Dissertations / Theses: '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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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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Santos, Marcio Hideo dos. "Eles não usam blacktie: um estudo sobre cinema e história (Leon Hirzman, 1981)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-28052014-120514/.

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O presente trabalho tem por objetivo analisar como as Greves do ABC de 1979 e 1980, foram recuperadas pela atualização da peça teatral Eles não usam blacktie para o formato do melodrama, tomando como pressuposto que essa produção reflete um olhar do contexto sociocultural do período de redemocratização do país e uma crítica sobre o regime militar.
This thesis intends to analyse how the ABC strikes of brazilian workers at 1979 and 1980, was represented by cinema about a theatre play called They arent wore blackties (1955). The present analysis aims to account for both the internal structure of the ficcional narrative and its process of production, considering the specific sociohistorical context.

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Mokhtar-Ritchie, Hanita Mohd. "Negotiating melodrama and the Malay woman : female representation and the melodramatic mode in Malaysian-Malay films from the early 1990s-2009." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3340/.

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Melodrama does not only point to a type of aesthetic practice but also to a way of viewing the world. This thesis is inspired by the idea proposed by Christine Gledhill (1988) that at the core of cultural negotiation in melodrama is gender representation which is the cultural product resulting from the linking of textual and social subjects. Central to this negotiation is the figure of the woman which has long functioned as a powerful and ambivalent expression of the male psyche. In the context of Malaysian cinema, film critics and reviewers tend to use the term ‘melodrama’ in the pejorative sense, usually referring to female-centred films. What is significantly comparable between Western and non-Western perceptions, however, is that melodrama is examined in terms of gender, class, and more recently, race and ethnicity. This thesis examines the construction of female protagonists, within the backdrop of both urban and rural settings, through the use of melodrama as an aesthetic mode in selected Malaysian-Malay films from the early 1990s to 2009. The general approach is the employment of textual analysis based on concepts of film melodrama and informed by contextual information and social history. Thematically, Malaysian-Malay films of the period between the early 1990s and 2009 that focus on female protagonists largely depict the woman in the capacity of independent-minded personas negotiating patriarchal rules in the pursuit of vocational, romantic, and sexual emancipation. This typology of female protagonists comprises the urban, the romantic and the sexual woman. The problematisation of the female protagonist in this manner reveals the dimensions of social change and defines the new role of women in Malaysia’s market economy from the 1990s to the new millennium.

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Cabanes, Martinez Aintzane. "The Melodramatic Discourse of "Todo es ETA" in Cinema: Terrorism and the Re-Enactment of a Conservative Postimperialist Masculine Spanish Nationalism." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543235256789197.

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Cupitt, Catherine Anne. "Space opera: a hybrid form of science fiction and fantasy." Thesis, Curtin University, 2004. http://hdl.handle.net/20.500.11937/1082.

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This thesis considers space opera as a hybrid form of science fiction and fantasy.“Falling Stars,” the creative component which includes fantasy, space opera and science fiction stories, constitutes a spectrum of speculative fiction. In order to illustrate the similarities and difference between the genres represented in the spectrum, I focus on the central figure of the alien other and the ways in which such a figure can be gendered and embodied. The space opera novella combines motifs of both fantasy and science fiction within the figure of the cyborg, Orlando, who is transgendered and hyperchangeably embodied.The exegesis offers a theoretical context through which to view the creative work. I argue that space operas are melodramatic adventure stories, which operate as a hybrid form of science fiction and fantasy, using the non-realist expectations inherent in both, but mixing the extrapolations and icons of science fiction with the self-consistent but unbelievable discontinuities of fantasy. I also consider space opera’s tendency to exhibit a conservative, unexamined colonialistic imperative, with the attendant assumptions that create a potential for feminist subversion.

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Diallo, Ibrahim Hamza. "Les rémanences mélodramatiques du personnage noir dans les littératures francophones d’Afrique subsaharienne du XXe siècle." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030028.

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Avec Sélico, ou les nègres généreux (1793), Pixérécourt, qui est considéré comme le premier mélodramaturge français, place une représentation inédite du personnage noir au cœur d’un genre théâtral nouveau. Dès le début du XXe siècle, avec la création des premières écoles coloniales, la formation des premiers écrivains noirs et l’émergence de l’africanisme, le genre mélodramatique apparaît comme l’ingrédient indispensable du développement d’une littérature africaine. Le mélodrame trouve un nouveau souffle sur un autre continent, à travers cette rémanence du personnage mélodramatique noir dans les littératures subsahariennes. La première étape de notre recherche interroge cette association d’une forme théâtrale et de la représentation de l’Afrique d’un point de vue géocritique. Considéré tantôt comme édénique tantôt comme périlleux, le continent africain favorise l’apparition de situations conflictuelles qui alimentent le mélodramatique. Dans la deuxième phase, le statut du personnage noir mélodramatique est examiné. Sa perception suit la dichotomie constatée à propos du milieu africain : elle est partagée entre compassion et rejet. Le riche foisonnement des protagonistes de couleur dans les littératures mélodramatiques française et africaine fait du mélodrame un genre théâtral engagé. Le troisième temps de notre réflexion a porté sur les fonctions politiques, sociales et éthiques d’un mélodrame qui cherche à prendre toute sa place dans un monde en désarroi
With Sélico, ou les nègres généreux (1793), Pixerécourt, who is considered the first French melodrama playwright, places an original representation of the black character at the heart of a new theatrical genre. From the beginning of the 20th century, with the creation of the first colonial schools, the training of the first black writers and the emergence of Africanism, the melodramatic genre appears as the essential ingredient for the development of an African literature. Melodrama finds new life on another continent, through this persistence of the black melodramatic character in sub-Saharan literatures.The first stage of my research questions this association of a theatrical form and the representation of Africa from a geo-critical point of view. Considered sometimes as Eden-like, sometimes as perilous, the African continent favours the appearance of conflicting situations which fuel melodrama.In the second phase, the status of the melodramatic black character is examined. His perception follows the dichotomy noted about the African environment: it is divided between compassion and rejection.The rich abundance of coloured protagonists in French and African melodramatic literatures makes melodrama a committed theatrical genre. The third step of my reflection focused on the political, social and ethical functions of a melodrama that seeks to take its place in a world in disarray
مع Sélico ، ou les nègres généreux (1793) ، يضع Pixerécourt " سيليكو , أو الزنوج الكرماء " بيكسركورت الذي يعتبر أول كاتب مسرحي ميلودرامي فرنسي يمثل تمثيلًا حقيقياً الشخصية السوداء في قلب النوع المسرحي الجديد - منذ بداية القرن العشرين مع بداية إنشاء المدارس الاستعمارية الأولى وتدريب الكتاب السود الأوائل وظهور النزعة الأفريقية ظهر النوع الميلودرامي كمكون أساسي لتطوير الأدب الأفريقي لتجد الميلودراما حياة جديدة في قارة أخرى من خلال استمرار الطابع الميلودرامي الأسود في آداب أفريقيا جنوب الصحراء -تتساءل المرحلة الأولى من بحثي عن هذا الارتباط بالشكل المسرحي وتمثيل إفريقيا في هذا الشكل المسرحي من وجهة نظر جيو-نقدية. تعتبر القارة الأفريقية أحيانًا شبيهة بجنةعدن ، وأحيانًا محفوفة بالمخاطر ، وتفضل هذه الدراسة إظهارالمواقف المتضاربة التي تغذي الميلودراما -في المرحلة الثانية من الدراسة يتم فحص حالةالشخصيةالسوداءالميلودرامية تتبع الدراسة في هذه المرحلة تصور الشخصية السوداء للإنقسام الملحوظ بالبيئة الأفريقية فهي منقسمة في مواقفها بين التعاطف والرفض. توفُّر الأبطال الملونين في الأدب الميلودرامي الفرنسي والأفريقي يجعل الميلودراما نوعًا مسرحيًا ملتزمًا بمواصفات هذا النوع الأدبي - ركزت الخطوة الثالثة من الدراسة على الوظائف السياسية والاجتماعية والأخلاقية لميلودراما تسعى إلى أخذ مكانها في عالم تسوده الفوضى -

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Ihring, Peter. "Die beweinte Nation : Melodramatik und Patriotismus im "romanzo storico risorgimentale /." Tübingen : M. Niemeyer, 1999. http://catalogue.bnf.fr/ark:/12148/cb41139857r.

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Germen, Baran. "The Melodramatics of Turkish Modernity: Vurun Kahpeye [Strike the Slut] and its Cinematic Afterlife." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24237.

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Proposing melodrama as an aesthetics of victimhood, my dissertation examines the intermedial itineraries of notable feminist Halide Edib’s Vurun Kahpeye [Strike the Slut]. Originally serialized in 1923 and published as a novella in 1926 in Ottoman Turkish, Vurun Kahpeye was translated into modern day Turkish in 1946. The melodramatic story was then adapted for screen three times in 1949, 1964, and 1973, respectively, by Ömer Lütfi Akad, Orhan Aksoy and Halit Refiğ. With the circulation of these films on TV, the title Vurun Kahpeye has since the 90s morphed into an idiom designating the unjust treatment of the innocent. The persistent repetition of Vurun Kahpeye across media, I suggest, signifies melodrama’s aesthetic durability due to its affective excess: its efficacy in making a disaffected public experience its own victimhood. Thus, my dissertation provides an archeology of melodrama as a political technology through a reading of each of Vurun Kahpeye’s media iteration as embedded in its socio-historical context. In this account, the affective medium of cinema emerges as the main site for the formation of a secular mass public by linking secularism to structures of feeling rooted in victimization, suffering, and injury. And yet, the affective excess of melodrama, I demonstrate, renders Vurun Kahpeye’s normative project unstable and uncontainable with each iteration. At different moments in time, Vurun Kahpeye is a queer text exposing the heteropatriarchal nature of secular nationalism; lays the infrastructural, spectatorial, and aesthetic foundation of the classical cinema of Turkey; and serves as the project of a social realist, counter-populist, and anti- Western theory of cinema. Therefore, this dissertation traces the conflicting projections, aspirations, and feelings central to Turkish republican modernity that congeal and clash in, through, and around Vurun Kahpeye.
2021-01-11

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Motošková, Miroslava. "Vývoj činoherního žánru melodramatu a pronikání francouzského repertoáru na českou scénu v letech 1800-1883." Paris 8, 2005. http://www.theses.fr/2005PA082613.

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Herbozo, Duarte Jose Miguel. "Entrar y salir del exceso| imaginacion melodramatica y violencia politica en la novela contemporanea| Argentina, Chile y Peru, 1973-2010." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10792403.

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This dissertation studies how the melodramatic mode shapes the approach to political violence in six novels: Libro de Manuel, by Julio Cortázar, El beso de la mujer araña, by Manuel Puig; Historia de Mayta, by Mario Vargas Llosa; Estrella distante, by Roberto Bolaño; La hora azul, by Alonso Cueto; and La vida doble, by Arturo Fontaine. Beyond the realm of sentimental formulaic melodrama, I define this term as the interpretation of events after subjective emotions. By studying these novels, I propose that the melodramatic imagination has become the most employed set of tropes for the interpretation of public and private interactions in contemporary fiction. My analysis exposes how literary writing addresses commercial, political, and artistic aspirations through a combined use of strategies such as moral polarization, pathos, emotional interpretation, scenic emplotment, and sensationalism.

Chapter One analyses the connections between political violence and melodrama in Latin American literatures and cultures. Chapter Two is a study of Cortázar’s Libro de Manuel, a novel which fictionalizes what I call melodrama of the revolutionary, an emotional, uncritical identification with leftist urban subcultures. Chapter Three studies Puig’s El beso de la mujer araña to illustrate the existence of reactionary practices in progressivist and queer sectors, limiting their capacity to generate political change. Chapter Four is an analysis of Vargas Llosa’s Historia de Mayta, a dystopian diatribe against leftist politicians in which a melodramatic understanding of experience appears in both dominant and marginal sectors. Chapter Five studies Bolaño’s Estrella distante, a novel in which the search for a neo-avantgardist artist obsessed with the use of corpses as material allows the dramatization of melodrama in artistic sectors, leading to the normalization of totalitarianism. Chapter Six is a reading of Cueto’s La hora azul, a novel in which national reconciliation becomes a middle-high class subjective conflict, interpreting historical experience in terms originated in audiovisual melodrama. Chapter Seven analyzes Fontaine’s La vida doble, in which the voice of a former revolutionary and intelligence agent reinforces the idea that leftist convictions are futile, normalizing emotions that normalize material and symbolic inequity. Finally, the last section summarizes this work’s contributions.

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Bruce, Jean Marietta. "A melodramatic imagined nation : the unruly subject of Canadian cinemas." Thesis, 2003. http://spectrum.library.concordia.ca/2291/1/NQ85271.pdf.

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Canadian cinema comprises a corpus of work that is not easily unified by a recognizable national style or a singular mode of production. The unruliness in the identity of Canadian cinema, including the imprecise distinction between popular and art cinema, has contributed to the ongoing difficulty of attaching critical definitions to it. This dissertation argues that the films made between 1972 and 1992, during the burgeoning discourse on Canada as a multicultural nation, represent narratives of difference. In the cinema of this period, anxieties around sexuality, immigrant identity and cultural imperialism are highlighted. A selection of films emblematic of the conflict between multiculturalism and popular culture in Canada have been selected for analysis in this thesis. The critical tensions in these films are examined by using melodrama as an analytic method. As a mode of expression in film, literature, stage productions and television, melodrama is a discourse of cultural conflict and contradiction. It also straddles the distinction between popular and art cinema. As a film and cultural theory, and as a critical method of analysis, therefore, melodrama illuminates Canadian cinema and exposes it as an exemplary site for constructing national subjectivity. Melodrama functions as an intervention into the various models of Canadian subjectivity that have been produced in film spectatorship and theorized in film criticism.

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Pine, Jason Alaistair. "Omertà the melodramatic aesthetic and its moral/political economy in Naples /." 2005. http://www.lib.utexas.edu/etd/d/2005/pined06069/pined06069.pdf#page=3.

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Pine, Jason. "Omertà : the melodramatic aesthetic and its moral/political economy in Naples." 2005. http://hdl.handle.net/2152/12825.

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This ethnography re-elaborates omertà as something more than a code of honor enforced through an oath of secrecy among members of the Neapolitan camorra and ordinary underemployed individuals in their midst. On appearance, this study is a fetishized and even eroticized search for determinacy or "meaning" performs what Sedgwick (1997) calls "strong theory" or a hermeneutics of suspicion bent on exposure. Having arrived, it seems, at the center of determinacy, the ethnography hints at now being able to tell the "real" story of the camorra and omertà. However, the stories it tells along the way take the camorra and omertà as not only "real", concrete objects (institution and code, respectively), but also (and primarily) their scattered, radial effects/affects in the surrounding zone where the the camorra and ordinary Neapolitans make contact. These stories do not sum these fragments up as omertà's constituent parts with the goal of capturing them in a singular, sovereign, minimalist and generalizing "conceptual economy". Rather, they maintain contact with the everyday grain in which these fragments are embedded. This ethnography takes omertà as a part of everything rather than an objectifiable, identifiable thing. It tracks its livelihood across various domains and registers, everywhere all the time in everyday life for ordinary individuals living in the zone of contact with the camorra. It loiters in this zone where scarce resources, fierce competition, volatile power balances and unreliable state authority render day-to-day life particularly indeterminate. It participates in the practices of negotiating personal livelihood under such constraints--practices that ordinary individuals call the art of making do. This ethnography follows and engages individuals as they perform the art of making do. It pays simultaneous attention to that art's aesthetic, economic and affective dimensions by looking specifically at the moral/political economy of two potent popular performance genres, the sceneggiata and its contemporary descendant, neomelodica music. It finds that for ordinary Neapolitans affects and interests are inextricably intertwined in shared sensibilities, in popular style, and more broadly in the aesthetics of everyday life. It finds that this everyday aesthetics is bound in complex ways to its excessive limit, the camorra. These accounts describe this complex bond as an affective community.
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Kurbis, Susan Christine. "Ecstasy and agony : the melodramatic visions of Douglas Sirk and Alfred Hitchcock." 2003. http://hdl.handle.net/1993/19920.

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Twu, Ming-Hong Alex. "The politics of melodramatic imagination : seriality, visuality, and community in Torendi-Dorama /." 2004. http://www.library.wisc.edu/databases/connect/dissertations.html.

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Chen, Ya-Ting, and 陳雅婷. "The Development and Limitations of the Melodramatic Measures of the Left-Wing Chinese Cinema（1933-1950）." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/02909036563224038436.

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碩士
崑山科技大學
媒體藝術研究所
100
This investigation has chosen 15 different left-wing Chinese films made from 1933 to 1950 as subject matter of analysis. It is through the exposition of the social reality, the encounters of the characters and the change of the living conditions of the society, that the difficulties in the social reality of the small people are depicted. The detail enfolding of the stories had induced in the audience a strong sense of identification and sympathy. The success and means of representation of this trend also deeply influenced the Chinese cinema after 1949. The development of these 15 films can demonstrate that the realism and melodramatic means within them, the characters portrayed, the variety of content and the pluralism reveal the creativity and skill of handling of the contents. The epical development at the later stage showed that the film-makers of the Chinese left-wing cinema possessed a keen understanding and full exposition of the social reality. Finally, the adoption of the idea of “Romanticism of Disillusionment” cherished by G. Lukas further enhanced the criticism and sarcasm of the drastic living conditions and class repression.

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Anger, Jiří. "Afekt, výraz, performance: Transformace melodramatického excesu v díle Wernera Schroetera." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369791.

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This diploma thesis deals with various possible ways in which the formalized expression of emotions that is characteristic of the melodramatic mode can be reinterpreted in the context of experimental cinema, with the work of the director Werner Schroeter being used as a main (but not exclusive) example. The main argument is based on two interrelated ideas. First, the melodramatic mode as a genre-bending category offers a wide repertory of stylistic features designed to express extreme emotional states or situations which can be encompassed by the term "melodramatic excess". This type of excess manifests itself most visibly in moments of intense passion when the plot breaks down and freezes in a static or symbolic arrangement, either through close-up or tableau vivant. All attention is thereby focused on the heroes' gestures and poses which express their emotional state face to face with an intense situation for which they cannot yet find an adequate response. Second, certain experimental films manage to transform the melodramatic excess through "expressive and performative operations" with filmic space, time and bodies, turning the exterior representation of emotions into the immanent expression of affects. In this case, affect is understood as a certain variation of emotions which demonstrates the...

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Dorn, Claudia Vanessa. "Melodramatic silencing the transition from page to stage to screen of female characters in Harriet Beecher Stowe's Uncle Tom's cabin /." Diss., 2002. http://catalog.hathitrust.org/api/volumes/oclc/52345701.html.

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Jesus, Virgílio Marcelo Pereira. "Ressurgimento da temática melodramática no cinema contemporâneo." Master's thesis, 2017. http://hdl.handle.net/10362/25202.

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A palavra “melodrama”, num sentido amplo, tem sido recorrente no léxico cinematográfico. Como conceito complexo e com especificidades muito concretas, o melodrama é uma forma híbrida que não se circunscreve ao Cinema Clássico de Hollywood e que se revela também no Cinema Contemporâneo, porque a incorporação de algumas das suas marcas sobrevive em vários modelos narrativos e estilos. Ora, o presente trabalho tem como principal objectivo compreender essa trajectória do género e a incorporação de alguns dos seus elementos no presente, com sustentação teórica em autores como Peter Brooks, Thomas Schatz, Thomas Elsaesser, Christine Gledhill e Rick Altman. O que nos interessa, em seguida, é reflectir sobre determinados pontos da obra do cineasta americano Woody Allen, que longe de ser um autor melodramático, convoca as nuances do género, herança por nós considerada nos casos em estudo, respectivamente em Intimidade (1978), em Match Point (2005) e em Vicky Cristina Barcelona (2008). Estes filmes continuam a ser entendidos como espelhos das estruturas familiares, dos espaços domésticos e dos conflitos intrínsecos ao nosso tempo. A dissertação admite e compara, ainda, os filmes anteriores a outras obras da temática melodramática, por exemplo, no cinema de Pedro Almodóvar. Abre-se, da mesma forma, um novo leque de questionamentos e hipóteses, que reenviam o cinema à nossa condição humana.
The word “melodrama”, in a wide sense, has been recurrent in the cinematic lexicon and in other disciplinary expressions. As a complex concept with very specific guide marks, melodrama is known as a hybrid form that is not only confined to the Classical Hollywood Cinema and is also uncovered by the Contemporary Cinema, because the incorporation of some of its features outlives through several narrative forms and styles. Thus, the main purpose of this dissertation is to understand the driving line of this genre, and the incorporation of some of its elements in the present, with theoretical support in authors like Peter Brooks, Thomas Schatz, Thomas Elsaesser, Christine Gledhill and Rick Altman. What interests us next is to reflect on certain points of the work of the american filmmaker Woody Allen, whom, far from being a melodramatic author, calls upon the nuances of the genre, inherited in the cases under study, respectively Interiors (1978), Match Point (2005) and Vicky Cristina Barcelona (2008). These are the films that continue to be understood as mirrors of the familiar structures, of the domestic spaces and of the conflicts intrinsic to our time. In the end, this dissertation admits and compares the previous films to other ramifications of the melodramatic genre, for example, through Pedro Almodóvar’s cinema. This opens a new range of questions and hypotheses, which, faced with an acceptance of the public, immediately points to the human condition.

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Dissertations / Theses on the topic 'Melodramatic'

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