“Melodrama, Sex, Beaches, and Other Interests”
in Michael Winterbottom
by Brian McFarlane and Deane Williams
A film such as Go Now, made for television but shown in cinemas in some countries, is a case in point: it exhibits some of the informing traits of melodrama but its treatment is in certain essentials realistic, avoiding the gratifications of melodrama, at least as the mode is practised in Hollywood cinema. With or Without You raises expectations of romantic comedy but deflects – or dissipates – these with a surprising acridity of tone; and the noir-influenced I Want You hovers between thriller and erotic drama. Realist sex and concert scenes, to the point where there is almost a whiff of documentary in the film’s short footage, but it also has a vestigial narrative continuity. As in so many of Winter-bottom’s films, there are insistent stress on movement, an almost mandatory beach scene as a somewhat simplistic signifier of release and ‘naturalness’, and stress on music.
“The Spectacle of Affect: Postwar South Korean Melodrama Films”
in East Asian Transwar Popular Culture
by Kelly Y. Jeong
This chapter explores the melodramas of Korea’s cinematic golden age, particularly focusing on those from the 1950s. They abound with narratives fissures, ruptures, and heterodoxy from gender and cultural norms, and their narratives unfold through a hybridity of genres, to create more nuanced works that seem to self-reflect or even subversively play off the genre rules and conventions of melodrama. In looking at this group of films, I argue that they comprise a spectacle of affect. I first focus on the empty mise-en-scène, a feature often exhibited by the decade’s films that brings their generic hybridity and experimental filmmaking into relief, then trace the meaning and place of sinp’a (new wave) in postwar cinema, which will lead to the conclusion that, for postwar South Korean filmmakers—and for the audiences that loved their films—the West, represented by America, was a source of cinematic imagination and an awe-inspiring sublimity.
“Feminine spaces of memory: Mourning and melodrama in Para que no me olvides (2005)”
in Hispanic and Lusophone Women Filmmakers
by Patricia Ferreira
Coinciding with the excavations of the Spanish Civil War’s mass graves, media is playing a crucial role in the construction and dissemination of ‘spaces of memory’ of the war. This chapter discusses the contribution of Patricia Ferreira, who in her Para que no me olvides, relocates in the present the collective response to loss and pain caused by the war, as well as the subsequent oblivion and remembrance, all from an individual perspective that attempts to connect personal trauma to socio-political awareness, while bridging the differences of three generations of Spaniards. Ferreira’s melodramatic mode provides a means through which individual memory can become official history, as well as a potential therapeutic model for dealing with the trauma. The film articulates the unfulfilled needs of individual Republican victims and exposes the still incomplete collective and institutional work of mourning implicit in the shortcomings of Law of Historical Memory project.
in Journal of Singing
by Leslie De’Ath
The lines of demarcation between the subdisciplines of voice pedagogy are porous. The siloed nature of the standing columns in the Journal of Singing on occasion call for an intradisciplinary flexibility of approach, just as any college music program must be on guard against an array of courses that give the impression that they have little to do with one another…Studies of specific repertoire usually appear as feature articles in the Journal of Singing, but on occasion, those with a particular focus on text have been issued under the “Language and Diction” rubric. The present article is a case in point. It focuses on melodrama–an often overlooked genre, in which the text and its style of delivery are crucial to a persuasive performance.
“Mediating Melodrama, Staging Sergeant Cuff”
in Nineteenth-Century Theatre and Film
by Isabel Stowell-Kaplan
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.