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Melodrama in Contemporary Film and Television debates the ways in which melodrama expresses and gives meaning to: trauma and pathos; memory and historical re-visioning; home and borders; gendered and queer relations; the family and psychic identities; the national and emerging public cultures; and morality and ethics.
Through original analysis of three digital-age, auteur-directed melodramas (Matthew Weiner's Mad Men, Lars von Trier's Melancholia and Todd Haynes's Mildred Pierce), Living Screens explores the "plasticity" of our current situation in which we live with screens that melodramat...
Melodrama in Contemporary Film and Television debates the ways in which melodrama expresses and gives meaning to: trauma and pathos; memory and historical re-visioning; home and borders; gendered and queer relations; the family and psychic identities; the national and emerging public cultures; and morality and ethics.
On melodrama.
The notion of mode is critical in the reevaluation of melodrama. As a mode, melodrama appears not only as a dramatic genre pervaded by sensationalism, exaggerations, and moral polarities, but also as a cultural imaginary that shapes the emotional experience of modernity, characterized by anxiety, moral confusion, and the dissolution of hierarchy. Despite its usefulness, the notion of mode remains mystifying: What exactly are modes and how do they differ from genres? Refiguring Melodrama in Film and Television: Captive Affects, Elastic Sufferings, Vicarious Objects argues that, whereas genres divide a universe in terms of similarities and differences, modes express or modify an indivisible whole. This study contends that the melodramatic mode is concerned with the expression of the social whole in terms of suffering. Zarzosa explains how melodrama is not a cultural imaginary that proclaims the existence of a defunct moral order in a post-sacred world, but an apparatus that shapes suffering and redistributes its visibility. The moral ideas we associate with melodrama are only a means to achieve this end. To develop this conception of melodrama, Refiguring Melodrama in Film and Television offers a novel conceptualization of the following aspects of melodrama theory: affect, interpretation, exchange, excess, sacrifice, and coincidence. These aspects of melodrama are coupled with the analysis of classic melodramas (Home from the Hill and The Story of Adele H.), contemporary films (The Piano, Safe], and Year of the Dog), and television series (Torchwood and Lost). Refiguring Melodrama in Film and Television provides an essential new look at melodrama and its function in popular culture and media.
Global Melodrama is the first booklength work to investigate melodrama in a specifically twenty-first century setting across regional and national boundaries, analyzing film texts from a variety of national contexts in the wake of globalization.
Examining the theoretical, historical, and contemporary impact of South Korea's Golden Age of cinema.
Melodrama and Meaning is a major addition to the new historical approach to film studies. Barbara Klinger shows how institutions most associated with Hollywood cinema—academia, the film industry, review journalism, star publicity, and the mass media—create meaning and ideological identity for films. Chapters focus on Sirk's place in the development of film studies from the 1950s through the 1980s, as well as the history of the critical reception (both academic and popular) of Sirk's films, a history that outlines journalism's role in public tastemaking. Other chapters are devoted to Universal's selling of Written on the Wind, the machinery of star publicity and the changing image of Rock Hudson, and the contemporary "institutionalized" camp response to Sirk that has resulted from developments in mass culture.
In this book, Eleonora Ravizza analyzes how contemporary American popular culture has represented and reproduced the fifties. By investigating the cultural work of films and TV series from the last two decades, the book uncovers the inherent limitations of a ‘revisionist’ take on the fifties. Ravizza argues that, due to the visual nature of the fifties—crystallized in American consciousness through the widespread influence of television—most contemporary attempts to rework and rewrite the regressive gender, queer, and racial politics fall short of such a revisionist reevaluation. ​
Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides a truly interdisciplinary account of performance in film and television and examines a much neglected area in our understanding of how popular genres and performance intersect on screen. Each chapter concentrates upon a particular genre or draws upon generic case studies in examining the significance of screen performance. Individual chapters examine contemporary film noir, horror, the biopic, drama-documentary, the western, science fiction, comedy performance in ‘spoof news’ programmes and the television ‘sit com’ and popular Bollywood films.