Relevant bibliographies by topics / Polish Melodrama

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Academic literature on the topic 'Polish Melodrama'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Polish Melodrama"

1

Meerzon, Yana. "From melancholic to happy immigrant: Staging simpleton in the comedies of migration." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (November 1, 2019): 23–35. http://dx.doi.org/10.1386/peet_00003_1.

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Abstract This article examines devices of comedy, laughter and dramatic humour as technologies of ethics when it comes to staging migration in contemporary theatre. Looking at a tragic farce Hunting Cockroaches (1985), written by the Polish theatre artist Janusz Głowacki during his American exile, and a domestic melodrama Kim's Convenience (2012), written by a Korean Canadian Ins Choi, this article examines comedy as a particular dramatic model that can challenge staging migrants as agentless and voiceless victims. It asks, what happens when theatre artists begin to use stereotype to stage the trauma of displacement? To what extent is comedy truly capable of rendering the complexity of migration? And how ethical can the comedic representation of a migrant be?
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Liguziński, Stanisław. "Гелена викрадена або Польсько-українські зв’язки у «Вогнем і мечем» Єжи Гофмана." Studia Filmoznawcze 37 (September 14, 2016): 225–42. http://dx.doi.org/10.19195/0860-116x.37.10.

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KIDNAPPED HELENA, OR POLISH-UKRAINIAN RELATIONS IN JERZY HOFFMAN’S WITH FIRE AND SWORDBeing one of the most beloved epics and once a vessel of patriotism, written famously to strengthen the hearts of Poles during the partition of the country, Henryk Sienkiewicz’s Trilogy still stirs a lot of controversies among other nations depicted in the novels. Considering Poland’s past colonial entanglement with Ukraine, difficult unresolved issues in our common history and disdainful descriptions of Cossacks, none of the series’ parts proved to be as problematic to adapt to the screen as With Fire and Sword. Being able to finally make the movie and complete his lifetime project of filming Trilogy after 31 years of struggle, a Polish film director Jerzy Hoffman faced a serious challenge of preserving the spirit of the novel without enhancing reciprocal prejudices between the nations. In my article, I try to identify textual and visual strategies employed by the director in order to refract disturbing colonial underpinning of Sienkiewicz’s With Fire and Sword. Analysing the narrative frame, genre shifts, construction of the characters and ideological implications of certain aesthetic choices, I argue that to a certain degree Hoffman managed to transform the novel’s classic imperialistic narrative of mission civilisatrice — providing rationale for colonization on the grounds of social evolutionism and civilizational progress — into a subversive melodrama personifying feuding nations as equal subjects. By doings so, the director managed to scale down nostalgic yearning for the bygone power and magnitude of the Polish-Lithuanian Commonwealth, in order to redirect audience’s attention to the necessity of maintaining good relations with our sovereign neighbour.Translated by Stanisław Liguziński
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Liguziński, Stanisław. "Helena porwana albo Relacje polsko-ukraińskie w Ogniem i mieczem Jerzego Hoffmana." Studia Filmoznawcze 37 (September 14, 2016): 207–24. http://dx.doi.org/10.19195/0860-116x.37.9.

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KIDNAPPED HELENA, OR POLISH-UKRAINIAN RELATIONS IN JERZY HOFFMAN’S WITH FIRE AND SWORDBeing one of the most beloved epics and once a vessel of patriotism, written famously to strengthen the hearts of Poles during the partition of the country, Henryk Sienkiewicz’s Trilogy still stirs a lot of controversies among other nations depicted in the novels. Considering Poland’s past colonial entanglement with Ukraine, difficult unresolved issues in our common history and disdainful descriptions of Cossacks, none of the series’ parts proved to be as problematic to adapt to the screen as With Fire and Sword. Being able to finally make the movie and complete his lifetime project of filming Trilogy after 31 years of struggle, a Polish film director Jerzy Hoffman faced a serious challenge of preserving the spirit of the novel without enhancing reciprocal prejudices between the nations. In my article, I try to identify textual and visual strategies employed by the director in order to refract disturbing colonial underpinning of Sienkiewicz’s With Fire and Sword. Analysing the narrative frame, genre shifts, construction of the characters and ideological implications of certain aesthetic choices, I argue that to a certain degree Hoffman managed to transform the novel’s classic imperialistic narrative of mission civilisatrice — providing rationale for colonization on the grounds of social evolutionism and civilizational progress — into a subversive melodrama personifying feuding nations as equal subjects. By doings so, the director managed to scale down nostalgic yearning for the bygone power and magnitude of the Polish-Lithuanian Commonwealth, in order to redirect audience’s attention to the necessity of maintaining good relations with our sovereign neighbour.Translated by Stanisław Liguziński
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4

Ostrowska, Elżbieta. "Bodily Violence and Resistance in Wojtek Smarzowski’s Rose (Róża, 2011)." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 38–55. http://dx.doi.org/10.2478/bsmr-2018-0003.

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Abstract The article argues that Wojtek Smarzowski’s film Rose (Róża, Poland, 2011) undermines the dominant bigendered logic of screen death and suffering in the Polish films depicting the experience of World War II. In these films, there is a significant absence of images of female suffering and death, which is striking when compared to the abundant images of wounded and dying male bodies, usually represented as a lavish visual spectacle. This unrepresented female death serves as a ‘structuring absence’ that governs the systematic signifying practices of Polish cinema. Most importantly, it expels the female experience of World War II from the realm of history to the realm of the mythical. This representational regime has been established in the Polish national cinema during the 1950s, especially in Andrzej Wajda’s films, and is still proving its longevity. As the author argues, Smarzowski’s Rose is perhaps the most significant attempt to undermine this gendered cinematic discourse. Specifically, the essay explores the ways in which Smarzowski’s Rose departs from previous dominant modes of representation of the World War II experience in Polish cinema, especially its gendered aspect.1 Firstly, it examines how Rose abandons the generic conventions of both war film and historical drama and instead, utilises selected conventions of melodrama to open up the textual space in which to represent the female experience of historical events. Then the author looks more closely at this experience and discusses the film’s representation of the suffering female body to argue that it subverts the national narrative of the war experience that privileges male suffering. A close analysis of the relationship between sound and image in the scenes of bodily violence reveals how the film reclaims the female body from the abstract domain of national allegory and returns it to the realm of individual embodied experience. The article concludes that Rose presents the female body as resisting the singular ideological inscription, and instead, portrays it as simultaneously submitting to and resisting the gendered violence of war.
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Hagan, Margaret Darin. "Human Rights Melodrama: A Literary Analysis of Reports of Police Violence Against Hungarian Roms." Journal of Human Rights 5, no. 4 (December 2006): 401–15. http://dx.doi.org/10.1080/14754830600978190.

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Kinsella, William J., Peter K. Bsumek, Gregg B. Walker, William J. Kinsella, Terence Check, Tarla Rai Peterson, and Steve Schwarze. "Narratives, Rhetorical Genres, and Environmental Conflict: Responses to Schwarze's “Environmental Melodrama”." Environmental Communication 2, no. 1 (March 2008): 78–109. http://dx.doi.org/10.1080/17524030801980242.

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Espiritu, Talitha. "The Marcos Romance and the Cultural Center of the Philippines: The Melodrama of a Therapeutic Cultural Policy." Journal of Narrative Theory 45, no. 1 (2015): 141–62. http://dx.doi.org/10.1353/jnt.2015.0003.

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8

Davis, Jim. "‘Scandals to the Neighbourhood’: Cleaning-up the East London Theatres." New Theatre Quarterly 6, no. 23 (August 1990): 235–43. http://dx.doi.org/10.1017/s0266464x00004541.

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Sustaining the long, initially pioneering concern of TQ and NTQ with popular aspects of nineteenth-century theatre. Jim Davis looks here at the men and the methods involved in improving the reputations of the neighbourhood theatres of the East End of London. Usually noticed for its effects on the licensing of theatre buildings, the Theatre Regulation Act of 1843 also brought the newly ‘legitimate’ theatres under the direct control of the Lord Chamberlain. Particularly around the mid-century, the Examiner of Plays, William Bodham Donne, responded to public concern (some genuine, some worked-up by interested parties) by commissioning police reports on theatres, and on occasion requiring appropriate action – from the limiting of performances to one per evening, to the erection of public urinals. Here, Jim Davis, who contributed an article on ‘Images of the British Navy in Nautical Melodrama’ to NTQ14 (1988), and is the author of several books and articles in related areas, offers the first documentation of a little-explored subject.
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Lousley, Cheryl. "Humanitarian Melodramas, Globalist Nostalgia: Affective Temporalities of Globalization and Uneven Development." Globalizations 13, no. 3 (June 26, 2015): 310–28. http://dx.doi.org/10.1080/14747731.2015.1056494.

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10

Klinger, Barbara. "Gateway Bodies: Serial Form, Genre, and White Femininity in Imported Crime TV." Television & New Media 19, no. 6 (April 27, 2018): 515–34. http://dx.doi.org/10.1177/1527476418768003.

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In this article, I study transnational crime TV through a key recurring textual element—serial narrative—to understand how it creates terms of transnational legibility in a major import market, the United States. These programs’ serial form both suits the ecology of the U.S. post-network era and articulates aesthetic and ideological norms recognizable to U.S. audiences. Imported serial crime TV is tied to multiple genres and familiar tropes of gender and race, often relying on the discovery of white female victims to galvanize police investigations, serve as gothic spectacles, and animate family melodramas. DR’s Forbrydelsen exemplifies such complexly layered and “translatable” serial form. I argue that the aesthetics of this and other programs foreground raced female bodies to deterritorialize them, in the process creating a transnational lingua franca in crime TV. In repeatedly pairing such victims and female detectives, these shows ultimately also illuminate the place feminism itself occupies in transnational flow.
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Books on the topic "Polish Melodrama"

1

Sobina, Iga. Potwory sztuki scenicznej: Poetyka melodramatu doby polskiego oświecenia lat 1790-1815. Kraków: Collegium Columbinum, 2012.

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2

Burbuja, crisis y milagro: Melodrama y carnaval en la economía argentina. Ciudad Autónoma de Buenos Aires: EC, Ediciones Cooperativas, 2008.

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Heins, Laura. Breaking Out of the Bourgeois Home: Domestic Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0004.

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This chapter examines the domestic melodrama and argues that it was used by the Nazis in a genre-contradictory manner to effect a departure from the nuclear family, in accordance with the antibourgeois antipathies of the regime's leadership. It contends that Nazi films, far from universally reinforcing traditional family structures, actually profit from an undermining of sexual taboos—the ultimate goal being an increased level of efficiency of production and reproduction. Seemingly prohibited desires actually formed the core of Nazi film melodramas; just as fascist Germany's “leading man” found the family largely unattractive, so did the imaginary of its cinema. Filmmakers in the Third Reich preferred to offer images of the dissolution of the family rather than images of harmonious familial units, and the domestic melodrama in particular reveals the highly conflicted attitude of Nazi ideology and policy regarding bourgeois morality, marriage, and motherhood.
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Miklitsch, Robert. The Crimson Kimono. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040689.003.0011.

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Samuel Fuller’s Crimson Kimono (1959) is, like Odds against Tomorrow (1959), a paradigmatic late ‘50s American noir. Part policier, part melodrama, part “art” film, part “B” or exploitation picture, The Crimson Kimono deploys the sort of self-reflexive devices associated with Douglas Sirk’s ‘50s melodramas in order to “estrange” or “alienate” the dark crime film. For example, by portraying an interracial romance and commenting on the cliché of Oriental inscrutability, The Crimson Kimono foregrounds the black-and-white moral calculus of melodrama even as italicizes the racial difference, not to say racism, that has been a part, however occluded, of the history of “black film.” Equally importantly, by refiguring the film’s Asian-American police detective as the “hero” of the narrative who solves the case and “gets the girl,” Fuller’s film refashions one of the constitutive tropes of the genre, the “Shanghai gesture,” a trope that can itself be traced back to The Maltese Falcon (1941) and the origins of classic American film noir.
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Forshaw, Barry. The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.001.0001.

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The 1991 film The Silence of the Lambs, based on Thomas Harris's bestseller, was a game-changer in the fields of both horror and crime cinema. FBI trainee Clarice Starling was a new kind of heroine, vulnerable, intuitive, and in a deeply unhealthy relationship with her monstrous helper/opponent, the serial killer Hannibal Lecter. Jonathan Demme's film skillfully appropriated the tropes of police procedural, gothic melodrama and contemporary horror to produce something entirely new. The resulting film was both critically acclaimed and massively popular, and went on to have an enormous influence on 1990s genre cinema. This book closely examines the factors that contributed to the film's impact, including the revelatory performances of Jodie Foster and Anthony Hopkins in the lead roles.
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Book chapters on the topic "Polish Melodrama"

1

Ostrowska, Elżbieta. "The (In)discreet Charm of the Romans." In The Novel of Neronian Rome and its Multimedial Transformations, 281–300. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0016.

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Made in 2001 by Jerzy Kawalerowicz, the Polish film Quo vadis represents a vernacular variant of ‘heritage cinema’ which has flourished in the country since 1989. Mostly consisting of adaptations of Polish literary classics, whose action takes place in a relatively distant past, they feature protagonists who are preoccupied by matters such as love, honour, and patriotism that are always linked with Catholicism. As demonstrated in this chapter, Kawalerowicz’s film also condones regressive gender norms, patriarchal order, and the hegemonic discourse of Catholicism. Most importantly, the chapter will argue that Quo vadis follows other novels by Sienkiewicz in developing a vernacular colonial fantasy. In Kawalerowicz’s Quo vadis colonial fantasies merge with contemporary discourse about Poland’s Europeanness. Arguably, Lygia’s romance with Marcus Vinicius, who decides to convert to Christianity, implies a symbolic union between (Eastern European) Poland and the (Western European) Roman Empire. Kawalerowicz’s decision to frame the ancient story with two contemporary images of the Roman Colosseum seems to suggest that, ultimately, Poland has ‘returned to Europe’—as the post-communist slogan claimed. The chapter will also pay special attention to the film’s melodramatic mode of representation and its affective power, as well as to its potential to present a utopian world of moral potency and transparency. Melodrama in Quo vadis provides a textual space through which viewers could channel the emotions they had experienced during the stark time of transition.
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Kelly, William W. "Workplace Melodramas and Second-City Complex." In Sportsworld of the Hanshin Tigers, 208–34. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299412.003.0009.

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This chapter shows how the Hanshin Tiger sportsworld that I encountered in the late 1990s was most immediately produced by trends in professional baseball and in Japanese society in the decades since 1950, when professional baseball was reorganized into two parallel leagues. The chapter surveys the changing structures and rivalries in professional baseball with special attention to the ideology of Japan, Inc. corporatism and to a surging Tokyo-centrism that upset the previous balance between Kansai (Osaka) and Kanto (Tokyo). It surveys a colorful literature on Tiger history that oscillates between the two rhetorical poles of the Fierce Tigers and the No-Good Tigers. For decades, the Tigers were a useful metaphor for the people of the Kansai region—for an imagined Osaka character, for the real Osaka economy, and for asserting an Osaka presence in a Tokyo-centric nation.
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Krstić, Igor. "Bombay Cinema." In Slums on Screen. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474406864.003.0010.

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The first part of this chapter discusses phases of slum representation in the cinema of Bombay/Mumbai, including those of what is better known as Bollywood. Together with scholars of Indian Cinema (Mazumdar, Prasad, Basu), the chapter focuses on a few representative examples, such as Boot Polish (Arora 1954) or Satya (Varma 1998), to outline how popular Indian cinema has gradually abandoned what was once one of its most characteristic settings, the slum, to focus instead on escapist, studio set family melodramas. The second part departs from the harsh criticism (‘poverty porn’) that Slumdog Millionaire (Boyle 2008) has received to then argue that the film is best described as a palimpsestic imitation of Bombay Cinema. The film’s references to genres (gangster films, melodramas), plot structures (the forking life paths of two rival brothers), editing styles (of recent Bollywood gangster films), or character types (orphaned children) are indeed so manifold, that one can describe the film as an ‘archive of Bombay cinema’ (Mazumdar). The chapter concludes that, far from being a realistic depiction of the life of Mumbai’s street children, the film rather aims at immersing its viewers into a cinematic/televisual Mumbai of screens, surfaces and images.
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Prado, Ignacio M. Sánchez. "Peripheral Noir, Mediation, and Capitalism: Noir Form, Noir Mediascape, Sociological Noir." In Noir Affect, 137–55. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287802.003.0007.

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This chapter reframes noir from the semi-peripheral space of Mexican cinema. The chapter studies noir in Mexican cinema and literature in the context of the history of Fordist capitalism, American-style modernization, and contemporary neoliberalism. Drawing on readings of a range of different films, the chapter charts the historical arc of Mexican noir as a cultural form that captures the affective registers of Mexican capitalist modernity on three levels: first, fear and loss in relation to the tension between capitalism and tradition in post-revolutionary Mexico; second, a globalization of affective registers as noir connects Mexican to transnational circuits of affect and emotion; third, the creation of an affective polity through the deployment of sentimentalism and melodrama as part of the emergent mediatization and commoditization of the masses’ affects in the new urban settings.
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