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Journal articles on the topic 'Melodram'

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

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1

Yıldırım, Tunç. "The practice of “de-genrification” of the Turkish film criticism in the late 1950’s: The critical receptions and the aesthetic analysis of melodramas like Three Friends (1958) and Port of the Lonely (1959)1950’ler sonu Türk sinema eleştirisinin “türsüzleştirme” uygulaması: Üç Arkadaş (1958) ve Yalnızlar Rıhtımı (1959) melodramlarının eleştirel alımlamaları ve estetik çözümlemeleri." Journal of Human Sciences 13, no. 2 (August 1, 2016): 3181. http://dx.doi.org/10.14687/jhs.v13i2.3945.

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This article focuses on two similar examples of melodramas which are representations of the general aesthetic tendency during the genesis of Yeşilçam period (1948-1959) of the Turkish cinema. This work aims to prove that in the aforementioned era, critical discourse which categorizes, names and classifies movies, imposed the practice of de-genrification for Three Friends and Port of the Lonely. To accomplish this aim, an analysis of comparative critical reception should be done in the first stage. Secondly esthetics analysis for those two movies of the same hybrid genre (melodrama), must be presented. The hypothesis of the article is that, traditional Turkish cinema historiography which based on the repetition of director centered critical discourse will become outdated, if a new approach that focuses on film genres is approved. Analyzing those two melodramatic and realist movies which are chosen as samples from an historical perspective, and placing them rightly in the tradition of Turkish Cinema, will only be possible with a developed method which cross-reads multiple primary sources and contextualize the critical discourse on the melodrama genre. ÖzetBu makale, Türk sinemasının Yeşilçam döneminin oluşum aşamasında (1948-1959) genel estetik eğilimi temsil eden tür sineması içinde hâkim konumda olan melodram türünün iki benzer örneğine odaklanır. Çalışmanın amacı sinema türlerini isimlendiren, tasnif eden ve ayırt eden dönemin eleştirel söyleminin Üç Arkadaş ve Yalnızlar Rıhtımı melodramları söz konusu olduğunda türsüzleştirme uygulaması yaptığını kanıtlamaktır. Bunun için ilk aşamada söz konusu filmlerin karşılaştırmalı eleştirel alımlama çözümlemeleri yapılır. İkinci olarak da, aynı melez türe (melodram) giren bu iki filmin estetik çözümlemelerine yer verilir.Makalenin varsayımı, ancak tür sineması gerçeğini temel alan yeni bir yaklaşımın onaylanması halinde eleştirel söylemi genel hatlarıyla tekrar eden yönetmen merkezli geleneksel Türk sinema tarihyazımının aşılacağı yönündedir. Örneklem olarak seçilen bu iki melodramatik gerçekçi filmin tarihsel açıdan açıklanıp Türk sinema geleneği içindeki yerlerine oturtulması ancak çoklu birincil kaynakları kesiştiren ve melodram türü hakkındaki eleştirel söylemi bağlamlaştıran gelişkin bir yöntemle söz konusu olabilir.
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2

UMUDUM-, Hulusi Ertuğrul. "70’LER YEŞİLÇAMINDA MELODRAM." Journal of Academic Social Sciences 102, no. 102 (2020): 294–308. http://dx.doi.org/10.29228/asos.40597.

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3

NAROZYA, Alla. "MAR BAYCİEV DRAMATÜRJİSİNDE MELODRAM TÜRÜNÜN POETİKASI." International Journal Of Turkish Literature Culture Education 4, no. 4/2 (January 1, 2015): 667. http://dx.doi.org/10.7884/teke.493.

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4

Schönau, Walter. "Männlichkeit und Melodram. Arthur Schnitzlers erzählende Schriften." Monatshefte 104, no. 2 (2012): 287–89. http://dx.doi.org/10.1353/mon.2012.0054.

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5

AGOCUK, PELİN. "TÜRK SİNEMASI NDA MELODRAM: "SEVEN NE YAPMAZ" FİLMİ ÜZERİNDEN YEŞİLÇAM SİNEMASI NDA MELODRAMIN KODLARININ ÇÖZÜMLENMESİ." Journal of International Social Research 8, no. 40 (October 20, 2015): 562. http://dx.doi.org/10.17719/jisr.20154013939.

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6

Akbaş, Emel. "Mısır Filmlerinin Türk Sinemasında Yarattığı Etki." Etkileşim 2, no. 4 (October 2019): 276–84. http://dx.doi.org/10.32739/etkilesim.2019.4.74.

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Mısır filmlerinin 1930’ların sonlarından itibaren Türkiye’ye gelmesiyle birlikte halk tarafından yoğun ilgi görmüş, salonlar dolmaya başlamış ve uzun kuyruklar oluşmuştur. Ağır melodram tarzındaki bu filmler Türk toplumunun kültürüne, geleneklerine yaşam tarzına hitap etmiş ayrıca Türkçe sözlü Arapça ezgilerle bezenmiş bu filmler tarihsel geçmişin ve ortak kültürün etkisiyle kısa sürede içselleştirilmiştir. Mısır filmlerine gösterilen yoğun talep yapımcıları harekete geçirmiş ve yapımcılar Mısır’a sık sık giderek birbiri ardına birçok film ithal etmeye başlamıştır. Bu durumu fırsata dönüştüren Muharrem Gürses ise Mısır filmlerinin ağır melodram içeren konularını uyarlayarak peşi sıra filmler çekmiştir. Halk kısa sürede bu filmleri benimsemiş ve Mısır filmleri geri planda kalmış ve böylece ithal etmeye gerek kalmamıştır. Mısır filmleri tarzında yerelleştirilerek çekilen filmler popüler Türk sinemasının doğmasına neden olmuştur. Kısa sürede sinema kazançlı bir sektör haline gelmiştir. Bununla birlikte çekilen filmler ve film şirketlerinin sayısı da artış göstermiştir. Bu yükseliş 1975 yılına kadar sürmüştür.
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7

Hanich, Julian. "Im Wechselbad der Gefühle." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 13–39. http://dx.doi.org/10.28937/1000106181.

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In diesem Aufsatz untersuchen wir die erstaunliche Emotionsvielfalt des filmischen Melodrams. Mithilfe einer detaillierten Analyse einer tief bewegenden Szene aus dem Film 21 Grams von Alejandro Gonzáles Iñárritu versuchen wir, einem verkürzten Verständnis der emotionalen Wirkung dieses Genres entgegenzutreten. Melodramen lassen sich nicht auf Traurigkeit oder Mitleid reduzieren; sie gehen nicht auf in Tränenseligkeit. Vielmehr rühren die bewegenden Effekte des Melodrams gerade daher, dass es seine Betrachter in ein Wechselbad sehr unterschiedlicher Gefühle zu stürzen versteht.<br><br>In this article we investigate the astonishing variety of emotions evoked by filmic melodramas. Closely analyzing a deeply moving scene from Alejandro Gonzáles Grams, we criticize the limited view of the emotional effects of this genre. We show that melodramas elicit more than just sadness or pity; they cannot be reduced to their tear-jerking potential. Melodramas move their viewers precisely because they send them on a rollercoaster ride with ups and downs of very different emotions.
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Zimmermann, Rolf Christian. "Hauptmanns Vor Sonnenaufgang Melodram einer Trinkerfamilie oder Tragödie menschlicher Blindheit?" Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 69, no. 3 (September 1995): 494–511. http://dx.doi.org/10.1007/bf03375477.

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9

AKPINAR, Şükran. "Melodram ve Modernite İlişkisi Bağlamında, Yeşilçam Sinemasında Avrupalılık Görünümlerinin Kadın Kar." Journal of Turkish Studies 10, Volume 10 Issue 10 (January 1, 2015): 61. http://dx.doi.org/10.7827/turkishstudies.8678.

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10

BAŞ, Elif. "TÜRK MELODRAM FİLMLERİNDE İDEAL/KÖTÜ KADIN İMGESİ: BİR DEMET MENEKŞE FİLM ÖRNEĞİ." Journal of International Social Research 12, no. 65 (August 30, 2019): 568–79. http://dx.doi.org/10.17719/jisr.2019.3469.

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11

Falke, Gustav. "Neorealismus im italienischen Film." Zeitschrift für Ideengeschichte 7, no. 2 (2013): 21–34. http://dx.doi.org/10.17104/1863-8937-2013-2-21.

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Wohl jeder, der zum ersten Mal die Fahrraddiebe von Vittorio De Sica sieht, wird den Kopf schütteln, wie dieses Melodram zu seinem Ruhm kommen konnte. Der Protagonist ist ein armer Vorstadtrömer, der endlich eine Arbeit als Filmplakatkleber findet. Für seine neue Arbeit muss er ein Fahrrad stellen, das ihm jedoch gestohlen wird. Auf der Suche nach dem gestohlenen Rad irrt er zusammen mit seinem kleinen Sohn umher. Tatsächlich kommt er dem Dieb auf die Spur. Doch kann er ihm nichts nachweisen. Schließlich unternimmt er selbst – deshalb der Plural im Filmtitel – unter den beschämenden Blicken des Kindes einen erfolglosen Diebstahlsversuch.
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12

Kling, Vincent. "Männlichkeit und Melodram: Arthur Schnitzlers erzählende Schriften by Imke Meyer (review)." Journal of Austrian Studies 45, no. 1-2 (2012): 140–42. http://dx.doi.org/10.1353/oas.2012.0044.

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13

SARI AKSAKAL, Betül. "NEOLİBERAL & FEMİNİST İDEOLOJİ VE TÜRK SİNEMASINDA EVRİLEN KADIN İMGESİ: MELODRAM KADINLARINDAN ÖZGÜR KADINLARA." International Journal of Social Humanities Sciences Research (JSHSR) 7, no. 55 (January 1, 2020): 1645–67. http://dx.doi.org/10.26450/jshsr.1907.

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14

Nogueira, Lisandro Magalhães, and Ícaro San Carlo Máximo Sampaio. "O olhar entre o bem e o mal no melodrama: um estudo de “O medo consome a alma”." Revista FAMECOS 20, no. 2 (September 16, 2013): 337. http://dx.doi.org/10.15448/1980-3729.2013.2.14126.

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Este artigo pretende investigar as possibilidades de melodramas que provoquem a reflexão dos espectadores. A relação entre vítima e opressor e a dicotomia existente nos paradigmas elementares do melodrama serão objetos a serem problematizados. Por fim, será investigada a possibilidade de criação de melodramas que não estejam fundamentados na cultura judaico-cristã; para este ultimo tópico será feito um estudo do filme O Medo Consome a Alma, de Rainer Fassbinder
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15

Hamadi, Lutfi. "The Main Dramatic Features of Melodrama: A Dramatic Study of Maria Martin and Sweeney Todd And Their Traces In Modern Soap Operas." European Scientific Journal, ESJ 13, no. 26 (September 30, 2017): 122. http://dx.doi.org/10.19044/esj.2017.v13n26p122.

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This paper attempts an exploration of the prosperity of melodrama in the nineteenth century with its literary shortcomings in comparison with more serious and deeper plays before and after that era. Shedding light on the political, social, and economic changes that took place in Europe in general and in England in particular, this study tries to show how melodrama reflected these changes and represented the new rising middle class with all their values, beliefs, and interests. In addition, the paper shows similarities between melodrama and modern soap operas and movies, with their artificially fabricated plots and endings, unconvincing characters, and irrational incidents and coincidences. For this purpose, the study will trace the main dramatic features of melodrama and mark them out in two of the most notable melodramas of that period, namely Maria Martin and Sweeney Todd, which were adapted and produced cinematically. The paper will conclude how changes in different aspects of society are definitely reflected on the literary works during a certain period of time. The methodology will include an historical overview, shedding light on the changes that took place in England in the 19th century, comparing and contrasting melodramas and other more important literary forms, together with the two plays to be studied as examples. To achieve credibility, the paper will refer to works by remarkable thinkers and critics in the field, illustrate by using quotes from both plays, and interpret and analyze their function and importance.
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16

Davis, Jim. "British Bravery, or Tars Triumphant: Images of the British Navy in Nautical Melodrama." New Theatre Quarterly 4, no. 14 (May 1988): 122–43. http://dx.doi.org/10.1017/s0266464x00002669.

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In recent years, melodrama has increasingly been recognized not only as an important element in popular theatre studies, but for the intrinsic importance of the form itself. Less considered has been the relationship of the material of melodrama to the ‘real life’ it reflected in a highly conventionalized yet ultimately (for its audiences), recognizable fashion. Here, Jim Davis looks at one major category, nautical melodrama, setting the images of the navy and of sailors that it created alongside factual and critical accounts of life at sea in the first half of the nineteenth century. He conveys both the pressures that existed for redress of abuses, and the consequent balance between coercion and subversion in the melodramas themselves – drawing in particular on the memoirs of Douglas Jerrold to explore aspects of the ambiguity to be found in contemporary attitudes. Jim Davis, who is the author of several books and articles in the area of nineteenth century theatre history, is presently teaching in the School of Theatre Studies at the University of New South Wales.
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17

Re, Valentina. "Capítulo 6. «A moment before you need more happiness»: Mad Men, Haynes y Douglas Sirk." Espejo de Monografías de Comunicación Social, no. 1 (November 19, 2018): 113–38. http://dx.doi.org/10.52495/c6.emcs.1.c37.

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Este capítulo analiza cómo el cine y las series de televisión de las últimas décadas han retomado, actualizado y reelaborado los melodramas realizados en Hollywood por Douglas Sirk y, por consiguiente, las categorías del melodrama familiar y melodrama femenino. El enfoque elegido intenta invertir el concepto de influencia: en realidad, no se trata de comprender cómo el cine de Sirk influye en formas cinematográficas o televisivas contemporáneas, sino más bien examinar cómo las narraciones audiovisuales pueden hoy reactivar aspectos del cine de Sirk y renegociar su sentido. La perspectiva que se pretende adoptar, por lo tanto, tiene que ser doble. Por una parte, se trata de comprender cómo un género, resurge hoy en la producción contemporánea, con qué valor, y con qué discurso, tanto respecto al pasado como al presente. Por otra parte, se trata de evaluar cómo este resurgimiento va a incidir a su vez en la definición y en las formas de disfrute de los objetos del pasado, modificando el marco a través del cual accedemos a éstos y realizamos nuestras lecturas.Palabras clave: Melodrama, Douglas Sirk, Mad Men, Todd Haynes, Géneros Audiovisuales.
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Bonifácio Barros, Ana Elisa, Damián Keller, and Leandro Levesques Costalonga. "Guitarreando: Estudo sobre a utilização de modelagem e tablatura no ensino de violão mediado por tecnología." Revista Iberoamericana de Tecnología en Educación y Educación en Tecnología, no. 22 (December 19, 2018): e03. http://dx.doi.org/10.24215/18509959.22.e03.

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O presente projeto estuda a efetividade da modelagem e da tablatura no ensino do violão mediado por tecnologia, utilizando procedimentos experimentais com o objetivo de subsidiar a eleição, o design e o desenvolvimento de ambientes musicais educativos. Dentro deste contexto, 41 participantes realizaram exercícios musicais através de três meios digitais: vídeo, áudio e tablatura. Foram modeladas atividades de execução de acordes utilizando cordas soltas, de melodias com cordas soltas usando somente uma mão, e de melodias empregando cordas pisadas que demandam a coordenação motora de ambas manos. Através do estudo, respondemos às seguintes perguntas: Quais modelos digitais – vídeo e áudio ou tablatura – são mais efetivos para o ensino inicial de violão? Quais materiais sonoros (acorde, melodia com cordas presas ou melodia com cordas soltas) são mais adequados? Em relação aos critérios número de acertos e tempo de execução, os resultados indicam que a tablatura é mais efetiva que os modelos digitais disponibilizados em formatos audiovisuais ou sonoros. Quanto aos materiais musicais, os resultados sugerem o uso de atividades empregando melodia cordas soltas (arpejo) nas fases iniciais. Discutiremos também as preferências, o grau de dificuldade e a Distorção Perceptiva da Performance Musical - DPPM (diferença entre o que o usuário/estudante acredita ter executado e o que ele efetivamente executou) com o intuito de compreender as implicações do ensino a distância de violão na ausência de um professor ou tutor.
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19

Tatit, Luiz. "A arte de compor canções." Revista USP, no. 111 (December 16, 2016): 11. http://dx.doi.org/10.11606/issn.2316-9036.v0i111p11-20.

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Na falta de informações técnicas sobre o modo de compor dos cancionistas, este artigo recorre a depoimentos de compositores que revelam, a partir de estratégias criativas bastante particulares, uma forte consciência da linguagem em que atuam. De fato, a prática de unir melodia e letra difere de maneira substancial das experiências musical e literária, quando consideradas isoladamente. Isso porque o encontro dos dois componentes gera melodias prosódicas (e não apenas musicais) que respondem, em boa parte, pela capacidade de persuasão da linguagem. Além disso, outras formas de compatibilidade entre melodia e letra (como a tematização e a passionalização) sustentam o sentido da canção, o que dispensa muitas vezes a necessidade de coerência verbal de suas letras
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20

Thornton, Niamh. "Alejandro González Iñárritu’s melodramatic masculinities." Studies in Spanish & Latin American Cinemas 18, no. 1 (March 1, 2021): 57–72. http://dx.doi.org/10.1386/slac_00036_1.

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Melodrama is a genre with deep roots in Mexican cinema with distinct conventions and particularities. Alejandro González Iñárritu (AGI) demonstrates a fluency in this genre integrating it into the conventions of transnational art house cinema. As someone whose auteur status is conferred both through multiple prestigious awards and articulations of his creative self as originator of his projects, AGI’s play with genre is often overlooked. Using videographic criticism as a tool for analysis, this article considers the actor’s dynamic performances in AGI’s male-centred melodramas Amores perros (2000), 21 Grams (2003), Babel (2006), Birdman or (The Unexpected Virtue of Ignorance) (2014) and The Revenant (2015).
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21

Bustamante, Emilio. "Melodrama en el Altiplano. Maltrato infantil, minería ilegal y salud mental en tres melodramas puneños." Contratexto, no. 26 (2016): 85–98. http://dx.doi.org/10.26439/contratexto2016.n026.780.

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22

Tybjerg, Casper. "The spy who loved me: Benjamin Christensen and the Danish silent spy melodrama." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 253–76. http://dx.doi.org/10.1386/jsca_00003_1.

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This article examines the spy melodrama films produced in Denmark from 1909 to 1918, 21 in all. The best-known (and one of only two to survive) is Benjamin Christensen’s Det hemmelighedsfulde X (Sealed Orders) (1914). A coda will briefly discuss the only pre-1945 spy talking film, Damen med de lyse Handsker (The Lady with the Light Gloves) (1942), also directed by Christensen. The article employs an approach similar to James Chapman’s contextual film history, examining the Danish silent spy melodramas in the context of political climate and genre, but with an emphasis on the concerns of film producers and practitioners. Surviving plot summaries, which exist for all 21 films, reveal a considerable degree of consistency in the storylines. The article argues that the melodramatic elements found in nearly all the films suggest a more female-oriented audience appeal than that of many later spy fictions.
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Daly, Nicholas. "Melodrama." Victorian Literature and Culture 46, no. 3-4 (2018): 766–69. http://dx.doi.org/10.1017/s1060150318000785.

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Williams, Carolyn. "Melodrama." Victorian Literature and Culture 46, no. 3-4 (2018): 769–73. http://dx.doi.org/10.1017/s1060150318000797.

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25

Ortega, Julio. "Melodrama." Review: Literature and Arts of the Americas 31, no. 57 (January 1998): 72–75. http://dx.doi.org/10.1080/08905769808594568.

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Fletcher, J. "Melodrama." Screen 29, no. 3 (September 1, 1988): 2–12. http://dx.doi.org/10.1093/screen/29.3.2.

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27

LOCKWOOD, DEIRDRE. "MELODRAMA." Yale Review 96, no. 3 (July 2008): 100. http://dx.doi.org/10.1111/j.1467-9736.2008.00429.x.

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28

Couy, Vénus Brasileira. "Melodrama." Revista Literária do Corpo Discente da Universidade Federal de Minas Gerais 22, no. 22 (January 31, 1990): 74. http://dx.doi.org/10.17851/0103-5878.22.22.74-75.

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29

Gordon, Joel. "THE SLAPS FELT AROUND THE ARAB WORLD: FAMILY AND NATIONAL MELODRAMA IN TWO NASSER-ERA MUSICALS." International Journal of Middle East Studies 39, no. 2 (May 2007): 228a. http://dx.doi.org/10.1017/s0020743807070365.

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This essay is an attempt to read popular melodrama as a reflection of changing societal appreciations of sentimentality, romance, family relations, and, ultimately, political power during the second decade of Nasserist rule in Egypt. The essay focuses on two film classics that bookend the 1960s—“family melodramas” starring singer ءAbd al-Halim Hafiz, the pop icon intimately associated with the Nasserist project. Each film turns upon a single dramatic act of parental discipline, a slap delivered by an outraged father across the cheek of a rebellious son. Released in 1962, still a time of heady optimism, al-Khataya raises troubling questions about paternity and social status yet resolves them in classic genre style. Abi fawq al-shagara, released in 1969, in the aftermath of the June 1967 “naksa” (setback), reflects a growing generation gap and suggests—if it does not quite deliver—a countercultural reading of patriarchal authority, as well as sexual and political liberation.
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Glatthorn, Austin. "The Legacy of ‘ Ariadne’ and the Melodramatic Sublime." Music and Letters 100, no. 2 (May 1, 2019): 233–70. http://dx.doi.org/10.1093/ml/gcy116.

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Abstract Georg Benda’s Ariadne auf Naxos (1775) was an immediate success. By the end of the century, not only was it in the repertory of nearly every German theatre, but it was also one of the few German-language pieces translated for performances across Europe. Central to this melodrama—traditionally defined as an alternation of emotional declamation and pantomime with instrumental music—is its evocation of the sublime. Though scholars have posited Ariadne and its defining aesthetics as a model employed in subsequent Romantic opera, such teleological readings overlook reform melodramas that embraced vocal music and localized sublime moments. I argue that these works, rather than Ariadne, pushed melodrama’s generic boundaries to the verge of opera and in the process provided instrumental music with the power to express the sublime without the aid of text. This exploration offers fresh insight into melodrama’s music–text relations, generic hybridity, and aesthetic entanglements with opera and symphonic music.
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Summerhayes, Catherine. "Translative Performance in Documentary Film: Bob Connolly and Robin Anderson's Facing the Music." Media International Australia 104, no. 1 (August 2002): 19–29. http://dx.doi.org/10.1177/1329878x0210400105.

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Facing the Music (2001) is a film that performs at many levels. While its primary narrative is about the effects of government funding cuts to universities, and specifically the effect on the University of Sydney's Music Department, the film also weaves other more generic stories about people and how they interact with each other. Connolly's and Anderson's complex and confronting style of observational film-making is examined in the context of this film for the ways in which it ‘assumes' that film can ‘translate’ the details of people's everyday lives into a broad discussion of particular social issues and conflicts. As with all translations, however, some meanings inadvertently are lost and others added. Drawing on Walter Benjamin's idea of ‘translatability’ and Brecht's concept of gest, this paper describes how particular cultural meanings which are embedded within the documentary film, Facing the Music, can be accessed through the ways in which the audiovisual text ‘melodramatically’ presents people and profilmic events. Thomas Elsaesser's definition of classic fictional melodrama, as a ‘closed’ world of ‘inner’ violence where ‘characters are acted upon’, becomes a guide to understanding the film's secondary narratives about the operation of particular stereotypical, binary representations: men and women; artists and ‘the rest of the world’; academics (‘gown’) and other people (‘town’). Using Laura Mulvey's further distinction of ‘matriarchal’ and ‘patriarchal’ melodramas. Facing the Music is described as a ‘matriarchal’ documentary melodrama. The film's selective translation of how people live their lives in a particular social situation is thereby discussed as a further translation into the broader discourses of gender and power relations in a society.
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Repertório, Teatro &. Dança. "DO MOLEQUE BEIJO AO MESTRE DE GERAÇÕES [Daniel Marques da Silva]." REPERTÓRIO, no. 15 (July 7, 2010): 131. http://dx.doi.org/10.9771/r.v0i15.5219.

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<div>O artigo apresenta um perfil biográfico de Benjamim de Oliveira - palhaço, ator, autor teatral, cantor, ensaiador e diretor de companhia – desde sua infância no sertão de Minas Gerais, em meados do Século XIX até a consagração de sua carreira no Rio de Janeiro do início do século XX. Ainda destaca sua atuação para a consolidação do circoteatro, prática artística híbrida composta por melodramas, comédias, mágicas, revistas e pantomimas executadas como segunda parte da função circense.<br><br /></div><div>The article presents Benjamim de Oliveira’s profile – as actor, clown, dramatic author, singer, metteur en scéne and theater company director – from since his childhood in Minas Gerais countryside in the middle nineties until his success in Rio de Janeiro in early twenties. The work emphasize his attempt in order of consolidating circus-theater performance, an hybrid artistic language which encompasses melodrama, comedy, prestidigitation, music hall and pantomime, perfomed usually at the circus second part of show.</div>
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Mulari, Heta. "Tyttöjä rajoilla. Transnationaalisuus ja seksuaalisuus elokuvissa Lilja 4-ever ja Sano että rakastat mua." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 29, no. 4 (January 17, 2017): 27–44. http://dx.doi.org/10.23994/lk.60474.

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Tyttöjä rajoilla. Transnationaalisuus ja seksuaalisuus elokuvissa Lilja 4-ever ja Sano että rakastat muaArtikkelissa tarkastellaan tyttöyttä, transnationaalisuutta ja seksuaalisuutta ruotsalaisissa tyttöelokuvissa Lilja 4-ever ja Sano että rakastat mua. Huomio kohdistuu siihen, kuinka elokuvissa määritellään melodraaman keinoin itäeurooppalaista tyttöyttä sekä urbaania, monikulttuurista nuorisokulttuuria suhteessa niin sanottuun ruotsalaiseen tasa-arvotyttöyteen.Artikkelissa esitetään, että molemmissa elokuvissa tyttöys – sekä etnisesti ruotsalainen että maahanmuuttajatyttöys – nostetaan esiin yhteiskunnallisen muutoksen symbolina sekä ja kansallisvaltion uusia kohtaamisia ilmentäen.Girls on the Frontier. Transnationalism and Sexuality in Lilya 4-ever and Say that You Love MeThis article discusses girlhood, transnationalism and sexuality in Swedish films Lilya 4-ever and Say that You Love Me. The article focuses on how these films imagine Eastern European girlhood, as well as urban, multicultural youth culture in relation to Swedish gender egalitarian girlhood.The films can be defined as youth melodramas: films that combine conventions from youth film and melodrama. The article suggests that in both of these films ethnically Swedish and immigrant girlhood is foregrounded as symbols of social change and new encounters in the Swedish nation state.
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Sadoff, Dianne F., and Elaine Hadley. "Cultural Melodrama." NOVEL: A Forum on Fiction 31, no. 2 (1998): 263. http://dx.doi.org/10.2307/1346203.

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Schwarze, Steven. "Environmental Melodrama." Quarterly Journal of Speech 92, no. 3 (August 2006): 239–61. http://dx.doi.org/10.1080/00335630600938609.

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36

Anker, Elisabeth. "Left melodrama." Contemporary Political Theory 11, no. 2 (July 26, 2011): 130–52. http://dx.doi.org/10.1057/cpt.2011.10.

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Gilmour, Michael. "Victorian Melodrama." Literature Compass 12, no. 7 (July 2015): 344–57. http://dx.doi.org/10.1111/lic3.12239.

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38

Ramírez Bonilla, Laura Camila. "La hora de la TV: la incursión de la televisión y telenovela en la vida cotidiana de la ciudad de México (1958-1966)." Historia Mexicana 65, no. 1 (July 1, 2015): 289. http://dx.doi.org/10.24201/hm.v65i1.3137.

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La televisión y los géneros televisivos son dispositivos con historia propia. En el caso mexicano, la telenovela se puede considerar como el primer género auténticamente concebido y realizado para la televisión. Su llegada al país, en junio de 1958, en Telesistema-Canal 4, no solo recogió parte de los estereotipos, los mitos y las preocupaciones morales de la sociedad de la época, sino que se insertó en la cotidianidad de los espectadores, aún neófitos y expectantes ante el producto. Los primeros melodramas fueron un fenómeno urbano, característico del crecimiento de la clase media. Su incursión fue construyendo un auditorio propio que, activo ante los contenidos vistos en pantalla, llegó a integrarla al escenario familiar. Ver telenovelas fue un acto primordialmente doméstico y al mismo tiempo colectivo, compartido entre varios. Entendiendo este género como un producto hecho para significar y partiendo de un análisis histórico que requiere tanto el estudio de los contenidos como el del medio y los espectadores, el propósito de este trabajo es identificar de qué manera la llegada de la televisión, y en particular de la telenovela, impactó en la vida cotidiana de los televidentes de la ciudad de México. ¿La incursión del melodrama televisivo, entre 1958 y 1966, introdujo una nueva “cotidianidad” en los públicos? ¿Cómo se reflejó esta “nueva cotidianidad” en los espacios, los tiempos, las rutinas, los gustos y los imaginarios de los televidentes? Para este ejercicio se acudió a los contenidos audiovisuales de los primeros melodramas emitidos en México, su registro en prensa y revistas de televisión, sus piezas publicitarias y la experiencia de personas y familias de clase media, que fueron entrevistadas y encuestadas a propósito del tema.
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González. "LAS "MELODÍAS DE ÁLVAREZ": UN CAPÍTULO IMPORTANTE EN LA MELODÍA DE CÁMARA DEL ROMANTICISMO ESPAÑOL." Revista de Musicología 15, no. 1 (1992): 231. http://dx.doi.org/10.2307/20795548.

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40

Han, Qijun. "Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands." CINEJ Cinema Journal 1 (August 4, 2011): 107–15. http://dx.doi.org/10.5195/cinej.2011.12.

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Being embedded in the interdisciplinary area of media and culture studies, this articlel explores the family melodrama in transnational Chinese cinema drawing upon theoretical discussions with regard to the historical emergence of melodrama in correspondence to, as Th. Elsaesser says, “periods of intense social and ideological crisis”. While serving as a reflection on the tension between tradition and modernity displayed in the domestic domain, Ang Lee’s Chinese-characterized family melodrama also illustrates the differences between Chinese and Hollywood family melodrama. Linked to the ongoing debate about “melodrama as a cross-cultural form”, in the process of analyzing the film text, our perceptions of generic dislocation or displacement, transcultural entanglements and globalization in light of contemporary cultural practices will be furthermore complicated.
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Slifkin, Meredith. "Modern Women, Modern Egypt." Feminist Media Histories 3, no. 1 (January 1, 2017): 5–24. http://dx.doi.org/10.1525/fmh.2017.3.1.5.

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This article places existing discourses on Egyptian cinema, revolution, and global feminism in conversation with theories of film melodrama. The text examines the tradition of Egyptian melodrama as a site for analogizing women's liberation with national modernization in the wake of the 1952 Revolution—an analogy facilitated by the careful manipulation of melodramatic vernaculars of emotionality, and the endurance of affective cultural memory. In this context melodrama functions as a specific critical tool for understanding how popular film culture then and now organizes people politically and affectively, on- and offscreen. The article further investigates the “method of contradictions” that seems necessary to think critically about comparative melodrama at three levels of discourse: melodrama in general; the Egyptian melodramatic tradition specifically; and within melodramatic scholarship that tends to resemble its object of study.
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Davis, Jim. "The Gospel of Rags: Melodrama at the Britannia, 1863–74." New Theatre Quarterly 7, no. 28 (November 1991): 369–89. http://dx.doi.org/10.1017/s0266464x00006072.

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We are happy to return to the Britannia Theatre, Hoxton, the subject of pioneering studies by Clive Barker in the original Theatre Quarterly, where he used the ‘Brit’ as focus for an overview of the problems of researching nineteenth-century popular theatre in TQ4 (1971), proceeding to a detailed analysis of our knowledge of the nature and composition of the theatre's audiences in TQ34 (1979). Jim Davis now turns to the repertoire of the theatre, and, for one representative decade from 1863 to 1874, explores the sources of the melodramas presented there – a great many of them specially written or adapted by popular ‘house dramatists’. He also examines the values which may be discerned to underlie the most popular plays, and in the process, by going to manuscript sources rather than to the inevitably more ‘respectable’ plays that reached print, uncovers a more radical repertoire than previous authorities had assumed. Jim Davis, who currently teaches in the Theatre Department of the University of New South Wales, has published widely in the field of nineteenth-century theatre, including a survey of nautical melodrama in NTQ14 (1988) and a study of the ‘reform’ of the East End theatres in NTQ23 (1990).
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Davis, Jim. "Imperial Transgressions: the Ideology of Drury Lane Pantomime in the Late Nineteenth Century." New Theatre Quarterly 12, no. 46 (May 1996): 147–55. http://dx.doi.org/10.1017/s0266464x00009970.

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How far do popular theatre forms express popular sentiments, and how far populist? This is one of the issues explored in the following article, in which Jim Davis looks at the ideology, explicit and underlying, of the spectacular Drury Lane pantomimes of the late nineteenth century. At once imperialist and redolent of Little England, the pantomimes often displayed an ambiguous attitude to the moral concerns of the time, from temperance reform to ‘the woman question’ – to the influence of the music hall from which they drew their most popular performers. The prevailing tone, it becomes clear, was lower middle rather than working class, despite the irony of such class imperatives being energised by a form which has always transgressed sexual and racial identities. Jim Davis, who teaches in the Department of Theatre and Film Studies in the University of New South Wales, has published widely in the field of nineteenth-century theatre: his earlier contributions to New Theatre Quarterly have included a survey of nautical melodrama in NTQ14 (1988), a study of the ‘reform’ of the East End theatres in NTQ23 (1990), and an analysis of the melodramas played at the Britannia, Hoxton, in NTQ28 (1991).
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Sterner, Mark. "Shaw'sDevil's Disciple:The Subversion of Melodrama/ The Melodrama of Subversion." Modern Drama 42, no. 3 (September 1999): 338–45. http://dx.doi.org/10.3138/md.42.3.338.

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Machado, Alex Roberto, and Elizeu Batista Borloti. "Formação de classes funcionais de estímulos musicais." Paidéia (Ribeirão Preto) 19, no. 42 (April 2009): 47–58. http://dx.doi.org/10.1590/s0103-863x2009000100007.

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O objetivo deste experimento foi verificar o efeito do treino discriminativo sobre a formação de classes funcionais de melodias em andamentos e modos diferentes. Nove estudantes universitários do 2° período da graduação em Psicologia foram divididos em três grupos: Modo, Andamento ou Misto. O software SomPsi, produzido especialmente para este estudo, treinou os participantes e gerou relatórios com informações sobre os desempenhos, nas quatro fases do procedimento. O treino proposto mostrou-se eficiente para a formação das classes funcionais de estímulos sonoros musicais. Observou-se que agrupamentos de estímulos pela propriedade andamento foram mais facilmente discriminados que os agrupados pela melodia. A manipulação combinada das duas propriedades, em condição convergente, permitiu desempenho superior dos participantes. A rápida formação de classes funcionais e equivalentes de estímulos musicais, a partir de procedimentos de ensino automatizado de relações condicionais entre estímulos musicais, indica a possibilidade de uso desse procedimento na iniciação à música.
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BENNETT, BRIDGET. "Home Songs and the Melodramatic Imagination: From “Home, Sweet Home” to The Birth of a Nation." Journal of American Studies 46, no. 1 (February 2012): 171–87. http://dx.doi.org/10.1017/s0021875811001356.

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In this essay I examine the importance of home within what Peter Brooks has called “the melodramatic imagination.” Arguing that nineteenth-century theatrical melodrama has a long afterlife, I examine the significance of John Howard Payne's song “Home Sweet Home” in two of D. W. Griffith's films, Home Sweet Home (1913) and The Birth of a Nation (1915). I show that home is elevated to a sacred site within melodrama and that, within Griffith's infamous 1915 film, this sacred site is a white southern home which he takes to represent the nation. Melodrama is an ethical drama in which virtue and vice face each other. Home, as a crucial element of melodrama, is often represented as its site of confrontation, indeed is often precisely what is at stake within such confrontations. Given the political potency of home in arguments about nation and identity, the confrontation between virtue and vice over home has powerful potential to articulate issues of belonging and exclusion, desire and longing. The intermingling of representations of home and melodrama, combined with the long afterlife of nineteenth-century theatrical melodrama, makes understanding and scrutinizing these formations an important critical act.
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Macedo, Cristina Alves de, and Eliene Benício Amancio Costa. "Das origens ao circo-teatro: mutabilidade e permanência do melodrama." Urdimento - Revista de Estudos em Artes Cênicas 3, no. 39 (December 23, 2020): 1–16. http://dx.doi.org/10.5965/14145731033920200205.

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Neste artigo, tratou-se sobre o melodrama trazendo considerações a respeito de sua origem até a sua presença no circo-teatro. É um estudo bibliográfico, com destaque para autores italianos que tratam da ópera como melodrama. Em relação ao circo-teatro brasileiro, foram citadas pesquisas relevantes sobre sua criação e sobre como o gênero melodrama destaca-se como exemplo de dramaturgia que vai preponderar neste formato de circo.
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Repertório, Teatro &. Dança. "MELODRAMA ATUAL: MEDIAÇÃO ENTRE TRADICIONAL E MASSIVO [Paulo Merisio]." REPERTÓRIO, no. 15 (July 7, 2010): 52. http://dx.doi.org/10.9771/r.v0i15.5212.

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<div>Este artigo resulta da investigação da potencialidade do melodrama – modalidade dramatúrgica emblemática do repertório circense-teatral – como instância mediadora entre a tradição popular e algumas manifestações associadas à indústria cultural e à cultura de massas. Seguindo as pistas de estudos como os de Martin-Barbero (1997), Huppes (2000) e Xavier (2003), pretende-se compreender um pouco mais movimentos recentes de inserção do melodrama em outros meios. Para tanto, é importante perceber em que veículos o melodrama se inseriu e de que forma se dá sua leitura.<br><br /></div><div><div>This paper is the result of an investigation of the potential of melodrama – the emblematic dramaturgical genre of the circus-theater repertoire – as a mediator between tradition and some popular events associated with the culture industry and mass culture. By following the clues from studies such as Martin-Barbero (1997), Huppes (2000) and Xavier (2003), it seeks to understand more recent efforts of insertion of melodrama in other media. In order to do so, it is important to realize how melodrama is interpreted and into what media it has permeated.</div></div>
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Beard, William. "Maddin and Melodrama." Canadian Journal of Film Studies 14, no. 2 (March 2005): 2–17. http://dx.doi.org/10.3138/cjfs.14.2.2.

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50

McCaw, Dick. "Training for Melodrama." Nineteenth Century Theatre and Film 29, no. 2 (November 2002): 62–65. http://dx.doi.org/10.7227/nctf.29.2.8.

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