Relevant bibliographies by topics / Melodramatic

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Melodramatic'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 May 2024

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Journal articles on the topic "Melodramatic"

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Van Kooy, Dana, and Jeffrey N. Cox. "Melodramatic Slaves." Modern Drama 55, no. 4 (December 2012): 459–75. http://dx.doi.org/10.3138/md.2012-s78.

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Prasad, M. Madhava. "Melodramatic polities?" Inter-Asia Cultural Studies 2, no. 3 (January 2001): 459–66. http://dx.doi.org/10.1080/146493701200110975.

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Wang, Xinyi. "Blindness Challenging Melodrama in Your Eyes Tell (2020) and Blind Massage (2014)." IAFOR Journal of Cultural Studies 8, no. 2 (December 30, 2023): 31–46. http://dx.doi.org/10.22492/ijcs.8.2.02.

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While blindness has been a recurring motif in melodramatic fiction films, this article argues that some contemporary East Asian films about blindness provide a template for challenging ableism and melodramatic conventions via textual analysis. Based on the work of Peter Brooks, Linda Williams, and other significant studies on melodrama and blindness, I first introduce three main characteristics of and gaps in melodrama (virtue, dichotomy, and the moral occult) while examining the connections between blindness and melodrama in East Asian film history. Then I explore how filmic representation in East Asian can question melodramatic conventions and disrupt the dichotomy between disability and non-disability by using the Japanese film Your Eyes Tell (2020) and the Chinese film Blind Massage (2014) as case studies. Your Eyes Tell begins to problematize the melodramatic dichotomy and ableism by attaching great importance to multiple senses, whereas Blind Massage emphasizes the diversity of blindness and challenges melodramatic patterns by representing the body, emotions, affect and sound in very specific ways.
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Gerould, Daniel. "Representations of Melodramatic Performance." Browning Institute Studies 18 (1990): 55–71. http://dx.doi.org/10.1017/s0092472500002868.

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Among the reformers advocating a people's theater in the early twentieth century, there were those theorists of culture for the masses, like Romain Rolland and Anatolii Lunacharsky, who realized that to appeal to a broad audience a genuinely popular theatre must not only be uplifting and civic in spirit, but also entertaining. They recognized that such a popular theater already existed in the nineteenth century in the form of melodramatic performance: it had democratized the stage, brought the lower classes into the theatre, reduced the gap between the actor and the auditorium, and enabled the spectator to enter into the action, thereby creating a sense of communion (Bradby and McCormick 15–29). Rather than proposing a return to the sacred rituals of Greece or the religious festivals of the Middle Ages as the basis of a people's theater, they argued that melodramatic performance—purified of its commercialism and crudity—offered the model for a revolutionary new popular art.
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Stelmach, Miłosz. "Miłość jest na dnie wszystkiego. Melodramat egzystencjalny." Kwartalnik Filmowy, no. 89-90 (June 30, 2015): 56–68. http://dx.doi.org/10.36744/kf.2325.

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Artykuł stanowi próbę zdefiniowania specyficznej odmiany melodramatu, która powstała w kinie modernistycznym przełomu lat 50. i 60. XX w. Analizie zostają poddane jego cechy dystynktywne oraz wywiedzione z nich propozycje nazewnicze (melodramat egzystencjalny, współczesny melodramat intelektualny, antymelodramat), wskazujące na różnice między tą odmianą gatunkową a klasycznym melodramatem. Negując jego emocjonalną ekspresyjność, fabularne domknięcie i wiarę w siłę oraz wartość uczuć, twórcy tacy jak Michelangelo Antonioni czy Jerzy Kawalerowicz stworzyli quasi-gatunkową formułę, która okazała się jednym z najbardziej pojemnych schematów narracyjnych służących modernistycznym twórcom w latach 60. oraz 70. Znaczna część przykładów filmowych, które ilustrują szczegółowe cechy tej pododmiany melodramatu, pochodzi z polskiej kinematografii, pokazując jej silne powiązanie z trendami rozwijającymi się równocześnie w kinie światowym.
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Wang, Dan. "Melodrama, Two Ways." 19th-Century Music 36, no. 2 (2012): 122–35. http://dx.doi.org/10.1525/ncm.2012.36.2.122.

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Abstract The word “melodrama” has accumulated a vast range of uses and definitions. It is the name given to the technique of combining words and music (as in the nineteenth-century musical genre); it is also used to name a mode of expressivity that is exaggerated, excessive, sentimental. These definitions appear unrelated, yet the melodramatic mode also seems to emerge frequently in musical contexts, such as opera and film—raising the question of whether the joining of words and music as such already tends toward, or attracts, a melodramatic impulse. This article first sketches the features of the melodramatic mode as they are described in writing on theater, film, and the novel before turning to a close reading of Richard Strauss's Enoch Arden, op. 38, a melodrama for speaker and piano. I aim to show that not only the themes of Enoch Arden's narrative but also the form of its narration, the meaningfulness it draws from the facts or conditions of narration as such, provide its claim to the melodramatic mode.
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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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Pressler, Michael. "Hitchcock and the Melodramatic Pattern." Chicago Review 35, no. 3 (1986): 4. http://dx.doi.org/10.2307/25305355.

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Rivkin, Laura. "Melodramatic Plotting in Clarín'sLa Regenta." Romance Quarterly 33, no. 2 (May 1986): 191–200. http://dx.doi.org/10.1080/08831157.1986.9925782.

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Steele, Erin Bone. "Melodramatic Borrowings: Life, Stage, Screen." Theatre Symposium 19, no. 1 (2011): 8–25. http://dx.doi.org/10.1353/tsy.2011.0001.

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Dissertations / Theses on the topic "Melodramatic"

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Hardy, Jennifer. "Bollywood style: the melodramatic lens." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21168.

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Thesis (M.F.A.)
The purpose of this project is to redefine the word "Bollywood" as more than a regional or cultural cinema, focusing instead on the unique style of the films that is often neglected or dismissed by film critics. The aspects explored are the development of Bollywood style from 1995 to the mid 2000s as exhibited by the films Dilwale Dulhania Le Jayenge (1995), Kuch Kuch Hota Hai (1998), and Dhoom (2004), and a subsequent development of a reflexive neo-Bollywood style beginning in the mid-2000s, exhibited by the films Rab Ne Bana Di Jodi (2008), Dhoom 2 (2006), and Chennai Express (2013). Close analysis of these films shows an aesthetic of melodrama that applies not only to the narrative of the films but more noticeably and importantly to the filmic style of the narrative and the subsequent themes that emerge. To further illustrate Bollywood as a style, the project analyzes Bollywood’s stylistic influences outside of India, including readings of television shows Smash and Glee, and films Moulin Rouge! (2001), Strictly Ballroom (1992), and Chicago (2002). This project aims to vindicate Bollywood as a complex artistic expression that privileges an emotional reality over a mimetic reality.
2031-01-01
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Daur, Uta Art History &amp Art Education College of Fine Arts UNSW. "The melodramatic imagination of Tracey Moffat's art." Publisher:University of New South Wales. Art History & Art Education, 2008. http://handle.unsw.edu.au/1959.4/43256.

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This thesis tracks the melodramatic imagination of Tracey Moffatt's art. Whereas many of Moffatt's photographic and filmic works employ conventions of melodrama, the critical literature on her art has barely engaged with this important aspect of her practice. The thesis redresses this gap. I argue that a particular understanding of melodrama that constructs inauthe.ntic and indeterminate realities crucially shapes Moffatt's art. Building on seminal works from literature and film studies, as well as psychoanalysis I develop a framework for the detailed examination of melodrama in Moffatt's art, and identify major themes, stylistic elements and fonnal conventions of melodrama that penneate her practice. The thesis designates and investigates three major concepts associated with melodrama as applicable to Moffatt's practice. First, I propose that her art is linked to a particular melodramatic aesthetic, the aesthetic of muteness as defined by Peter Brooks. This aesthetic uses non-verbal means of expression, such as gestures, the tableau and mise-en-scene to convey emotional and narrative meaning. It also emphasises the shortcomings of verbal language in expressing inner states of being of the modem 'Western' subject. Analyses of Moffatt's photo series Something More and her film Night Cries. A Rural Tragedy demonstrate that the aesthetic of muteness not only serves to express unspeakable traumatic experiences of characters but is also linked to the artist's aim to cross media boundaries. Second, the thesis examines Moffatt's Scarred for Life series in relation to melodrama's exposure of issues of violence and oppression in the family. I will propose that the return of the repressed and the revelation of hidden forces in melodrama may be related to Sigmund Freud's concept of the uncanny. Focussing on Scarred for Life I will examine ways in which artworks may evoke uncanny feelings in viewers. The third key thematic investigated in the thesis is elaborated in Chapter Five, which examines a consistent ambiguity found in Moffatt's art and links it to the moral impetus of melodrama. Building on writings by psychoanalytic theorist Joan Copjec I argue that - unlike early theatrical and literary melodrama, which divides the world into clear-cut binaries of good and evil - Moffatt's melodramas construct a moral ambiguity that questions unequivocal moral' judgment~. With the example of Moffatt's photographic series Laudanum I show that this moral ambiguity challenges viewers to make their own judgments instead of automatically relying on pre-given moral and political premises. By analysing the crucial part that melodrama plays in Moffatt's practice, this thesis not only develops a new way of interpreting the work of this important Australian artist, but also presents an understanding of melodrama as an aesthetic and a way of seeing the world that may be applied to other fonns of contemporary visual art.
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Evans, Kellie S. "The Valorous, the Villainous, and the Victimized: The Melodramatic Framework of Animal Rights Documentary." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1405784577.

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Berno, Giorgia <1993&gt. ""It is too much what I feel": The Roots of Thomas Hardy's Melodramatic Imagination." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/11864.

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My dissertation aims to explore how the melodramatic mode influences Thomas Hardy’s representation of human experience in four of his major novels. In particular, this study will be conducted through the perspective provided by the American literary critic Peter Brooks in his work The Melodramatic Imagination (1976), which especially analyses the mode of excess in Honoré de Balzac’s and Henry James’ fiction. This analysis aims to investigate how the manichean conflict between Good and Evil of traditional stage melodrama acquires a new meaning in Hardy’s novels, especially representing the universal human struggle between individual desire and the need for self-abnegation and restraint. The first chapter examines Hardy’s personal views on the subject and purpose of good fiction, focusing on his outspoken rejection of realism and his unconventional treatment of the narrative material if compared to late Victorian literary theories. It will also provide a brief outline of Brooks’ critical investigation of the melodramatic genre, particularly in relation to Balzac’s and James’ novels, which will be employed as the main frame of reference for the following sections. The second chapter will be devoted to the analysis of Far From the Madding Crowd (1874), in which Bathsheba Everdene’s troubled relationships with the male protagonists help to define this novel a ‘melodrama of triumph’. The following chapter on The Return of the Native (1878) will instead give emphasis to the unique relationship between the characters and their natural surroundings. This section will especially explore the affinity between the notion of the sublime and the melodramatic mode in relation to the extreme personality of Eustacia Vye, her approach to the heath and her insatiable hunger for passion. The last two chapters will investigate Hardy’s late novels, Tess of the D’Urbervilles (1891) and Jude the Obscure (1895) respectively, calling attention to Hardy’s employment of the melodramatic mode in order to enhance the tragic experiences of the two protagonists. The influence of the ‘melodrama of defeat’ will prove to be for Hardy a great resource for his exploration of characters’ development, particularly in relation to Brooks’ notion of the ‘resacralization of experience’.
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Roberts, Laurie M. "The melodramatic form in the "Hardy Boys": An analysis of a popular juvenile fiction series." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/10352.

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An analysis was undertaken of 29 volumes of a popular juvenile fiction series, the Hardy Boys, in publication since 1927. Drawing upon Victor Turner's schema of social drama, this study sought to examine the degree to which the melodramatic form is employed in the texts. The distinguishing characteristic of the melodramatic form is the portrayal of a villain or villains who have breached the social order and who, upon defeat, are subject to a process of exclusion from the social order. In addition, with its emphasis on crime and the pursuit of criminals, the series allowed for the analysis of changing images of deviance and social order in popular youth fiction over time. Given the intent to examine the manifest content as well as the underlying frameworks and structures of the texts, both a content analysis and a linguistically-based structural analysis were employed. Overall, the hypothesis that the Hardy Boys books are melodramatic in form was supported. In 28 of the 29 texts, characters who were portrayed as villains were, upon defeat, subject to a process of exclusion. Moreover, as further hypothesized, changing images of deviance and social order were reflected in the series over time. Central to the findings of the present study was the role of ritual in the enactment of social drama. Ritual or ceremonial acts provide the means by which characters' positions within--or outside of--the social order are established in the texts. As such, this study demonstrates the degree to which ritual is integral to class stratification. It further suggests that the performance of ritual, in providing a mechanism through which the social order is maintained and legitimated--or alternatively, contested and subjected to processes of change--furnishes a stage for the enactment of hegemonic struggles.
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Saxon, Theresa. "'Faraway places and distant horizons' : melodramatic expanses in the writings of Herman Melville and Henry James." Thesis, Manchester Metropolitan University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288143.

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Lasseigne, Edward Joseph. "Marcel Proust, Emile Zola, and the sexual politics of the Dreyfus Affair mocking the tradition of melodramatic epic /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1120704693.

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Collins, Michael J. ""A multitude of gaudy appearances" : ritual, transatlanticism, and the melodramatic mode in the nineteenth-century American short story." Thesis, University of Nottingham, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546271.

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Westwood, Joanne L. "The social construction of risk in child trafficking discourses : a study of melodramatic tactics in child trafficking narratives." Thesis, University of Central Lancashire, 2010. http://clok.uclan.ac.uk/3717/.

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Child trafficking is a term used to define situations where children are forced, coerced or tricked to migrate for the purpose of their future exploitation. The issue of child trafficking is a well established UK policy concern initially emerging in the seventeenth century. The issue re-appeared in the late nineteenth century influenced by the social purity movement. This generated an infamous media exposé which led to parliamentary debates and legislative changes. Child trafficking resurfaced as a UK policy concern periodically in the twentieth century as children were once again forced to migrate. At the start of the twenty-first century child trafficking is back on the UK national policy agenda following pressure exerted by international anti-trafficking networks and Non Government Organisations. This study examines the social construction of risk in current and historical child trafficking UK policy discourses. Interviews with key informants in the ports safeguarding sector are discussed, together with an analysis of policy documents and primary historical sources. The construction of risk in these child trafficking discourses appear in a specific format which is explained by drawing on the conceptual lens of melodramatic tactics. This analysis reveals how narratives of child trafficking tend to have a stereotypical tragic child victim, who is forcibly separated from their family, and in need of protection from dangerous criminals who aim to deceive and exploit them. The employment of these melodramatic tactics is a central feature of current UK child trafficking policy discourses. Research studies which situate migrant children as competent social actors illuminate accounts of triumph, and these contrast with the outrage-driven protest drama which has current and enduring appeal in UK child trafficking policy discourses. The implications of these findings are discussed in the context of current UK child trafficking policy and recommendations about future research with children on the move are also proposed.
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Oliveira, Caroline Anielle Souza Batista Pires de. "A imaginação melodramática e o cinema de Pedro Almodovar." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3317.

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Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2014-10-09T14:54:14Z No. of bitstreams: 2 Dissertação - Caroline Anielle Souza Batista Pires - 2013.pdf: 1340965 bytes, checksum: 7d2acc9b79ac5315688304038c0406b6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
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This paper proposes the questioning and appropriation of the concept of imagination melodramatic , coined by Peter Brooks (1995 ) , in cinema. We apply the method of film analysis in the film Women on the Verge of a Nervous Breakdown (1988 ) by filmmaker Pedro Almodovar . We chose to dedicate ourselves to the analysis of a film that departs in some respects from the classical structure of cinema, just to understand, with more depth , strength and inexhaustible vitality of the melodramatic imagination . In this process , it is necessary to recover the historical birth of melodrama and its recurrence in the theater so we can understand more clearly the breadth and scope of the concept . Question the concept of melodrama as a genre and work with the hypothesis of a melodramatic imagination before being impregnated in various theatrical and film productions , is built mainly by the look that the public launches on the work . The melodrama , or rather this imagination , thus , would be a lens through which the modern individual would structure and accelerated relatively solidly values appease him, at least superficially .
Este trabalho propõe a problematização e apropriação do conceito de imaginação melodramática, cunhado por Peter Brooks (1995), no cinema. Aplicaremos o método da análise fílmica no filme Mulheres à beira de um ataque de nervos (1988) do cineasta Pedro Almodovar. Optamos por nos dedicar à análise de um cinema que se afasta, em determinados aspectos, do cinema de estrutura clássica, justamente para compreender, com ainda mais profundidade, a força e vitalidade inesgotável da imaginação melodramática. Nesse processo, se faz necessário retomar o histórico do nascimento do melodrama e sua recorrência no teatro para que possamos compreender com mais clareza a amplitude e extensão do conceito. Questionamos a concepção do melodrama enquanto gênero e trabalhamos com a hipótese da presença de uma imaginação melodramática que, antes de estar impregnado nas mais diversas produções teatrais e cinematográficas, é construído prioritariamente pelo olhar que o público lança sobre a obra. O melodrama, ou melhor, essa imaginação, seria, assim, uma lente por onde o indivíduo moderno e acelerado estruturaria de maneira relativamente sólida valores que lhe apaziguam, ao menos superficialmente.
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Books on the topic "Melodramatic"

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Vasudevan, Ravi. The Melodramatic Public. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-0-230-11812-6.

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Boggess, Eileen. Mia the Melodramatic. Baltimore, MD: Bancroft Press, 2008.

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A small, melodramatic story. New York: Dramatists Play Service, 2007.

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Melodramatic voices: Understanding music drama. Burlington, VT: Ashgate, 2011.

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ill, Goodell Jon, ed. The gold miner's daughter: A melodramatic fairytale. Atlanta, Ga: Peachtree Publishers, 2006.

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Thomas Hardy, sensationalism, and the melodramatic mode. New York: Palgrave Macmillan, 2011.

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Nemesvari, Richard. Thomas Hardy, Sensationalism, and the Melodramatic Mode. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118843.

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Watching Dallas: Soap opera and the melodramatic imagination. London: Methuen, 1985.

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Watching Dallas: Soap opera and the melodramatic imagination. London: Routledge, 1989.

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Melodramatic formations: American theatre and society, 1820-1870. Iowa City: University of Iowa Press, 1992.

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Book chapters on the topic "Melodramatic"

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Sifuentes-Jáuregui, Ben. "Melodramatic attachments." In The Routledge Companion To Gender, Sex And Latin American Culture, 115–28. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315179728-10.

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Hardy, Samantha. "Melodramatic villains." In Conflict Coaching Fundamentals, 47–55. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003128038-6.

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Hardy, Samantha. "Melodramatic victims." In Conflict Coaching Fundamentals, 32–46. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003128038-5.

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Vasudevan, Ravi. "The Melodramatic Public." In The Melodramatic Public, 16–64. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-0-230-11812-6_2.

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Vasudevan, Ravi. "Introduction." In The Melodramatic Public, 1–15. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-0-230-11812-6_1.

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Vasudevan, Ravi. "Bombay (Mani Rathnam, 1995) and Its Publics." In The Melodramatic Public, 229–58. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-0-230-11812-6_10.

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Vasudevan, Ravi. "Another History Rises to the Surface: Melodrama in the Age of Digital Simulation: Hey Ram! (Kamalahasan, 1999)." In The Melodramatic Public, 259–89. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-0-230-11812-6_11.

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Vasudevan, Ravi. "Introduction." In The Melodramatic Public, 293–302. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-0-230-11812-6_12.

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Vasudevan, Ravi. "Selves Made Strange: Violent and Performative Bodies in the Cities of Indian Cinema 1974–2003." In The Melodramatic Public, 303–33. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-0-230-11812-6_13.

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Vasudevan, Ravi. "The Contemporary Film Industry—I: The Meanings of ‘Bollywood’." In The Melodramatic Public, 334–61. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1007/978-0-230-11812-6_14.

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Conference papers on the topic "Melodramatic"

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Dima, Gabriela E. "THE LIBRETTO OF CAVALLERIA RUSTICANA, POETIC RENDITION OF GIOVANNI VEGA�S STORY." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs10.18.

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The libretto of Cavalleria rusticana, the well-known opera by Pietro Mascagni, was written by Giovanni Targioni-Tozzetti and Guido Menasci, who reduced to melodrama a play by Giovanni Verga, in its turn a dramatization of a short-story with the same title he had previously written. Our investigation focuses on the libretto as a literary text to be analysed in comparison with its prose sources. We propose an in-depth analysis of the similarities and differences between the libretto and the play, in an attempt to understand the reasons for the changes operated by the two librettists. The necessities of the melodramatic genre and their non-Sicilian origin lead to a diverse comprehension and interpretation of Verga�s ideas, freely transposed into the libretto. The achievements of the two librettists are not to be ignored, especially if taking into account they were the first in Italy to propose an unconventional subject inspired from the real life of the petty people. Despite the criticism against some of their solutions, we could notice that their choices concerning the literary style, the language, the construction of the characters led to a new perspective and convey a more universal meaning that has assured the success of the opera in time.
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