Journal articles: '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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10

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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Stowell-Kaplan, Isabel. "Mediating Melodrama, Staging Sergeant Cuff." Nineteenth Century Theatre and Film 46, no. 1 (February 12, 2019): 3–17. http://dx.doi.org/10.1177/1748372719827274.

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When Sergeant Cuff stepped off the page and onto the stage of the Olympic Theatre in Wilkie Collins’s 1877 adaptation of his own wildly successful novel, The Moonstone, he both joined the earliest ranks of the British stage detective and entered the world of melodrama. Though we might expect the rational figure of a detective such as Sergeant Cuff to be incompatible with the emotional excess of melodrama, in this article I show that such an assumption oversimplifies his relationship to melodramatic emotion and overlooks the surprising compatibility of the detective with melodrama’s epistemological and moral investments. I argue that in distinct contrast to the ambiguity and multiplicity instilled by the novel, Cuff allows for the clear resolution expected on the melodramatic stage, proving himself an agent of and for melodramatic style and substance.

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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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Li, Yiheng. "Main Theme, New Vehicle: The Educational Value of Science Fiction Movies — Taking the Wandering Earth Ⅱ as an Example." Journal of Global Humanities and Social Sciences 5, no. 3 (March 25, 2024): 126–31. http://dx.doi.org/10.61360/bonighss242016040304.

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As a new type of melodramatic film in recent years, melodramatic science fiction films are not only novel in subject matter and loved by the audience and widely disseminated, but also play an important role in publicizing the national mainstream ideology and values. Combining it with youth value education not only has the theoretical fit in terms of value orientation, education mode, education content, and target audience, but also has the application value of enriching classroom content, adapting to fragmented learning, and enhancing the participation and initiative of young people. This paper takes the movie “The Wandering Earth Ⅱ” as an example to analyze the theoretical connotation and application value of realizing melodramatic science fiction movies in youth values education, and proposes a possible practical path for the organic integration of the two.

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Beer, David, and Ruth Penfold-Mounce. "Celebrity Gossip and the New Melodramatic Imagination." Sociological Research Online 14, no. 2 (March 2009): 48–59. http://dx.doi.org/10.5153/sro.1878.

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This article uses a range of media sources to ‘follow’ or ‘trace’ the well-known celebrity Miley Cyrus. Through the development of the concept of a new melodramatic imagination the case study develops the methodological potentials of the types of online archives that now exist. In this instance the authors exercise their own melodramatic imaginations to draw out substantive issues relevant to the case of Miley Cyrus. The article therefore has two aims, the first is the exploration of a particular approach toward understanding transformations in popular culture, and the second is to draw out the types of ‘grammar of conduct’ that face those who assemble the information about celebrities into consumable narratives. The piece considers how people, in what has been called the Web 2.0 context, assemble melodramatic narratives amongst celebrity gossip that might then shape everyday experiences, understandings and practices.

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Lilik, Olha O., and Olena V. Sazonova. "DEFORMATION OF THE MELODRAMA GENRE IN UKRAINIAN POSTMODERN LITERATURE: IREN ROZDOBUDKO AND NATALIA HURNYTSKA." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 47–65. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-4.

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In the conditions of postmodernism, the content and formative components of the melodrama genre (issues, portrayal, narration, plot structure, system of characters, type of protagonist) undergo certain transformations. Today, there is a lack of literary studies devoted to the specifics of the expression of postmodern melodramatism in the works of contemporary writers, namely representatives of “women’s literature” by N. Hurnytska and I. Rozdobudko. Accordingly, there is a need to understand the deformational genre shifts that took place in melodrama under the influence of postmodernist aesthetics. Thus, the relevance of the chosen topic is motivated by the need to analyze the signs of melodramatism in Ukrainian prose and the need to reveal the problem-thematic and genre-stylistic features of melodrama in the context of Ukrainian postmodern literature. The purpose of the work is to study the processes of deformation of the melodrama genre in Ukrainian postmodern literature (based on the works of Irene Rozdobudko and Natalia Hurnytska). Achieving the set goal involves solving a number of tasks, such as: determining the artistic specificity of the melodrama genre; understanding the melodramatic specificity of the works of Irene Rozdobudko (the novel “Once Upon a Time...”) and Natalia Hurnytska (the novel “The Melody of Coffee in the Tonality of Cardamom”) in the context of postmodern aesthetics; elucidation of the peculiarities of representation in both works of typically melodramatic genre features and specifically authorial ones. To achieve the goal, historical-literary, cultural-historical, comparative, hermeneutic, biographical research methods are involved. The development of melodrama at the current stage is determined by postmodern trends in the literary process, as well as the existence of “women’s writing” as an artistic and aesthetic phenomenon, within which the specified genre functions. A comparative analysis of two examples of melodrama in modern Ukrainian literature (the novel “The Melody of Coffee in the Tonality of Cardamom” by Natalia Hurnytska and the novel “Once Upon a Time...” by Irene Rozdobudko) made it possible to conclude that the indicated signs of melodramatism are clearly presented in both works. At the same time, the studied literary works are significantly different from each other, which makes it possible to consider them as certain modifications of the melodrama genre: Natalia Hurnytska’s work is immersed in the historical and cultural atmosphere of the 19th century, and the leading role in it is played by the motive of unequal love of a young girl for a much older, wealthy man; the plot of the novel unfolds around a “love triangle” and has a “happy end”, it is marked by emotional aggravation and the outburst of passions. In the novel by Irene Rozdobudko, autobiographical and confessional motifs are leading, which are written into the modern context related to the life and creative plans of the author and their implementation. At the same time, this work raises a significant range of problems related to selfrealization, achieving a set goal, success and failure, creative activity, the transience of human life, etc. Accordingly, the heroine of the novel by Irene Rozdobudko appears more diverse, while the interests of the heroine of the novel by N. Hurnytska are limited to marriage and children. Therefore, the evolutionary changes experienced by the genre of melodrama in the 21st century are characterized by the loss of established melodramatic features (excessive sharpness of the plot, bright contrast, schematic character images, the theme of the struggle between good and evil disappear); a new – postmodern – angle of understanding the traditional thematic and stylistic aspects of the melodramatic genre: immersion in private life, themes of love and marriage, sentimentality and heightened emotionality; strengthening of psychologism in understanding the images of the characters; actualization of philosophical and confessional motives. There is a shift in emphasis from dialogues to internal monologues, from plot vicissitudes to character images (there is an emphasis on character images, in particular, female rebels functioning within “formulaic” plots and situations). The melodramatic genre acquires pronounced features of postmodern aesthetics. The type of orphan heroine traditional for melodrama is transformed into the type of “absurd heroine-rebel woman” characteristic of the postmodern aesthetic paradigm, the final “happy end” gives way to the variability of the denouement traditional for postmodernism. The canonical genre structure of melodrama is destroyed as a result of the infiltration of elements of postmodern poetics – genre eclecticism (synthesis of melodrama with everyday and psychological drama), intertextual connections, intermediality (features of “musicality” and “cinematography” of the style), irony and playing with the reader.

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Khan, Yasser Shams. "Variant Rebellions: Psychic Compromise in Obi; or, Three-Fingered Jack." Eighteenth Century 62, no. 3 (September 2023): 259–78. http://dx.doi.org/10.1353/ecy.2023.a906886.

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Abstract: This paper explores certain fundamental aspects of melodramatic theatricality used to depict the colonial world on the London stage at the turn of the century. As melodrama was a hybrid of comedy, tragedy, pantomime, and sentimentalism, the juxtaposition of a variety of these compositional strategies opens up the interpretation of John Fawcett's successful pantomime Obi; or Three-Fingered Jack (1800) and its later 1830 melodramatic adaptation by William Murray. As examples of racial melodramas, these plays disrupt the otherwise conventional moral polarity typical of melodramas by situating archetypal melodramatic characters in a morally ambiguous, theatrically conceptualized colonial space. Stage apparatus and performance were but two aspects of melodramatic theatricality that were deployed to recreate the colonial world. The basic argument in this paper explores the contrary pulls within these plays. On the one hand, the spectators' cathartic celebration of the rebels' expulsion at the end of the play entrenches their identification with British imperial ideology by arousing collective feelings of patriotism, thus consolidating the national identity of spectators as British imperialists. On the other hand, the visuals and the music that depict the colonial social order of a slave colony and the heroic feats of the rebel slave opened up a space of possible critique of British imperial ventures. These contrary drives within the melodramatic form are reformulated in terms of a "psychic compromise" in which the act of rebellion is endorsed for its dramatic potential to arouse fantasies of heroic revolt but is ultimately compromised in a larger ideological frame that celebrates the empire and the reconstitution of colonial order. This paper offers insights into the popular cultural perception of the empire, obliquely illuminating the larger historical processes of empire building during the late eighteenth and early nineteenth centuries.

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Narváez, Geovanny. "Melorrealismo global: una tendencia estética cinematográfica contemporánea." Ñawi 6, no. 2 (July 15, 2022): 173–88. http://dx.doi.org/10.37785/nw.v6n2.a10.

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This study proposes an extrapolation of the aesthetic typology known as melodramatic realism. This approach, based on a corpus that includes Linha de passe (2008), Leonera (2008), Biutiful (2010), El niño (2005), Precious (2009) and Cafarnaúm (2018), seeks to illustrate a trend of global melodramatic realism in contemporary cinema through the identification of five main tropes: realistic effect in fiction, the cartography of adversity and belonging, social commitment and/or protest, personification of vulnerability and exaggeration.

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Lopes da Silva, Anderson. "Latin American Prototypes of Prostitutes and Wives in the Miniseries “Amorteamo”: Reinforced Continuities and Rupture Attempts." Revista del CESLA: International Latin American Studies Review, no. 31 (June 30, 2023): 217–46. http://dx.doi.org/10.36551/2081-1160.2023.31.217-246.

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The article focuses on the Brazilian miniseries “Amorteamo” as its empirical object, discussing Latin American melodramatic prototypes of the prostitute and the wife. The main objective is to identify reinforced continuities and rupture attempts in the analyzed melodramatic images. The literature review and theoretical framework address studies on the representation of prostitutes and wives in television fiction, with a specific focus on the melodramatic prototypes discussed by Oroz and Cassano Iturri. The methodology adopts a multimethod perspective, examining descriptive and interpretive dimensions, as well as the visual and sound aspects of the analyzed scenes. The findings highlight the intrinsic contradictions of television melodrama, particularly evident in three characters: Dora, the prostitute (in her suicide as a reinforced continuity of moral punishment and the “deserved” fate in the world of prostitution), and Lena and Arlinda, the wives (in their symbolic attempts to break away from the traditional “happily ever after” theme that pervades their marital lives).

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Schenker, Heath M. "Central Park and the Melodramatic Imagination." Journal of Urban History 29, no. 4 (May 2003): 375–93. http://dx.doi.org/10.1177/0096144203029004001.

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Catalá, Josep M. "Melodramatic Thought in Contemporary Spanish Documentaries." Hispanic Research Journal 15, no. 1 (February 2014): 61–74. http://dx.doi.org/10.1179/1468273713z.00000000074.

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Choi, Jung Sun. "A Melodramatic Failure in All That Heaven Allows." British and American Language and Literature Association of Korea 148 (March 30, 2023): 257–79. http://dx.doi.org/10.21297/ballak.2023.148.257.

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While examining female liberation and agency in Douglas Sirk’s All That Heaven Allows, this essay furthers the work of Thomas Elsasser and Elizabeth R. Anker to elucidate the ways in which Sirk diverges from melodramatic conventions in the cinematic narrative structure. Moreover, this essay points out the inherent flaw of the melodramatic narrative structure of women’s films. This flaw essentially shows that the suffering female protagonist succeeds in freeing herself by finding a new home, a place of freedom, only to fail in the end because she already knows the reality/the real ending about her inescapable fate. Sirk criticizes the ideological system that shapes and influences gender relations rather than an individual villain. The system that Sirk critiques is one in which women are allowed to transgress and revolt against the assumed oppressor but are simultaneously trained to act docile and accept the supposed inevitable failure of her revolt.

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Shepherd, Simon. "Blood, Thunder and Theory: The Arrival of English Melodrama." Theatre Research International 24, no. 2 (1999): 145–51. http://dx.doi.org/10.1017/s0307883300020769.

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One of the surest ways of registering disapproval of a play or a performance is to dismiss it as ‘melodramatic’, thus invoking a whole network of mistaken dramatic values and improper practice. In arts reviews, classrooms and text books, ‘melodrama’ recurs as the ‘other’ of ‘proper’ realist drama. In English Drama: A Cultural History, we describe the critical history of melodrama as ‘The Unacceptable Face of Theatre's importance and seriousness. One of the most influential interventions came from Peter Brooks, whose Melodramatic Imagination propounds two arguments in favour of melodrama'scultural centrality: first, Brooks shows how Diderot and Rousseau anticipated the French form of melodrama, then he makes connections between melodramatic gesture or sign and the work of Saussure or Barthes. My aim here is to develop the case further by suggesting that, in the case of English melodrama, the practice of the form as it emerged was very far from being non-intellectual, out of control or stupid. Indeed the dramatists themselves were well conscious of what they were doing formally: not only intelligence but also self-reflection were there from the start.

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Yi, We Jung. "Melodramatic Tactics for Survival in the Neoliberal Era: Excess and Justice in The Heirs and My Love from the Star." Journal of Korean Studies 23, no. 1 (March 1, 2018): 153–73. http://dx.doi.org/10.1215/21581665-4339098.

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Abstract This article examines two 2013 TV miniseries, The Heirs and My Love from the Star, by relating their melodramatic aesthetics to the survivalist imperative under neoliberal governance. From the colonial sinp’a theater to Golden Age films, melodrama has operated as a popular mode of imagination that expresses inarticulate experiences generated over the course of Korea’s modernization. To extend and complicate existing scholarship on modern melodrama, this study approaches recent K-dramas’ melodramatic modes as both an affective response to and an everyday tactic for coping with failing economic democracy in contemporary Korea. In this light, the intensifying fantastic elements of the genre are deemed not so much anachronistic as tactical, as they are deployed to reclaim the justice and equality that are felt to be hopelessly disappearing in daily lives. As I look at their excessive aesthetics within the context of diminishing social mobility in the neoliberal era, my analysis of the two miniseries further notes the gendered structure of these melodramatic fantasies in which the survival of women, who have fewer privileges, is achieved through the reform of male elites.

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Stewart, Michael. "Falling, Looking, Caring: Red Road as Melodrama." Journal of British Cinema and Television 9, no. 4 (October 2012): 548–68. http://dx.doi.org/10.3366/jbctv.2012.0105.

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This article examines Red Road as a melodrama and woman's film. It argues that the film is traductively real and melodramatic, and that conceiving the film in melodramatic terms is contrary to the way in which it has been defined in public discourses and academic analysis. Red Road is film melodrama in a number of related ways, via: tropes of narrative and character; a tendency to look back, work through and act out in a melancholy and melodramatic fashion; an emphasis on familialism and redemption; and the nomination of its central character as a woman and mother. Red Road is a maternal text in familiar and complex ways – for example, in the way in which CCTV is inscribed with guardianship and care, and also via Jackie's presentation as a sexual and narrative riddle and other-worldly figure. Jackie's sphinx-like status, the paper argues, connects with Red Road's multiple and twilight qualities, and this is supported by the film's affective elements, including its treatment of the Red Road flats. This treatment helps to engender Red Road's qualities not only of redemption and rebirth, but also of memory and revision.

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Souza Santos, Thálita, and Lara Lima Satler. "O melodrama enquanto estratégia comunicacional." Revista Mídia e Cotidiano 17, no. 3 (September 28, 2023): 164–84. http://dx.doi.org/10.22409/rmc.v17i3.57419.

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This article make an epistemological discussion about the topic of interest to actuate theories from the field of communication. In this way, a brief bibliographic research on melodrama is presented to then address the melodramatic characteristics that point to communicability and incommunicability, to highlight its connection with communication. As a result, melodrama is understood as part of a circular system of meaning construction that works through interpretation, interaction and reflection. Therefore, it’s suggested to consider the melodramatic narrative as a communicational strategy, instead of referring to the notion of melodrama as a closed genre, to perceive its language acting as a mediator of different audiovisual works and their receivers.

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Smith, Matthew Wilson. "Victorian Railway Accident and the Melodramatic Imagination." Modern Drama 55, no. 4 (December 2012): 497–522. http://dx.doi.org/10.3138/md.2012-s79.

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Radford, Andy. "Thomas Hardy, Sensationalism, and the Melodramatic Mode." European Legacy 18, no. 5 (August 2013): 673–75. http://dx.doi.org/10.1080/10848770.2013.804730.

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Senelick, Laurence. "Melodramatic Gesture in Carte-de-Visite Photographs." Theater 18, no. 2 (1987): 5–13. http://dx.doi.org/10.1215/01610775-18-2-5.

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Wang, Zhao, and Jing Huang. "Research on Characterization and Shaping of Chinese Heroic Characters in Online Media Based on Deep Neural Network Evaluation." Wireless Communications and Mobile Computing 2022 (June 6, 2022): 1–12. http://dx.doi.org/10.1155/2022/5485284.

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Shaping the image of heroic characters is an important task of melodramatic films and TV dramas, whether they are revolutionary heroes, combat heroes, leader heroes, or civilian heroes, which have always been the key objects of melodramatic films and TV dramas. However, the traditional melodramatic films and TV dramas are facing many bottlenecks in the acceptance of heroic characters in the new era. In this paper, in order to obtain a richer character text, we divide the denotation elimination into two parts; one is the denotation elimination without considering the zero pronoun phenomenon, which is mainly done by the existing end-to-end neural codenotation algorithm, and the other is the attention-based algorithm model for the zero pronoun phenomenon. Analyzing this result from the perspective of the algorithmic model, it can be speculated that the lexical vector has a superior performance in the overall predicted character score, indicating that in the Big Five personality analysis for characters, the character’s personality is more reflected in lexicality, and the scores on a person’s Big Five personality dimensions can be indirectly reflected by the frequency of using different lexicalities. The similarities and differences among heroes are explored to create a popular hero image.

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Wang, Zhao, and Jing Huang. "Research on Characterization and Shaping of Chinese Heroic Characters in Online Media Based on Deep Neural Network Evaluation." Wireless Communications and Mobile Computing 2022 (June 6, 2022): 1–12. http://dx.doi.org/10.1155/2022/5485284.

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Shaping the image of heroic characters is an important task of melodramatic films and TV dramas, whether they are revolutionary heroes, combat heroes, leader heroes, or civilian heroes, which have always been the key objects of melodramatic films and TV dramas. However, the traditional melodramatic films and TV dramas are facing many bottlenecks in the acceptance of heroic characters in the new era. In this paper, in order to obtain a richer character text, we divide the denotation elimination into two parts; one is the denotation elimination without considering the zero pronoun phenomenon, which is mainly done by the existing end-to-end neural codenotation algorithm, and the other is the attention-based algorithm model for the zero pronoun phenomenon. Analyzing this result from the perspective of the algorithmic model, it can be speculated that the lexical vector has a superior performance in the overall predicted character score, indicating that in the Big Five personality analysis for characters, the character’s personality is more reflected in lexicality, and the scores on a person’s Big Five personality dimensions can be indirectly reflected by the frequency of using different lexicalities. The similarities and differences among heroes are explored to create a popular hero image.

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HAMBRIDGE, KATHERINE, and JONATHAN HICKS. "THE MELODRAMATIC MOMENT, 1790–1820 KING’S COLLEGE LONDON, 27–29 MARCH 2014." Eighteenth Century Music 12, no. 1 (February 17, 2015): 130–33. http://dx.doi.org/10.1017/s1478570614000566.

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This conference, a collaboration between the two projects ‘French Theatre of the Napoleonic Era’ at Warwick University and ‘Music in London, 1800–1851’ at King's College London, was intended to foster interdisciplinary dialogue about early melodrama. In particular, the aim was to investigate the relationship between melodramatic techniques (spoken word over or alternated with instrumental music), melodramatic aesthetics (such as strong contrasts between good and evil and extremes of emotion) and the generic category of melodrama (given to various concert and theatrical forms). While discussion necessarily engaged with phenomena either side of the thirty years specified by the title, participants focused on the period in which melodrama came to prominence as a stage genre, a period in which several of the key European traditions coincided.

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Austin, Linda M. "The Lament and the Rhetoric of the Sublime." Nineteenth-Century Literature 53, no. 3 (December 1, 1998): 279–306. http://dx.doi.org/10.2307/2903041.

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The appearance of melodramatic language and gesture in nineteenth-century lyric poetry was underwritten by two theories of ecstasis, the sense of losing oneself or going beyond the limits of comprehension. The first kind of ecstasis belonged to the sublime reaction, as Kant and Burke had imagined it. The second sort belonged to the picture of the disordered mind in the medical literature. A rhetoric of shock and loss in the melodramatic lyric bears the remains of the inchoate language and wild gestures in ancient lamentation but also refers to more recent performances of overpowering emotion on stage. Conventional reactions to sublime landscapes in painting, for example, employ expressions and gestures inventoried both in Longinus's treatise on the sublime and in acting manuals for tragedians. Percy Bysshe Shelley's "A Lament" (1821) and Richard Harris Barham's "Epigram" (1847) are performances of the sublime confrontation with the idea of death. Both poems were attempts to record ecstasis and to transcribe melodramatic acting. "Epigram," moreover, alludes to another interpretation of ecstasis in the lately popular Romantic ballet. This revolutionary technique created an illusion of bodilessness-a vision of the body losing itself and fading into nothing. The reformulations of the sublime in philosophy and medicine thus enabled a set of signifying practices that appear in transcriptions of lamentation and in dance. Both are efforts to perform the sublime moment.

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Plum, Jay. "Accounting for the Audience in Historical Reconstruction: Martin Jones's Production of Langston Hughes's Mulatto." Theatre Survey 36, no. 1 (May 1995): 5–19. http://dx.doi.org/10.1017/s0040557400006451.

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Although Langston Hughes's Mulatto holds the record as the second longest Broadway production of a play by an African American playwright (surpassed only by Lorraine Hansberry's A Raisin in the Sun), the reasons behind its commercial success have been virtually ignored. This oversight in part reflects a tendency among theatre scholars to treat the dramatic text as the primary (if not the only) source of a play's meaning. In the case of Mulatto, academic critics have debated its literary merit according to questions of form and genre. Webster Smalley, in his introduction to the collected plays of Langston Hughes, for instance, defends Mulatto as a tragedy, arguing that the play avoids the tendency of social dramas of the 1930s “to oversimplify moral issues as in melodrama” because of the recognition of Bert's “tragic situation” (he must kill himself or be killed by an angry lynch mob). For those critics who insist that Mulatto is melodramatic, Smalley advises, “let [them] look to the racial situation in the deep South as it is even today [i.e., 1963]: it is melodramatic.” Smalley presupposes a dichotomous relationship between fiction and reality, advancing a mimetic theory in which representation directly corresponds to the real. Rather than answering specific charges, he defines contemporary race relations as melodrama, implying that Mulatto, even if melodramatic, is “natural” and “accurate.”

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Cormac, Joanne. "From Tragedy to Melodrama: Rethinking Liszt's Hamlet." Nineteenth-Century Music Review 10, no. 1 (June 2013): 29–55. http://dx.doi.org/10.1017/s1479409813000037.

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Liszt composed the symphonic poem Hamlet towards the end of his tenure as Kapellmeister of the Weimar Court Theatre, a time when he regularly conducted operas, concerts, incidental music and variety performances. It was also a time when he frequently came into contact with artists, writers, musicians and actors. One actor in particular left a memorable impression: Bogumil Dawison. Dawison's style was unusual at the time; his performances were noted for their aggression, expressiveness and energy, and many praised the flexibility of his voice and face. Dawison aimed for a realistic approach in response to Goethe's Classicism, but the result was closer to the melodramatic style that was gaining in popularity at the time. His portrayal of Hamlet was particularly innovative, and it captured Liszt's imagination shortly before he composed the symphonic poem inspired by Shakespeare's tragedy.The relationship between the world of the theatre (particularly spoken theatre) and the symphonic poems has never before been explored in Liszt scholarship, yet, as this article reveals, spoken theatre had a significant influence on Hamlet. Indeed, this article will draw new stylistic and conceptual parallels between this symphonic poem and both melodrama as a genre and its related ‘melodramatic’ style of acting. The article argues that Dawison's influence can be traced in Liszt's approach to this work and that a ‘melodramatic reading’ can enable us to interpret some of its more puzzling aspects.

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Grimsted, David, and Bruce A. McConachie. "Melodramatic Formations: American Theatre and Society, 1820-1870." American Historical Review 98, no. 5 (December 1993): 1683. http://dx.doi.org/10.2307/2167225.

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Newlin, Keith, and Bruce A. McConachie. "Melodramatic Formations: American Theatre and Society, 1820-1870." American Literature 65, no. 2 (June 1993): 365. http://dx.doi.org/10.2307/2927355.

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Jones, Heather, and Bruce A. McConachie. "Melodramatic Formations: American Theatre and Society, 1820-1870." Theatre Journal 46, no. 4 (December 1994): 558. http://dx.doi.org/10.2307/3209086.

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Shin, Sa-Bin. "Melodramatic Features and Cultural Hybridity in Film Senso." Jounal of Cultural Exchange 8, no. 3 (August 31, 2019): 5–25. http://dx.doi.org/10.30974/kaice.2019.8.3.5.

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Gerould, Daniel, and Bruce A. McConachie. "Melodramatic Formations: American Theatre & Society, 1820-1870." TDR (1988-) 37, no. 2 (1993): 181. http://dx.doi.org/10.2307/1146258.

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Howes, Marjorie. "Melodramatic Conventions and Atlantic History in Dion Boucicault." Éire-Ireland 46, no. 3-4 (2011): 84–101. http://dx.doi.org/10.1353/eir.2011.0015.

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Ospina León, Juan Sebastián. "(In)visibilities: Iñárritu's Cinema and the Melodramatic Regime." JCMS: Journal of Cinema and Media Studies 59, no. 2 (2020): 43–61. http://dx.doi.org/10.1353/cj.2020.0002.

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Hay, Jimmy. "Suffering in silence: Alumbramiento as a melodramatic text." Short Film Studies 1, no. 2 (February 1, 2011): 199–202. http://dx.doi.org/10.1386/sfs.1.2.199_1.

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Trippett, D. "Bayreuth in Miniature: Wagner and the Melodramatic Voice." Musical Quarterly 95, no. 1 (March 1, 2012): 71–138. http://dx.doi.org/10.1093/musqtl/gds019.

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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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Schantz, Ned. "Melodramatic Reenactment and the Ghosts of Grizzly Man." Criticism 55, no. 4 (2013): 593–615. http://dx.doi.org/10.1353/crt.2013.0027.

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Coats, Curtis. "The Melodramatic Structure of New Age Tourist Desire." Tourist Studies 11, no. 3 (December 2011): 197–213. http://dx.doi.org/10.1177/1468797611432037.

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This essay explores the relationship between media form and tourist imaginations of Sedona, AZ, USA. In particular, it examines the ways in which a pervasive narrative form – melodrama – maps onto New Age tourists’ expectations and experiences. This essay builds on Crouch et al.’s (2005a) notions of media and tourist imaginations and posits that in the case of New Age tourism in Sedona, the tourist imagination is melodramatic. The position in this paper forwards three conceptual ideas. First, conversations about the intersections between media and tourism should extend beyond the dominant focus on media content to questions of the influence of media narrative forms. Second, conversations about media and tourist imaginations should not necessarily be thought of in binary ways, even as ideal types. Third, conversations about media and tourism need to better consider how tourism is embedded in a complex, layered media environment.

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Rainey, Lawrence. "Pretty Typewriters, Melodramatic Modernity: Edna, Belle, and Estelle." Modernism/modernity 16, no. 1 (2009): 105–22. http://dx.doi.org/10.1353/mod.0.0057.

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Paley, E. "Zwischenreden fur Zwischenakte: Egmont and the Melodramatic Supplement." South Atlantic Quarterly 104, no. 1 (January 1, 2005): 79–97. http://dx.doi.org/10.1215/00382876-104-1-79.

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Murray, Bruce, and Patrice Petro. "Joyless Streets: Women and Melodramatic Representation in Weimar Germany." German Quarterly 64, no. 1 (1991): 63. http://dx.doi.org/10.2307/407308.

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Benavides, O. Hugo. "Seeing Xica and the Melodramatic Unveiling of Colonial Desire." Social Text 21, no. 3 (2003): 109–34. http://dx.doi.org/10.1215/01642472-21-3_76-109.

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Journal articles on the topic 'Melodramatic'

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