reference is made to surviving publicity surrounding original productions such as playbills and reviews and, in order to locate the work within a concrete culture of production and consumption, to available data on the minor theatres in which it was performed. The theoretical underpinning of this study draws on a range of existing arguments surrounding the relationship between melodrama and modernity, but also on the work of urban theorists and cultural historians who have identified the metropolis as a significant catalyst in the formation of modernity. After outlining the conceptual framework and reviewing existing literature in the field, chapters continue with discussions of the emergence of proletarian protagonists in melodrama and their relationship with developing notions of metropolitan class consciousness; melodramatic representations of metropolitan space and the dynamics of movement through that space; nostalgic stagings of the rural past; melodrama’s relationship to Simmelian notions of metropolitan ‘mental life’; and the synergies between melodrama, the spectacular, and metropolitan culture. The overall aim is to add to current understanding of how melodrama interpreted the shifting physical forms and subjective and social experience of the early nineteenth-century city, but also how the city itself shaped, limited and enabled the forms of expression adopted by melodramatists.
19
Barbon, Michele Cristina Voltarelli. "Caminhos do melodrama em Portugal /." Araraquara : [s.n.], 2011. http://hdl.handle.net/11449/103693.
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Orientador: Renata Soares JunqueiraBanca: Fernanda Verdasca Botton
Banca: Flavia Maria Ferraz Sampaio Corradin
Banca: Robson Corrêa de Camargo
Banca: Elizabete Sanches Rocha
Resumo: Nesta tese procuramos seguir o caminho percorrido pelo melodrama em Portugal ao longo do século XIX, investigando as suas ocorrências no teatro português desde o início do século - quando ali se instalava o Romantismo -, passando pelo período do Ultrarromantismo, quando o gênero ganhou mais relevo, até chegar à época do Decadentismo-Simbolismo, quando as formas melodramáticas ainda se revelavam vigorosas, embora com alterações que tentamos esmiuçar. Investigamos o melodrama - com os seus conteúdos e as suas formas específicas - tal como se estabeleceu no Portugal oitocentista e como se desenvolveu ao longo desse período, procurando compreender as relações deste gênero dramático com o contexto sócio-cultural que o estimulou - afinal, a força do melodrama perdurou ao longo de Oitocentos. Verificamos qual a contribuição de Almeida Garrett enquanto introdutor do teatro romântico em Portugal, lutando por uma produção nacional de qualidade, susceptível de elevar o gosto e a cultura do público e, portanto, contrário à presença do melodrama, mas em cujas peças encontramos vestígios deste gênero. Considerando-se que a pesquisa abrangeu um período bastante extenso, utilizamos as seguintes obras como textos paradigmáticos: O cativo de Fez (1839), de Silva Abranches; Os dois renegados (1839), de Mendes Leal; O fratricida (1844), de Guerra Leal; O último acto (1859), de Camilo Castelo Branco e, finalmente, de D. João da Câmara, O pântano (1894) e A Rosa Enjeitada (1901)
Abstract: In this thesis, we tried to follow the way through the melodrama in Portugal throughout the XIX century, by investigating its occurences in the Portuguese theatre since the beginning of that century - at the time that the Romanticism established itself there -, going through the period of the Ultra-romanticism, when the genre got more notorious, until it gets to the period of the Decadentism-Symbolism, when the melodramatic features still revealed themselves vigorous, nevertheless under some changes which we tried to examine in detail. We investigated the melodrama - with its contents and its specific features - such as how it established itself in the Portugal eighties, and how it developed itself throughout this period, trying to understand the relation between this dramatic genre and the social-cultural context which stimulated it - at last, the strength of the melodrama lasted through the Eighties. We checked what the contribution of Almeida Garrett was as an introducer of the romantic theatre in Portugal, struggling for a national production of quality, susceptible to lift up the taste and the culture of the public hence opposed to the presence of the melodrama. However, we could found traces of this genre in his plays.- Taking into consideration that the research comprised a considerable extensive period, we used the following masterpieces as paradigmatic texts: O cativo de Fez (1839), by Silva Abranches; Os dois renegados (1839), by Mendes Leal; O fratricida (1844), by Guerra Leal; O último acto (1859), by Camilo Castelo Branco and, finally, by D. João da Câmara, O pântano (1894) and A Rosa Enjeitada (1901)
Doutor
20
Ludwig, Paula Fernanda. "O MELODRAMA FRANCÊS NO BRASIL." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/4005.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorCe document traite de l'introduction et de l'impact du mélodrame français au Brésil au XIXe siècle. Cherchant à clarifier la trajectoire de cette forme théâtrale dans le pays, l'étude veut recueillir et systématiser des diverses informations, à partir de la récupération de sources historiques et matériel théorique, publiée dans le pays et à l'étranger, notamment en France, où le mélodrame est né. À cette fin, une série de recherches ont été faites dans les catalogues des bibliothèques nationales et étrangères, permettant d'organiser des références bibliographiques, consulter les ouvrages originaux dramaturgiques et effectuer des recherches à propos de l'utilisation du terme mélodrame et à propos de la mise en scène de pièces mélodramatiques écrites par des auteurs français de mélodrames du XIXe siècle. Les résultats sous-tendent l'élaboration du texte de la thèse, qui compare des différents systèmes culturels (France et Brésil) et veut comprendre les implications de la mise en place de cette forme théâtrale dans le domaine social et dans le domaine littéraire, selon la compréhension que la littérature dramatique ne se limite pas au langage verbal enregistré dans les pièces. En ce sens, cette étude présente un aperçu de l'art dramatique, spectacles, public et commentaires sur pièces et esthétique mélodramatique, présente dans les discours régulièrement parus dans la presse, comme un registre de l imaginaire collectif de la population. Ainsi, il est prévu de contribuer à la compréhension de ce phénomène associé avec le contexte particulier de sa réception au Brésil, dans cette importante période historique du développement social dans le pays.
Este trabalho trata da introdução e da repercussão do melodrama francês no Brasil, no século XIX. Visando elucidar a trajetória dessa forma teatral no contexto brasileiro, o estudo concentrou-se em reunir e sistematizar informações diversas e originais, provenientes da recuperação de fontes históricas e de material teórico publicado no país e no exterior, especialmente na França, berço do melodrama. Para tanto, foi realizada uma série de pesquisas em catálogos de bibliotecas nacionais e estrangeiras, que possibilitaram a organização de referenciais bibliográficos, a consulta de obras dramatúrgicas originais e levantamentos, em periódicos brasileiros do século XIX, acerca do uso do termo melodrama e acerca da encenação, em nossos palcos, de peças melodramáticas escritas pelos principais autores franceses de melodramas dos Oitocentos. Os resultados obtidos com essas pesquisas orientaram a comparação entre sistemas culturais distintos (França e Brasil) e a análise das implicações do estabelecimento dessa forma teatral no campo social e no campo literário, conforme o entendimento de que a literatura dramática não se limita à linguagem verbal registrada nas peças. Nesse sentido, o presente estudo apresenta um panorama sobre dramaturgia, espetáculos, público e comentários em relação às peças e à estética melodramática, presentes em discursos regularmente veiculados pela imprensa, como um registro do imaginário coletivo da população. Desse modo, espera-se contribuir para a compreensão deste fenômeno, associado ao contexto peculiar de sua recepção no Brasil, tendo em vista que a relação entre as obras encenadas nos palcos brasileiros e seu público acompanha e reflete a produção artística neste importante período histórico de transformação social no país.
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Barbon, Michele Cristina Voltarelli [UNESP]. "Caminhos do melodrama em Portugal." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/103693.
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Nesta tese procuramos seguir o caminho percorrido pelo melodrama em Portugal ao longo do século XIX, investigando as suas ocorrências no teatro português desde o início do século – quando ali se instalava o Romantismo –, passando pelo período do Ultrarromantismo, quando o gênero ganhou mais relevo, até chegar à época do Decadentismo-Simbolismo, quando as formas melodramáticas ainda se revelavam vigorosas, embora com alterações que tentamos esmiuçar. Investigamos o melodrama – com os seus conteúdos e as suas formas específicas – tal como se estabeleceu no Portugal oitocentista e como se desenvolveu ao longo desse período, procurando compreender as relações deste gênero dramático com o contexto sócio-cultural que o estimulou – afinal, a força do melodrama perdurou ao longo de Oitocentos. Verificamos qual a contribuição de Almeida Garrett enquanto introdutor do teatro romântico em Portugal, lutando por uma produção nacional de qualidade, susceptível de elevar o gosto e a cultura do público e, portanto, contrário à presença do melodrama, mas em cujas peças encontramos vestígios deste gênero. Considerando-se que a pesquisa abrangeu um período bastante extenso, utilizamos as seguintes obras como textos paradigmáticos: O cativo de Fez (1839), de Silva Abranches; Os dois renegados (1839), de Mendes Leal; O fratricida (1844), de Guerra Leal; O último acto (1859), de Camilo Castelo Branco e, finalmente, de D. João da Câmara, O pântano (1894) e A Rosa Enjeitada (1901)
In this thesis, we tried to follow the way through the melodrama in Portugal throughout the XIX century, by investigating its occurences in the Portuguese theatre since the beginning of that century – at the time that the Romanticism established itself there –, going through the period of the Ultra-romanticism, when the genre got more notorious, until it gets to the period of the Decadentism-Symbolism, when the melodramatic features still revealed themselves vigorous, nevertheless under some changes which we tried to examine in detail. We investigated the melodrama – with its contents and its specific features – such as how it established itself in the Portugal eighties, and how it developed itself throughout this period, trying to understand the relation between this dramatic genre and the social-cultural context which stimulated it – at last, the strength of the melodrama lasted through the Eighties. We checked what the contribution of Almeida Garrett was as an introducer of the romantic theatre in Portugal, struggling for a national production of quality, susceptible to lift up the taste and the culture of the public hence opposed to the presence of the melodrama. However, we could found traces of this genre in his plays.– Taking into consideration that the research comprised a considerable extensive period, we used the following masterpieces as paradigmatic texts: O cativo de Fez (1839), by Silva Abranches; Os dois renegados (1839), by Mendes Leal; O fratricida (1844), by Guerra Leal; O último acto (1859), by Camilo Castelo Branco and, finally, by D. João da Câmara, O pântano (1894) and A Rosa Enjeitada (1901)
22
Cromb, Brenda. "Ambivalent passion : Pedro Almodóvar's postmodern melodrama." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/4074.
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This thesis considers the films of Spanish director Pedro Almodóvar as
postmodern melodramas. The crux of my argument is that melodrama is known for its
expressiveness and its attempt to restore a spiritual element to a post-sacred world, and is
used by Almodóvar to make clear the problems and contradictions inherent in the
destabilized world of postmodernity. This definition of melodrama draws primarily on
the work of Peter Brooks, Christine Gledhill and Linda Williams; it is modified to apply
to postmodernism as defined by Jean Baudrillard and Frederic Jameson. The conclusion
reached is that Almodóvar is deeply ambivalent about postmodernity.
Chapter 2 considers the twin issues of representation and sexuality in
Almodóvar’s first six films: Pepi, Luci, Born (Pepi, Luci Born y otras chicas del montón,
1980), Labyrinth of Passions (Laberinto de pasiones, 1982), Dark Habits (Entre
tinieblas, 1983), What Have I Done To Deserve This? (Qué he hecho yopor merecer
esto!, 1984), Matador (1986), and Law ofDesire (Le ley del deseo, 1987); with a special
eye to the representation of sexual violence, it establishes how Almodóvar develops his
ambivalent melodramatic imagination.
Chapter 3 considers fashion as a discourse and argues that Almodóvar’s next four
films use clothing to place different versions of femininity in dialogue, and uses this as a
springboard to consider Women on the Verge ofa Nervous Breakdown (Mujeres al borde
de un ataque de nervios, 1988), Tie Me Up! Tie Me Down! (I Atame!, 1990), High Heels
(Tacones lejanos, 1991), and Kika (1993) as postmodern “women’s pictures.”
Chapter 4 considers the appearance of the explicitly political along with the
symbolism of the image of the map in The Flower of My Secret (Laflor de rni secreto,
1995), Live Flesh (Came trémula, 1997), and All About My Mother (Todo sobre mi
madre, 1999).
Chapter 5 uses the metaphor of ghosts to consider the draw of the past in Talk To
Her (Hable con ella, 2002), Bad Education (La mala educación, 2004), and Volver
(2006), pointing to both the emptiness of the present and the impossibility of returning to
that golden past.
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Freitas, Rafael Fernandes de. "Marginalidade e melodrama no cinema brasileiro." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4922.
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Melodrama here is taken beyond a definition as theatrical or cinematic genre. From the concept of melodramatic imagination, by Peter Brooks, this study follows the main changes that led Europe from the Middle Ages to the capitalist world in order to present the foundations of a distinctive modern imagination whose mode of seeing the world is visual and fictionally translated in melodrama. Because of its far-reaching and massive presence in cultural production it is important to evaluate how melodrama represents reality; which treatment and valuation are given to certain topics and phenomena that daily takes our attention and interfere in our social and political existence. Under this perspective we develop a study on the representation of marginality from the aesthetic resources of the melodramatic imagination, which is based on the analysis of the films Pixote - a lei do mais fraco (1980) and Linha de Passe (2008).
O melodrama aqui é tomado para além de uma definição como gênero teatral ou cinematográfico. A partir do conceito de imaginação melodramática, de Peter Brooks, faz-se um percurso pelas principais mudanças que levaram o ocidente da Idade Média ao mundo capitalista a fim de apresentar os fundamentos de uma mentalidade caracteristicamente moderna cujo modo de ver o mundo se traduz visual e ficcionalmente no melodrama. Devido ao seu grande alcance e presença maciça nas produções culturais se torna importante avaliar como o melodrama representa a realidade; qual o tratamento e valoração dados a certos temas e fenômenos que nos tomam cotidianamente e que interferem na nossa existência social e política. Nessa perspectiva é que se desenvolve um estudo sobre a representação da marginalidade a partir da imaginação melodramática, baseado na análise dos filmes Pixote – a lei do mais fraco (1980) e Linha de Passe (2008).
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Kühn, Ulrich. "Sprech-Ton-Kunst : musikalisches Sprechen und Formen des Melodrams im Schauspiel- und Musiktheater (1770 - 1933) /." Tübingen : Niemeyer, 2001. http://www.loc.gov/catdir/toc/fy054/2003445063.html.
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Tolentinio, Luis Antonio. "Melodía encadenada." Universidad Peruana de Ciencias Aplicadas (UPC), 2015. http://hdl.handle.net/10757/581479.
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White-Stanley, Debra Marie. "Foreign Bodies: Military Medicine, Modernism and Melodrama." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195151.
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Foreign Bodies: Military Medicine, Modernism and Melodrama traces how representations of warfare in the modernist novel, girls' romances, nursing memoirs, and war films dramatize the humanitarian disaster of war through the figure of woman. My analysis focuses on the visual and literary poetics of violence as troped in and through the bodies of combat nurses. The "uncanny" serves as a lens to explore the complex links between gendered war work and the radical transgression of the boundaries of the nation state and the body experienced during wartime. To establish the unique explanatory power of the uncanny for gender issues, I trace how feminist and postcolonial theorists have revised Freud's analysis of the uncanny. I trace medical metaphors of wounding and infection in the novel and various cinematic adaptations of A Farewell to Arms (1932, 1951, 1957, 1996). I read the letters and diaries of World War I nurse Agnes von Kurowsky against the censored memoirs of American nurses Mary Borden and Ellen La Motte. I show how the uncanny aesthetic adopted by Ernest Hemingway in A Farewell to Arms is subverted by these women writers. I explore how these uncanny aesthetics also manifest in adolescent nursing romances from Sue Barton to Cherry Ames. With the onset of World War II, I trace how the discourse of foreign bodies in relation to the metaphor of malaria in the South Pacific. Focusing on the portrayal of the Japanese foreign body, often encoded through off-screen sound, I demonstrate how medical metaphors of malaria operate in films portraying nursing in the South Pacific such as So Proudly We Hail (1943) and Cry Havoc (1943). Turning to the Korean and Vietnam Wars, I explore the representation of post-traumatic stress disorder in M*A*S*H (1970) and in nursing memoirs such as American Daughter Gone to War (1992) and Home Before Morning (1983). I bring this history of nursing representation to bear on media texts concerning the war in Iraq including Baghdad E.R. (HBO, 2006).
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Salo, Kajsa. "Melodramatiska drag i tre av Selma Lagerlöfs noveller." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-245617.
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Sampaio, Ícaro San Carlo Máximo. "Um outro melodrama: o cinema de Rainer Fassbinder." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3989.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
For a long time, the notion of good and evil was intrinsic to melodrama, which ended up causing it to be seen as an alienating matrix for already giving the viewer a point of view to be followed, that of the hero and, at the same time, a point of view to b e denied, that of the villain. However, it is necessary to investigate the possibilities of a melodrama that is not rooted in representing morals to be followed, but morals to be reflected by the viewers themselves. In the first moment, this article presen ts a study about the birth of the melodrama. The connection between victim and oppressor and the dichotomy that exists in the elemental paradigm of the melodrama also will be purpoused. Lastly, it will be investigated the possibillity of criating melodrama that are not fundamented in the judeo -christian culture; for that, it will be made a study of the movie Ali: Fear eats the soul and The Bitter Tears of Petra Von Kant.
Por muito tempo, a noção de bem e mal foi intrínseca ao melodrama, o que acabou, então, por fazê- lo ser visto como uma matriz alienante por já dá ao espectador um ponto de vista a ser seguido, o do herói, e, ao mesmo tempo, um ponto de vista a ser negado, o do vilão. Contudo, cabe investigar as possibilidades de um melodrama que não esteja enraizado em representar uma moral a ser seguida. Mas sim uma moral a ser refletida pelo próprio espectador. Em um primeiro momento, o artigo apresentará um estudo sobre o surgimento do melodrama. A relação entre vitima e opressor e a dicotomia existente nos paradigmas elementares do melodrama também serão objetos a serem problematizados. Por fim, será investigada a possibilidade de criação de melodramas que não estejam fundamentados na cultura maniqueista; para isto, será feito um estudo dos filmes O Medo Corroí a Alma e Lágrimas amargas de Petra Von Kant.
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Jardim, Cila Maria [UNESP]. "A função do melodrama em alguns contos queirozianos." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/102393.
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Eça de Queiroz é o autor mais representativo do realismo em Portugal no século XIX. Sua produção é composta de vários textos ficcionais e não-ficcionais, mas são os seus romances que lhe dão maior popularidade. No entanto, a qualidade da originalidade, assim como a sintonia com o momento histórico e estético no qual está inserido, permite observar outros textos com maior atenção. Dentre esses textos, este estudo focaliza os contos, textos literários breves cuja diegese está em harmonia absoluta com a composição narrativa para surtir o efeito de coerência e sedução junto ao leitor. Nesse sentido, brevidade, densidade dramática e linguagem sedutora são recursos importantes que Eça utiliza com competência em seus contos. A leitura deles revela que o tema amoroso é recorrente em quatro desses contos, entre os doze publicados na primeira edição, datada de 1902, além de mais um título de publicação póstuma. Neles, observa-se que o amor é operacionalizado em motivos próprios do espetáculo melodramático, conforme o expediente do teatro praticado nos palcos franceses e portugueses oitocentistas. A hipótese deste estudo toma essas idéias e sobre elas se desenvolve: examinar a adesão na narrativa breve dos modelos e comportamentos do melodrama em cinco títulos: “Singularidades de uma rapariga loura”, “Um poeta lírico”, “No moinho”, “José Matias” e “Um dia de chuva”. Constata-se, então, que as narrativas se servem de um enredo e percurso melodramático, valorizando mais ou menos certos aspectos ou tendências melodramáticas, tanto na forma quanto no conteúdo, envolvendo o leitor e monitorando suas emoções, com uma preocupação moralizante e didática.
Eça de Queiroz is the most representative author of the Realism in Portugal in the 19th century. His production consists of several fictional and nonfictional texts, but it is his novels that confer the most popularity on him. However, the quality of originality, as well as of being tuned in to the historical and aesthetic moment to which he belongs, allow us to observe other texts with closer attention. Among these texts, this study focuses on the short stories, literary short texts whose diegesis is in absolute harmony with the narrative composition in order to foster the effect of coherence and seduction before the reader. Thus, brevity, dramatic density and seductive language are important resources which Eça competently employs in his short stories. Their reading reveals that the love theme is recurrent in four of these short stories, among the twelve published in the first edition, dated 1902, besides another title of posthumous publication. In them one observes that love is operationalised in motifs which are characteristic of the melodramatic spectacle, in accordance with the expedient of the theatre practised in the nineteenth-century French and Portuguese stages. The hypothesis of this study takes these ideas and develops from them: examining the adherence, in the short narrative, to the models and behaviour of the melodrama in five titles: “Singularidades de uma rapariga loura”, “Um poeta lírico”, “No moinho”, “José Matias” and “Um dia de chuva”. One notices, then, that the narratives make use of a melodramatic plot and course, thus valuing more or less certain melodramatic aspects or tendencies, in both form and content, involving the reader and monitoring their emotions, with a moralising and didactic concern.
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Jardim, Cila Maria. "A função do melodrama em alguns contos queirozianos /." Araraquara : [s.n.], 2008. http://hdl.handle.net/11449/102393.
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Orientador: Luiz Gonzaga MarchezanBanca: Sérgio Vicente Motta
Banca: Paulo Elias Franchetti
Banca: Maria Celeste Consolin Dezotti
Banca: Márcia Valéria Zamboni Gobbi
Resumo: Eça de Queiroz é o autor mais representativo do realismo em Portugal no século XIX. Sua produção é composta de vários textos ficcionais e não-ficcionais, mas são os seus romances que lhe dão maior popularidade. No entanto, a qualidade da originalidade, assim como a sintonia com o momento histórico e estético no qual está inserido, permite observar outros textos com maior atenção. Dentre esses textos, este estudo focaliza os contos, textos literários breves cuja diegese está em harmonia absoluta com a composição narrativa para surtir o efeito de coerência e sedução junto ao leitor. Nesse sentido, brevidade, densidade dramática e linguagem sedutora são recursos importantes que Eça utiliza com competência em seus contos. A leitura deles revela que o tema amoroso é recorrente em quatro desses contos, entre os doze publicados na primeira edição, datada de 1902, além de mais um título de publicação póstuma. Neles, observa-se que o amor é operacionalizado em motivos próprios do espetáculo melodramático, conforme o expediente do teatro praticado nos palcos franceses e portugueses oitocentistas. A hipótese deste estudo toma essas idéias e sobre elas se desenvolve: examinar a adesão na narrativa breve dos modelos e comportamentos do melodrama em cinco títulos: "Singularidades de uma rapariga loura", "Um poeta lírico", "No moinho", "José Matias" e "Um dia de chuva". Constata-se, então, que as narrativas se servem de um enredo e percurso melodramático, valorizando mais ou menos certos aspectos ou tendências melodramáticas, tanto na forma quanto no conteúdo, envolvendo o leitor e monitorando suas emoções, com uma preocupação moralizante e didática.
Abstract: Eça de Queiroz is the most representative author of the Realism in Portugal in the 19th century. His production consists of several fictional and nonfictional texts, but it is his novels that confer the most popularity on him. However, the quality of originality, as well as of being tuned in to the historical and aesthetic moment to which he belongs, allow us to observe other texts with closer attention. Among these texts, this study focuses on the short stories, literary short texts whose diegesis is in absolute harmony with the narrative composition in order to foster the effect of coherence and seduction before the reader. Thus, brevity, dramatic density and seductive language are important resources which Eça competently employs in his short stories. Their reading reveals that the love theme is recurrent in four of these short stories, among the twelve published in the first edition, dated 1902, besides another title of posthumous publication. In them one observes that love is operationalised in motifs which are characteristic of the melodramatic spectacle, in accordance with the expedient of the theatre practised in the nineteenth-century French and Portuguese stages. The hypothesis of this study takes these ideas and develops from them: examining the adherence, in the short narrative, to the models and behaviour of the melodrama in five titles: "Singularidades de uma rapariga loura", "Um poeta lírico", "No moinho", "José Matias" and "Um dia de chuva". One notices, then, that the narratives make use of a melodramatic plot and course, thus valuing more or less certain melodramatic aspects or tendencies, in both form and content, involving the reader and monitoring their emotions, with a moralising and didactic concern.
Doutor
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Chang, Jeong. "The Melodrama of Care in Contemporary Global Cinema." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17899.
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This project focuses on films that reveal concerns about care and subjectivity in a world transformed by neoliberalism, flexible capital, and globalization. As these films show, care is still necessary, but under the logic of neoliberalism and globalization, it becomes a fungible commodity that can be outsourced and delegated--often according to the cost-benefit analyses necessary for life under the entrepreneurial subjectivity espoused by neoliberalism. These films utilize melodramatic modes of expression to articulate the ethical imperative for care; the necessity for this articulation suggests that something is wrong with contemporary institutions and stances toward care, that the means to care falls short of the ideal of caring for loved ones. The Savages focuses on middle-aged siblings forced to take care of their estranged father after he develops dementia. The film serves as a critique of the neoliberal idea that subjects are only responsible for themselves by supporting a more communal vision of subjectivity through reassembling the family. Dirty Pretty Things shows how immigrants face a hostile reception in the wealthy nations to which they migrate. The film illustrates how draconian immigration policies force many into the black market not only for services that are denied them but also to barter their own bodies in hope of becoming full members of the global citizenry. Nobody Knows extends this discussion of the abdication of the state's role in caring for its own citizens. Through the neglect of the children first by the family and then society as a whole, the film illustrates how even the most vulnerable members of society are isolated and forced to fend for themselves. Finally, Take Care of My Cat explores how the care between friends becomes increasingly instrumental as part of the construction of the self. The solidarity of their days as students erodes as each enters the work force, and class differences lead to a breakdown in friendships as self care becomes the dominant ethic. In this context, care, friendship, and family become fungible commodities that can be discarded if they no longer serve in the project of the self.2016-06-17
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Moellenberndt, Christine. "LiveJournal loyalty and melodrama| Stakeholder relations in Web 2.0." Thesis, San Jose State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1541543.
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As the popularity of Web 2.0 grows, the relationship between the users generating the content of the site and the groups and companies that own these sites is coming into focus. While in previous years, users often were passive users of websites, now they are actively involved in the sites, providing the content that is consumed. This creates a relationship that can be fraught with conflict as all involved have differing ideas of how these sites should function.
By analyzing three incidents in the history of LiveJournal, an online blogging and social communication site, this thesis explored how these communities of users and the organizations that own these sites interact. The information for this analysis was gathered through online participant observation, survey, and systematic archival mining, covering the time period from the founding of the site in 1999 until early 2012. I analyzed how the term "community" is operationalized by these stakeholders, how these communities formed and functioned, and how ideas of ownership impacted these interactions and relationships. By understanding these issues, companies and communities can find ways to build partnerships to sustain and improve their sites rather than being locked in ongoing conflict.
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Hunting, John. "Affect, melodrama and cinema : as essay on embodied passivity." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100626.
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Melodrama is a popular mode of address that privileges affect at the expense of reflection and critique. Generally held in disrepute, melodrama's simplicity and sensationalism are widely read as a sign of social and psychological alienation. Melodrama responds to its critics, however, with ever-renewed and self-assured appeals to affect itself. Melodrama's irreducible privilege of affect in mind, therefore, the thesis proposes that affect admits description in Levinasian terms as a "radical passivity." The Levinasian proposal on affect, moreover, is extended to a theory of cinema, which, it is shown, is particularly well suited to melodramatic expression.Affect or "embodied passivity," Levinas explains, is irreducible to phenomenological notions of intentionality, psychoanalytic conceptions of psychic investment or cognitive appraisals of psychic processing. To be a body is to be exposed to wounding but it is also a naIve agreement to the conditions of its sustentation. To be a body, in short, is to be capable of being affected. For Levinas this passive relation to what is other is the condition of an ethical responsibility that is absolute. Levinas's notion of embodied passivity, however, has aesthetic implications about which he was deeply ambiguous. Hence it is in the context of an aesthetics of embodied passivity, largely unexplored by Levinas, that the thesis examines melodrama's focus on affect and the specifically cinematic expressions of embodied passivity.
Melodrama's accessible address, however, reduces the Other, as Levinas would say, to caricatures, mobilizes affect in the direction of a "monopathic" response and disavows, in the process, the encounter with alterity to which it appeals. Nonetheless melodrama "fleshes out the cliche" or exploits the stereotype in the service of having, precisely, some affect. Such is the melodramatic privilege of enlivenment over the circumstances of its orchestration. Hence it is possible to appraise melodrama's heightened orchestrations of style, its recourse to emphasis and its enduring appeals to suffering and happiness, as prevailing testimony to the (unspeakable) nature of the body's irreducible vulnerability. Melodrama's elemental if simplistic vision is that affect matters absolutely.
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Steele, Erin Rebecca Bone. "Murder and melodrama the red barn story on stage /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8231.
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Thesis (M.A.) -- University of Maryland, College Park, 2008.Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Carvalho, Cid Vasconcelos de. "Melodrama and Nation on Brazilian Cinema of the Forties." Universidade Federal do CearÃ, 2007. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=2354.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorI wanna to realize an approach about brazilian film production linked with Estado Novo values. The movies are the feature films Birds without Nest (1939) by Raul Roulien, Clay (1940) by Humberto Mauro and Forbidden Romance (1944) by Adhemar Gonzaga. My key matter is to show the easy or difficult relations of those ideological values with the melodramatic structure of its dramaturgy. I use, above all, of the filmic analyses methodology. However, it was important a bibliographical survey under the historical moment and the conceptions of nation and melodrama used. I discovered, in many points, that some constructions of the nation as immagined community, were opposed of the subtitles that could be note on the narratives, specially in some matters like social classes relations and ethnics and gender representations. In respect the last theme, some important matters could be observed in that movies, all of them with women in the main roles.
Procuro realizar uma abordagem sobre a produÃÃo nacional cinematogrÃfica ficcional considera mais prÃxima de valores que diziam interesse ao Estado Novo. Trata-se dos filmes de longa-metragem Aves sem Ninho (1939), de Raul Roulien; Argila (1940), de Humberto Mauro e Romance Proibido (1944), de Adhemar Gonzaga. Minha principal preocupaÃÃo à observar como tais valores ideolÃgicos convivem com a estrutura notadamente melodramÃtica que acompanha tal produÃÃo em harmonia ou nÃo. Para tanto faÃo uso, sobretudo, da anÃlise fÃlmica dos filmes em questÃo, mas igualmente de uma pesquisa bibliogrÃfica sobre a produÃÃo em questÃo e sobre o momento histÃrico no qual foi produzida e uma pesquisa bibliogrÃfica que fundamente as concepÃÃes de naÃÃo e melodrama que sÃo trabalhadas na tese. Percebo, em vÃrios momentos, que muito do que à construÃdo em busca de evocar uma naÃÃo enquanto âcomunidade imaginadaâ despida de problemas, acaba nas entrelinhas demonstrando uma relaÃÃo bem mais complexa e difÃcil na abordagem de temas como a relaÃÃo entre classes, a representaÃÃo das raÃas e a abordagem sobre a mulher, sendo que todas as trÃs produÃÃes possuem protagonistas femininas.
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Lanza, Sonia Maria. "As narrativas jornalísticas: memória e melodrama no folhetim contemporâneo." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5087.
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Previous issue date: 2008-06-03Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This work has the objective to analyze the journalistic contemporary narratives in Folha de S.Paulo newspaper and the interface with the melodrama and the serial publication issued in the newspapers from the end of the XIX century to the beginning of the XX century. The newspaper conveys news, not only in the referential way but similar to the seriated narratives way.The printed media does not work in real time like the television, and that makes difficult for the reader the attendance of the facts. That makes us inquire why, nowadays, the seriated narratives are dominant in the television media and why they became a re-encoded paradigm. Why do these articles remain in the reader s memory? To look for answers to these questions, it is necessary the diachronic study of the journalism and how the serial publication structure migrates for other media, the television mostly. In some journalistic programs, the emphasis relapses on the melodramatic gender and the serial publication. For that, the studies of Marlyse Meyer, Thomasseau, and Huppes are essential. Also Morin, Gruzinski, Laplantine, Amálio Pinheiro, Martín-Barbero and Iuri Lotman, through the semiotics of the culture, substantiate this work. Lotman starts from the concept of what text is the least unity of the culture and it has internal definite organization. The journalism, like text of the culture, has distinctive aspects, but while mixing codes it interbreeds and produces new messages to different readers. The Russian theorist points out three functions of the cultural text that corroborate with this research: the communicative function refers itself to the organization of the laws of the language; the creative function that produces the dynamic of the culture and when the text are translated and transmitted into another representational system, they transform themselves into re-encoded messages; and the third function is related to the culture memory. Other concepts of the semiotics of culture like the culture codes, system that shape the culture, border, will base this work. Halbwachs and Zumthor help to reflect about memory. For the first one, the memory allows to remake and to rebuild experiences tested previously and the individual memory is related to the collective memory. For Zumthor, memory and oblivion produce a dynamic created with new codes. This makes possible the substitution of a text for others and this transformation is associated to the selection and fixation of aspects to be maintained. The journalism dramatizes many facts, rescuing elements of the culture to which seem to be present only in other media, making it become a half-breed code. The transformation of the piece of news in serial publication is predominant in the current press and the journalistic narrative is the paradigm reencoded
O objetivo desta pesquisa é analisar as narrativas jornalísticas contemporâneas no jornal Folha de S.Paulo e a aproximação/comparação dessas matérias com o melodrama e a estrutura folhetinesca do final do século XIX e início do século XX. O jornal veicula notícias, não somente de forma referencial, mas semelhantes a narrativas seriadas. A mídia impressa não trabalha em tempo real como a televisão e isso dificulta ao leitor o acompanhamento do fato. Isso nos instiga a questionar por que as narrativas seriadas que surgiram com e nos folhetins e hoje são dominantes na mídia televisual, tornaram-se paradigma recodificado no jornalismo. Por que estas matérias permanecem na memória do leitor? Para buscar algumas respostas, faz-se necessário um estudo diacrônico do jornalismo e como a estrutura folhetinesca migrou para outras mídias, a televisão principalmente, pois, em alguns programas jornalísticos, a ênfase recai sobre o melodramático e o folhetinesco. Para retomar estes paradigmas os estudos de Marlyse Meyer, Thomasseau e Huppes são essenciais. Também Morin, Gruzinski, Laplantine, Amálio Pinheiro, Martín-Barbero e Iuri Lotman, por meio da semiótica da cultura, fundamentam esta pesquisa. O teórico russo parte do conceito de que texto é a unidade mínima da cultura e tem organização interna definida. O jornalismo, como texto da cultura, possui traços distintivos, mas ao mesclar códigos, hibridiza-se e gera novas mensagens a diferentes leitores. Lotman aponta três funções do texto cultural que corroboram com esta pesquisa. A comunicativa, marcada pela organização das leis da língua; a geradora de sentidos, que proporciona a dinâmica da cultura e quando os textos são traduzidos e transmitidos em outros sistemas sígnicos, transformam-se em mensagens recodificadas, e a terceira ligada à memória da cultura. Esta se relaciona com textos de outras épocas. Outros conceitos da semiótica da cultura como códigos culturais, sistemas modalizantes, fronteira vão fundamentar esta pesquisa. Halbwachs e Zumthor auxiliam a refletir sobre memória. Para o primeiro, a memória permite refazer, reconstruir experiências vivenciadas anteriormente, a memória individual está relacionada à memória coletiva. Para Zumthor, memória e esquecimento geram uma dinâmica recriadora. Isto possibilita a substituição de um texto por outros e esta transformação está associada à seleção e fixação de aspectos a serem mantidos. O jornalismo dramatiza muitos fatos, resgatando elementos da cultura que pareciam estar presentes somente em outras mídias o que o torna um código mestiço. A folhetinização da notícia é, assim, a tônica nos jornais contemporâneos e a narrativa jornalística, paradigma recodificado
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CARVALHO, Cid Vasconcelos de. "Melodrama e nação no cinema brasileiro dos anos 1940." http://www.teses.ufc.br, 2007. http://www.repositorio.ufc.br/handle/riufc/1492.
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CARVALHO, Cid Vasconcelos de. Melodrama e nação no cinema brasileiro dos anos 1940. 2007. 322f. Tese (Doutorado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós- Graduação em Sociologia, Fortaleza-CE, 2007.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2011-11-23T13:59:59Z No. of bitstreams: 1 Tese de Cid Vasconcelos de Carvalho_noPW.pdf: 14054104 bytes, checksum: 382b8d022a78b464526e2ec9117eeae0 (MD5)
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I wanna to realize an approach about brazilian film production linked with Estado Novo values. The movies are the feature films Birds without Nest (1939) by Raul Roulien, Clay (1940) by Humberto Mauro and Forbidden Romance (1944) by Adhemar Gonzaga. My key matter is to show the easy or difficult relations of those ideological values with the melodramatic structure of its dramaturgy. I use, above all, of the filmic analyses methodology. However, it was important a bibliographical survey under the historical moment and the conceptions of nation and melodrama used. I discovered, in many points, that some constructions of the nation as immagined community, were opposed of the subtitles that could be note on the narratives, specially in some matters like social classes relations and ethnics and gender representations. In respect the last theme, some important matters could be observed in that movies, all of them with women in the main roles.
Procuro realizar uma abordagem sobre a produção nacional cinematográfica ficcional considera mais próxima de valores que diziam interesse ao Estado Novo. Trata-se dos filmes de longa-metragem Aves sem Ninho (1939), de Raul Roulien; Argila (1940), de Humberto Mauro e Romance Proibido (1944), de Adhemar Gonzaga. Minha principal preocupação é observar como tais valores ideológicos convivem com a estrutura notadamente melodramática que acompanha tal produção em harmonia ou não. Para tanto faço uso, sobretudo, da análise fílmica dos filmes em questão, mas igualmente de uma pesquisa bibliográfica sobre a produção em questão e sobre o momento histórico no qual foi produzida e uma pesquisa bibliográfica que fundamente as concepções de nação e melodrama que são trabalhadas na tese. Percebo, em vários momentos, que muito do que é construído em busca de evocar uma nação enquanto “comunidade imaginada” despida de problemas, acaba nas entrelinhas demonstrando uma relação bem mais complexa e difícil na abordagem de temas como a relação entre classes, a representação das raças e a abordagem sobre a mulher, sendo que todas as três produções possuem protagonistas femininas.
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Lane, Dianne M. "Facetas de melodrama en El beso de la mujer araña." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20661.pdf.
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Krug, Christian. "Das Eigene im Fremden : Orientalismen im englischen Melodrama, 1790 - 1840 /." Trier : WVT, Wiss. Verl. Trier, 2001. http://www.gbv.de/dms/bs/toc/332837084.pdf.
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MOURA, Leandro Aparecido de. "O melodrama de Almodóvar: uma mise-en-scène do desejo." Universidade Anhembi Morumbi, 2016. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1648.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
La aparición del melodrama género en el teatro francés de finales del siglo XVIII hasta la invención del cine en el siglo XIX, estamos interesados en el estudio de la forma contemporánea los miembros género melodramático fueron en las películas. Sobrevive en el trabajo de varios directores, pero en particular interesado en el análisis de cómo el director español Pedro Almodóvar utiliza el género para componer sus historias. Vamos a estudiar la forma en que el melodrama tomó en películas Matador (1985-1986 ) , La ley del deseo (1986 ) , Carne trémula (1997 ) , Todo sobre mi madre (1999 ) Hable con ella ( 2002) y La mala educación (2004 ) . Analizaremos a través del decoupage de las seis películas que aquí se presentan, las posibilidades actuales de la utilización de elementos que forman el melodrama y como Almodóvar se apropia de la misma, principalmente a través del uso del plan de detalle con el fin de componer sus narrativas . Estas son las preguntas que guiarán esta investigación.
Do surgimento do gênero melodrama no teatro francês do final do século XVIII até a invenção do cinema no século XIX, interessa-nos estudar a forma contemporânea que os elementos do gênero melodrama tomaram no cinema. Ele sobrevive no trabalho de diversos diretores, mas pretendemos particularmente analisar como o diretor espanhol Pedro Almodóvar se utiliza do gênero para compor suas histórias. Estudaremos a forma que o melodrama tomou nos filmes Matador (1985-1986), A Lei do Desejo (1986), Carne Trêmula (1997), Tudo Sobre Minha Mãe (1999), Fale com Ela (2002) e Má Educação (2004). Analisaremos, por meio da decoupagem dos seis filmes aqui apresentados, as possibilidades atuais do uso dos elementos que dão forma ao melodrama e como Almodóvar se apropria dos mesmos, principalmente através do uso do plano detalhe, a fim de compor suas narrativas. Estes são os questionamentos que nortearão esta pesquisa.
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Meyer, Susan M. "Henry James and his appropriation and transformation of the melodrama /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190109867796.
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Sant'ana, Doriedson Coutinho de. "Melodia cênica: um paralelo entre a melodia musical e o movimento corporal do ator." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/JSSS-8UDP5S.
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This research attempts to establish a parallel between the Melody as known in Music and the body movements of the actor in stage. It aims for a new reading of the corporal motion of the actor as if it were a melody in Musical sense so that it can be perceived as a Scenic-melody. The correspondence between musical melody and the gesture employed in acting may be a possible resource for widening an understanding of the meanings of the actors motion on stage.The melodic line possesses an elaborate and detailed syntax that can be very useful to an efficient analysis of the body motions. As part of this universe this research puts in evidence the possible relations found in melody motion and body motion relating this to the harmonic functions and basic actions present in the movements, as its inflections and gestures. This work is divided in three main parts. First there is a compilation of literature of music and music language for an historical and theoretical approach about melodic lines. Second there is adiscussion on the aspects of the body and its motion by the revision of literature on Drama. And third, it is conducted an analysis of the properties of melody and body attempting to attain a parallel between them. As a result of this discussions we concluded that there is a possibility of reading the body motions as a set of melodic lines in the musical sense, therefore denominating it as Scenic-melody.Este trabalho trata de um paralelo entre a melodia musical e o movimento corporal do ator. Propõe que seja feita uma releitura do movimento corporal do ator como se fosse uma linha melódica, para, a partir daí, o corpo do ator em movimento ser percebido como uma melodia cênica. As analogias e correspondências entre melodia musical e a movimentação do corpo do ator vem a ser um possível recurso para a ampliação de um olhar sobre o ator que se movimenta em cena. A linha melódica possui uma sintaxe elaborada e detalhada que pode contribuir muito para uma análise eficiente do movimentocorporal. Como parte desse universo, o presente estudo evidencia acumplicidade entre o desenho melódico e o desenho do movimento corporal do ator, por meio das relações entre funções harmônicas e ações básicas dos movimentos, inflexões e fatores de movimento, e ligações entre o gesto, o ato e o movimento. O trabalho se divide em três partes principais: Primeiramente, foram reunidas bibliografias especificas da música e da linguagem para uma discussão histórica e teórica sobre a linha melódica; em seguida, foram discutidos os aspectos do corpo e seu movimento na história e por meio dereferenciais bibliográficos históricos e de teorias teatrais; e finalmente, aterceira parte, foi dedicada à análise das propriedades da melodia e do corpo, traçando paralelos entre elas. Como resultado dessas discussões, foi percebido uma forma de ler o movimento corporal como uma linha melódica, proporcionando-lhe um status de melodia cênica.
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Mädler, Kathrin. "Broken Men : sentimentale Melodramen der Männlichkeit - Krisen von Gender und Genre im zeitgenössischen Hollywood-Film /." Marburg : Schüren, 2008. http://www.schueren-verlag.de/?aid=1969.
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Oliveira, Caio Fernando de. "Literatura e história na peça D. Afonso VI de D. João da Câmara." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-28092011-121157/.
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Nesse estudo, pretenderemos inquirir sobre a construção discursiva literária da peça D. Afonso VI, do escritor português oitocentista, D. João da Câmara. A peça pretende um diálogo intertextual com a historiografia em torno do monarca português seiscentista, herdeiro dEl-Rei Restaurador D. João IV. A ficção joanina colherá na historiografia o paradigma com que dialogará, mas, ao se lançar ao trabalho artístico da palavra literária (metáfora), dessacralizará as verdades historiográficas e proporá uma visão excêntrica do passado. Não obstante, o percurso de dessacralização do passado será permeado pela cosmovisão artística dramática de D. João da Câmara que produzirá, como veremos ao final desse estudo, uma peça híbrida, que oscila entre o drama e o melodrama burgueses. D. João da Câmara, falecido há 103 anos, por sua festejada obra dramática como Os Velhos, A triste Viuvinha, O Beijo do Infante e o revolucionário O Pântano, dentre outras, merece ter seu teatro de modelo historiográfico lembrado pela crítica literária. Tentaremos cumprir, aqui, o débito com a obra do dramaturgo.In this study, well investigate the discursive construction of the literary work D. Afonso VI, of the eighteenth-century Portuguese writer, D. João da Câmara. The text intends an intertextual dialogue with the historiography around the sixteenth-century Portuguese monarch, heir of the King Restorative D. João IV. The fiction johannine reap in the historiography the paradigm that establish a dialog, but when launching the artwork of the literary word (metaphor), desecrating the historiographical truths and propose an eccentric vision of the past. Nevertheless, the route of desecration of the past will be permeate by the dramatic artistic worldview D. João da Câmara that will produce, as we shall see the end of this study, a hybrid piece, which oscillates between drama and melodrama bourgeois. D. João da Câmara, who died 103 years ago, celebrated for his dramatic work as Os Velhos, A Triste Viuvinha, O Beijo do Infante and the revolutionary O Pântano, among others, deserve to have your theater historiographical model remembered by literary criticism. We will try to accomplish, here, the debt to the work of the playwright.
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Vessels, Melanie Martin. "The Fairy Star; or Boucicault's Revenge: a Melodrama in One Act." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278791/.
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The Fairy Star; or Boucicault's Revenge is based on an incident which occurred in the relationship between actress Agnes Kelly Robertson and her common-law spouse, the actor and dramatist Dion Boucicault. The action of the play takes place late in the afternoon of September 3, 1875, in the parlor of Robertson's home, Langham Place. The dramatic conflict revolves around their meeting for the first time after a two-year separation, during which time Boucicault had forced Robertson to virtually retire from the stage and remain at home with their six children. When Robertson learns that Boucicault
desperately needs her to star in his latest theatrical production, she sets out to win back her place as the star of both his life and his plays.
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Woodworth, Amy Jean. "From Buddy Film to Bromance: Masculinity and Male Melodrama Since 1969." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/277714.
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EnglishPh.D.
Men's tears are considered rare, and women's tears are considered profusive. Thus, we tend to think of tearjerkers and melodrama as the province of weepy women viewers. However, if we look back at the last several decades of Hollywood filmmaking, melodramas focused on men--or "male weepies"--have been a steady staple of American cinema. This dissertation explores cycles of male melodramas since 1969, placing them in their socio-historical contexts and examining the ways that they participate in public discourses about men, masculinity, and gender roles. Melodrama's focus on victims, bids for virtue, and idealizations of not how things are, but how they should be, have made it a fitting and flexible mode for responding to the changing social landscape of America since the rights movements of the 1960s. Specifically, these films consider both the ways that white capitalist patriarchy has circumscribed the public and private lives of men and the ways that advancements of women and racial minorities are impacting (white) men's lives. This study analyzes the rhetorical effects of these films through both textual evidence and popular reception. Chapters are organized by chronology and subgenre, discussing buddy films of the late 1960s and early 1970s (Midnight Cowboy, The Last Detail, and Scarecrow), paternal melodramas of the late 1970s and early 1980s (The Great Santini, Kramer vs. Kramer, and Table for Five), films of sensitive men in the early 1990s (The Prince of Tides, Regarding Henry, and Philadelphia), and black male weepies from the 1990s and 2000s (Boyz in the Hood, Antwone Fisher, John Q, and The Pursuit of Happyness). The epilogue also considers the developing genre of the bromance, a hybrid of melodrama and comedy. By classifying and analyzing these films as male melodramas, this dissertation challenges both the popular denigrating view that tearjerkers are "chick flicks," and the continued gender bifurcation within film studies' work on melodrama as a narrative mode, which tends to treat weepies as a female form of melodrama and action films as a male form of melodrama. While individual subgenres have received some critical attention, this dissertation is one of the first works to look at male weepies collectively. Putting the spotlight on male weepies reveals Hollywood's interest in gender and the emotional lives of men, though the films display a mix of progressive and conservative strains, often common in Hollywood filmmaking. Specifically, these weepies tend to question and often even reject traditional masculine ideals, and thus exhibit some forms of gender "liberation"; at the same time that they show men suffering under patriarchy and even the pressure to be powerful, these films also shore that power up for men by never forfeiting it. As such, these films reveal the dangers of Hollywood "doing" gender critique: however inadvertently, they contain feminist, anti-racist, and anti-homophobic challenges and re-inscribe the various privileges of characters (in terms of gender, race, sexuality, and often class). However, the films also dramatize the ability of people to change and to empathize with others, and often invite the viewer to do so, even across gender and racial lines. In this way, male melodramas reveal a complex response to social changes; they are marked by an interest in men changing and a more equitable society, even as fully giving up privilege seems difficult.
Temple University--Theses
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Fernandes, Fernando Seliprandy. "Imagens divergentes, \"conciliação\" histórica: memória, melodrama e documentário nos filmes O que é isso, companheiro: E Hércules 56." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-30082012-115331/.
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O melodrama histórico O que é isso, companheiro? (Bruno Barreto, 1997) e o documentário Hércules 56 (Silvio Da-Rin, 2006) adotam gêneros cinematográficos distintos para representar uma das mais importantes ações da luta armada durante o regime autoritário no Brasil (1964-1985): o sequestro do embaixador dos EUA, Charles Elbrick, promovido por MR-8 e ALN em 1969. Produzidos em tempos democráticos, os filmes têm o testemunho como matriz de suas imagens, e a tensão entre os gêneros já sugere, em si, uma disputa em torno da fidedignidade da memória. Adaptação do relato pessoal homônimo de Fernando Gabeira publicado em 1979, O que é isso, companheiro? mobiliza o modo melodramático hollywoodiano em uma encenação do acontecimento que vilaniza a guerrilha, distribui inocências aos sujeitos sociais e redime os torturadores. Nessa imagem desculpadora da memória, o passado é moralmente julgado como um lapso aberrante superado na década de 1990, quando governava a ordem (neo)liberal. Em resposta, Hércules 56 reúne os protagonistas da ação e os presos políticos libertados em troca do diplomata em uma montagem de entrevistas e imagens de arquivo cuja coesão tende a instituir a totalidade narrativa do sequestro e a unidade teleológica da luta armada em geral. Inclinado ao tom da celebração, o documentário realinha os sentidos dos atos passados, enquadrando-os na trilha do longo percurso rumo ao triunfo democrático-institucional do PT nos anos 2000. Presta, assim, justíssima homenagem à militância pretérita, mas acaba neutralizando o dissenso crítico e transformando a luta incisiva em relíquia de um tempo extinto. Embora essencialmente antagônicas em termos estéticos e ideológicos, a memória desculpação e a memória monumentalizante elegem de forma paralela as respectivas conjunturas de produção dos filmes como ápices do devir histórico, sem discordar significativamente acerca das bases concretas da conciliação democrática brasileira. Encerrada aquela história, o embate fica circunscrito ao âmbito das representações cinematográficas da memória, restando intocada a real permanência da impunidade das violações dos direitos humanos no Brasil.The historical melodrama Four days in September (Bruno Barreto, 1997) and the documentary Hércules 56 (Silvio Da-Rin, 2006) adopt different film genres to represent one of the most important actions of the guerrilla warfare throughout the authoritarian regime led by the military in Brazil (1964-1985): the kidnapping of the U.S. ambassador Charles Elbrick, carried out by MR-8 and ALN revolutionary organizations in 1969. Produced during democratic times, the underlying imagery and tension between genres of both films suggest, in themselves, a battle over the reliability of memory. Based on the 1979 memoir of Fernando Gabeira, Four days in September uses a melodramatic style to stage the event in a way that vilifies the left-wing guerrillas, confers innocence upon the social actors and redeems the torturers. In this apologist version of the memory, the past is morally judged as an abhorrent lapse that was totally overcome in the 1990s when the neoliberal order was in charge of the country. Reacting against this vision, the editing of Hércules 56 presents the kidnapping protagonists and the political prisoners freed in exchange for Mr. Elbrick in such a coherent way that both the interviews and the archive footage establish the full story of the episode along with the teleological unity of the entire political struggle opposed to the regime. Preferring to celebrate the accomplishment, the documentary realigns the meanings of these past acts, as if they had only set the stage for the electoral triumph of PT at the turn of the century. In doing so, the film pays homage to past militancy but the final outcome neutralizes critical controversy and turns the incisive uprising into a relic of a bygone era. Although aesthetically and ideologically opposed, the exculpatory and the monumentalizing memories run in parallel in each film, assuming their respective political junctures as the culmination of history and with no significant disagreements over the concrete foundations of the Brazilian democratic conciliation. In bringing this history to a close, the conflict stays enclosed inside the scope of the representations of memory on films, leaving behind the legacy of impunity for human rights violations in Brazil.
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Costa, Artur Felício. "A representação do Espiritismo nos filmes Nosso Lar e Chico Xavier." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/4108.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation adresses the encounter between the melodramatic imagination and the imaginative structure that derives form the Bible as a way to operationalize, aesthetically, the representation of the espiritism at the movies Nosso Lar e Chico Xavier – o filme. The tangent of these matrices, so to speak, left visible the extent to which religion informs the very language of films. Therefore, dialogical and hypertextual bridges were created. This dialogue, beyond its endogenous and structural nature, were also estabilished with the historical, social and cultural context of spiritism in Brasil and in its originating reminiscences in the nineteenth century. Thus, from the concept of “moral occult”, we testify the operation of melodrama as a catalyzer of an evaluative universe translated from the influence of the “Greate Code”, in other words, the influence of the Bible with its images and narrative structures.
A presente dissertação aborda o encontro entre a imaginação melodramática e a estrutura imaginativa que deriva da Bíblia como uma forma de se operacionalizar, esteticamente, a representação da doutrina espírita nas obras Nosso Lar e Chico Xavier – o filme. O encontro dessas referências, por assim dizer, deixaram evidentes até que ponto a religião informa a própria linguagem dos filmes. Criaram-se, portanto, pontes hipertextuais e dialógicas. Esse diálogo, além do seu caráter endógeno e estrutural, também se estabeleceu com o contexto histórico, social e cultural do espiritismo no Brasil e em suas reminiscências originárias do século XIX. Verificou-se, assim, a partir do conceito de “oculto moral”, a operação do melodrama como o catalizador de um universo valorativo traduzido a partir da influência do “código dos códigos”, ou seja, da Bíblia como uma influência imaginativa com suas imagens e estruturas narrativas.
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Pinheiro, Pablo Marquinho Pessoa. "O beijo no asfalto: melodrama na adaptação cinematográfica da obra de Nelson Rodrigues." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/6948.
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The melodrama is popularly known as a genre that takes the viewers to tears, composed by great sentimentalism and exaggerated actors. Despite this popular idea has a real root, the melodrama characterizes itself mainly by the complex relationship with the public. This relationship of communication with viewers was determinant and strategic for the development of melodrama, as well as your upgrade and migration to other narrative forms. The first part of this research proposes a historic rescue of melodrama while genre, from its emergence in the theater during the 18TH century until their update by the cinema. The second part analyzes the relationship between melodrama, film and reception, from the studies on the cultural performances, it being understood that the viewer participates actively in the process of reception during a film session. Recognizing that updating the melodrama has kept a poetic communication full of emotion and with a strong educative and regulatory function. In the third part, one examines the film O Beijo no Asfalto, by Bruno Barreto, adapted from the eponymous dramaturgical text O Beijo no Asfalto, by Nelson Rodrigues. Searching elements that characterizes the melodramatic imagination, as well as, to point characteristics from melodrama reverberated in this film.
O melodrama é conhecido popularmente como um gênero que leva os espectadores às lágrimas, composto de exaltação do sentimentalismo e performances afetadas de seus atores. Apesar dessa ideia popular ter uma raiz verdadeira, o melodrama caracteriza-se principalmente pela complexa relação com o público. Essa relação de comunicação com os espectadores foi determinante e estratégica para o desenvolvimento do melodrama, bem como sua atualização e migração para outras formas narrativas. A primeira parte desta pesquisa propõe um resgate histórico do melodrama enquanto gênero, do seu surgimento no teatro durante o século XVIII até sua atualização junto ao cinema. A segunda parte analisa a relação entre melodrama, cinema e recepção, a partir dos estudos sobre as performances culturais, entendendo que o espectador participa de forma ativa no processo de recepção durante uma sessão cinematográfica. Dessa forma, reconhecendo que a atualização do melodrama manteve uma comunicação poética carregada de emoção e com uma forte função educadora e reguladora.A terceira parte analisa o filme O Beijo no Asfalto, de Bruno Barreto, adaptado a partir do texto dramatúrgico homônimo, escrito por Nelson Rodrigues, buscando nesse filme elementos que caracterizam a imaginação melodramática, assim como, apontar características do melodrama reverberadas nessa obra.
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Murakami, Mariane Harumi. "Da fantasia ao transmídia: modernização do gênero telenovela brasileira." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-26052015-115453/.
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A ficção seriada televisiva brasileira, desde o seu início na década de 50, passou por inúmeras transformações, que modificaram não somente a forma de produção de ficção, mas principalmente a experiência do espectador diante do produto ficcional. A presente pesquisa propõe uma investigação dessas transformações, melhor dizendo, uma análise do discurso da ficção seriada brasileira e dos mecanismos que instauram agenciamentos narrativos do espectador. Sendo assim, esta pesquisa possui como objetivo elaborar uma investigação da ficção seriada televisiva brasileira, analisando as transformações ocorridas no gênero ao longo dos anos, especialmente em seus momentos de ruptura - a era Glória Madagan (década de 50), a era realista (década de 60) e era transmídia (anos 2000). Alguns objetivos mais específicos nortearão a pesquisa: - Investigar a transformação da construção do gênero telenovela no brasil, considerando o gênero como um discurso articulado em uma dimensão intercultural que envolve textos e contextos distintos; - Investigar como os agenciamentos narrativos dos espectadores se transformaram ao longo do tempo; - Investigar os mecanismos discursivos construídos que relacionam a telenovela com a realidade extra-diegética; - Investigar a construção discursiva dos mecanismos de identificação do espectador com a trama; - Investigar a construção dos mecanismos discursivos que relacionam, na era transmídia, as narrativas-matriz e as narrativas transmídia; - Investigar as transformações nas relações de consumo midiático ao longo dos anos; - Investigar como o fenômeno da convergência midiática afetou o gênero telenovela brasileira; Neste trabalho, postulamos que essa \"modernização\" da telenovela brasileira, desde o seu surgimento, não transforma apenas a forma de fazer telenovela, mas transforma principalmente a experiência do espectador diante do produto ficcional. Ele passa, inicialmente, de uma experiência ficcional bastante distante de sua realidade cotidiana, baseada em um mundo fantasioso, para uma experiência ficcional que pretende parecer cada vez mais \"realista\", em que os diversos elementos da trama apontam para o seu cotidiano (sem esquecer da utilização de mecanismos de representação naturalista). Hoje, na era da convergência, o espectador não abandona a narrativa televisiva, mas tem a oportunidade de buscar (ou não) em outras mídias conteúdos para enriquecer a sua experiência ficcional. E isso instaura, assim, novos atores no discurso ficcional televisivo brasileiro.Brazilian television telenovela, since its origin in the 50\'s, has undergone countless changes, which not only have changed the form of fiction production, but mainly the experience of the viewer with the fictional product. This work proposes an investigation of these changes, rather a discourse analysis of the Brazilian serial fiction and the mechanisms that establish the discursive instances of the viewer and the author. Thus, this research has as objective to elaborate an investigation of the Brazilian television telenovelas, analyzing the changes occurring in the genre over the years, especially in moments of rupture - the era Gloria Madagan (50s), the realistic era (decade 60) and transmedia era (2000s). Some more specific objectives will guide the research: - to investigate the transformation of telenovela genre in Brazil, considering genre as a discourse articulated around the intercultural dimension involving texts and different contexts; - To investigate how the narrative agency the spectators; - To investigate the discursive mechanisms that relate the telenovela with the extra-diegetic reality; - To investigate the discursive construction of the viewer\'s identification mechanisms with the plot; - To investigate the construction of discursive mechanisms that relate the narratives in different medium; - To investigate the changes in the relations of media consumption over the years; - To investigate how the media convergence phenomenon affected the Brazilian telenovela as a genre. In this work, we postulate that the \"modernization\" of Brazilian telenovela not only transforms how to produce telenovelas, but mostly transforms the experience of the viewer with the fictional product. It goes initially from a fictional experience far from their daily reality, based on a fantasy world, to a fictional experience that seems more and more \"realistic\", in which the various elements of the plot point to everyday life. Today, in the era of onvergence era, the viewer does not leave the television narrative, but has the opportunity to pursue (or not) in other media content to enrich their fictional experience. And it establishes new actors in Brazilian television fictional discourse.