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Journal articles on the topic 'Melodrama History and criticism'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Troxell, Jenelle. "“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 63–95. http://dx.doi.org/10.1215/02705346-7772387.

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This article examines the origin myth of the feminist film journal Close Up, namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse (The Joyless Street, 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing. By analyzing Joyless Street through the lens of Close Up, I demonstrate how Bryher and H.D. anticipate the development of trauma theory, which emerged in the early 1990s. Unlike traditional, often totalizing, applications of psychoanalysis (which emphasize notions of spectator desire and lack), the Close Up writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared cultural symptoms, which women often experienced in isolation. Through their sustained analysis of film melodrama, the Close Up writers demonstrate that the war, beyond its devastating effects on combatants, also impacted the (female) civilian population—resulting in Close Up’s call for a critical film culture that speaks to that experience.

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2

Johnson, Carter Davis. "Beyond Melodrama." Steinbeck Review 19, no. 1 (June 1, 2022): 33–46. http://dx.doi.org/10.5325/steinbeckreview.19.1.0033.

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Abstract East of Eden is often criticized as overly symbolic and melodramatic. However, such characterizations overlook Steinbeck’s latent innovations in characterization. Rather than developing stiff allegorical figures, Steinbeck makes creative use of Carl Jung’s theory of archetypes, forming personalities that manifest psychological potentialities and transformations. In this essay, I trace the manifestations of Jungian theory across several characters in East of Eden, contrasting Steinbeck’s use of Jungian archetypes with traditional literary archetypes. Additionally, I outline how this artistic feature also displays Steinbeck’s opposition to the exclusivity of Freudian theory. If the characters and plot are viewed in the entirety of their complex Jungian influences and careful criticism of Freud, the novel is reinvigorated with creative energy that surpasses melodrama.

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3

Lynne Huffer. "The Persistence of Unreason: Michel Foucault's Mad Melodrama." Criticism 55, no. 4 (2013): 637. http://dx.doi.org/10.13110/criticism.55.4.0637.

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4

Connor, J. D. "Disappearing, Inc.: Hollywood melodrama and the perils of criticism." MLN 112, no. 5 (1997): 958–70. http://dx.doi.org/10.1353/mln.1997.0071.

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5

Jha, Priya. "Remembering Nargis, retellingMother India: Criticism, melodrama, and national mythmaking." South Asian Popular Culture 9, no. 3 (October 2011): 287–97. http://dx.doi.org/10.1080/14746689.2011.597967.

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6

Ariela Freedman. "Charlotte Salomon's Life? or Theater? A Melodrama?" Criticism 55, no. 4 (2013): 617. http://dx.doi.org/10.13110/criticism.55.4.0617.

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7

Finan, William W. "Behind the Melodrama." Current History 107, no. 706 (February 1, 2008): 93–94. http://dx.doi.org/10.1525/curh.2008.107.706.93.

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8

Catherine Russell. "The Barbara Stanwyck Show: Melodrama, Kitsch, and the Media Archive." Criticism 55, no. 4 (2013): 567. http://dx.doi.org/10.13110/criticism.55.4.0567.

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9

Darren Wershler. "Guy Maddin's The Night Mayor, Imaginary Media, and Contemporary Melodrama." Criticism 55, no. 4 (2013): 677. http://dx.doi.org/10.13110/criticism.55.4.0677.

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10

McWilliam, R. "Melodrama and the Historians." Radical History Review 2000, no. 78 (October 1, 2000): 57–84. http://dx.doi.org/10.1215/01636545-2000-78-57.

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11

Marcie Frank. "At the Intersections of Mode, Genre, and Media: A Dossier of Essays on Melodrama." Criticism 55, no. 4 (2013): 535. http://dx.doi.org/10.13110/criticism.55.4.0535.

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12

McArthur, Benjamin, and Bruce A. McConachie. "The Dialectics of Melodrama." Reviews in American History 22, no. 1 (March 1994): 108. http://dx.doi.org/10.2307/2703355.

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13

Seiter, Ellen E. "Women's History, Women's Melodrama: Deutschland, bleiche Mutter." German Quarterly 59, no. 4 (1986): 569. http://dx.doi.org/10.2307/406521.

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14

Turim, Maureen. "French Melodrama: Theory of a Specific History." Theatre Journal 39, no. 3 (October 1987): 307. http://dx.doi.org/10.2307/3208152.

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15

Davis, Peter A., and Jeffrey D. Mason. "Melodrama and the Myth of America." Journal of American History 82, no. 2 (September 1995): 718. http://dx.doi.org/10.2307/2082253.

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16

Butler, Kristine. "Between history and melodrama: René Clair's Quatorze Juillet." Quarterly Review of Film and Video 17, no. 2 (June 2000): 117–25. http://dx.doi.org/10.1080/10509200009361485.

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17

McH., B., and Dominick LaCapra. "History and Criticism." Poetics Today 7, no. 3 (1986): 594. http://dx.doi.org/10.2307/1772526.

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18

Docherty, Thomas. "Criticism, history, Foucault." History of European Ideas 14, no. 3 (May 1992): 365–78. http://dx.doi.org/10.1016/0191-6599(92)90214-w.

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19

Walker, Lawrence D., and Dominick Lacapra. "History and Criticism." American Historical Review 91, no. 2 (April 1986): 359. http://dx.doi.org/10.2307/1858142.

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20

McArthur, Benjamin, and Jeffrey D. Mason. "Melodrama and the Myth of America." American Historical Review 100, no. 2 (April 1995): 592. http://dx.doi.org/10.2307/2169166.

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21

Stavans, Ilan. "The Melodrama Machine." Latin American Research Review 56, no. 1 (2021): 269–77. http://dx.doi.org/10.25222/larr.1496.

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22

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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23

Michael Moon. "Medium Envy: A Response to Marcie Frank's “At the Intersections of Mode, Genre, and Media: A Dossier of Essays on Melodrama”." Criticism 55, no. 4 (2013): 695. http://dx.doi.org/10.13110/criticism.55.4.0695.

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24

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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25

Kapczynski, J. "Nazi Film Melodrama * Screen Nazis: Cinema, History and Democracy." Screen 56, no. 2 (June 1, 2015): 289–93. http://dx.doi.org/10.1093/screen/hjv026.

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26

Leach, Andrew, and Antony Moulis. "History, Criticism, Judgment, Project." Architectural Theory Review 15, no. 3 (December 2010): 298–311. http://dx.doi.org/10.1080/13264826.2010.524305.

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27

Shiff, Richard. "On Criticism Handling History." History of the Human Sciences 2, no. 1 (February 1989): 63–87. http://dx.doi.org/10.1177/095269518900200104.

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28

Siegel, Katy. "Art, History, and Criticism." Art Journal 71, no. 1 (March 2012): 5–7. http://dx.doi.org/10.1080/00043249.2012.10791077.

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29

Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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30

Kim, Soo Yeon. "Melodramatic Aesthetics and Ethics in 3 PM on a Rainy Day (1959)." Criticism and Theory Society of Korea 27, no. 3 (October 31, 2022): 111–37. http://dx.doi.org/10.19116/theory.2022.27.3.111.

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A majority of South Korean melodramas produced in the late 1950s are characterized by the “gaps” between clichéd nationalist narrative and exotic international style. This article analyzes 3 PM on a Rainy Day in relation to its cosmopolitan aesthetics and the ethical significance gained from it. The first part of the article examines prior criticism on melodrama and style in order to demonstrate the ways in which melodrama uses style to “speak the unspeakable.” The second part discusses concepts developed by Jacques Rancière and Alain Badiou, such as “the aesthetic regime of art,” “a thwarted fable,” and “impurities” of cinema. Viewing cinema as a truth-seeking singular event, Rancière and Badiou make room for new aisthesis (perception) and thus invite an ethical rethinking of the status quo. 3 PM on a Rainy Day recasts a clash between nationalism and the American-style modernization in postwar Korea within a love triangle between a Korean-American journalist, a Korean veteran, and a Korean woman adored by the two men. The last part argues that the film’s cosmopolitan style packed with western indexes disrupts nationalist narrative and creates a “thwarted fable” which, by unsettling the logical flow of storytelling, reveals the unspeakable: in this film, a cosmopolitan aspiration on the part of the audience consumed by war.

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31

Gotera, V. "Practical Criticism." Radical History Review 1994, no. 58 (January 1, 1994): 171–74. http://dx.doi.org/10.1215/01636545-1994-58-171.

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32

Griffith, R. Drew, and George A. Kennedy. "The Cambridge History of Literary Criticism. 1: Classical Criticism." Phoenix 46, no. 2 (1992): 170. http://dx.doi.org/10.2307/1088477.

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33

Williams, Linda. "Melancholy melodrama: Almodóvarian grief and lost homosexual attachments*." Journal of Spanish Cultural Studies 5, no. 3 (October 2004): 273–86. http://dx.doi.org/10.1080/146362004000282127.

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34

Gerhard, Jane F., and Kathleen Anne McHugh. "American Domesticity: From How-to Manual to Hollywood Melodrama." Journal of American History 87, no. 1 (June 2000): 288. http://dx.doi.org/10.2307/2568036.

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35

Landy, Marcia. "Opera, cinema, melodrama, and history: The case of Italian cinema." European Legacy 1, no. 4 (July 1996): 1597–601. http://dx.doi.org/10.1080/10848779608579617.

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36

Cook, Roger F. "Melodrama or Cinematic Folktale? Story and History inDeutschland, bleiche Mutter." Germanic Review: Literature, Culture, Theory 66, no. 3 (July 1991): 113–21. http://dx.doi.org/10.1080/00168890.1991.9936535.

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37

Youngblood, Denise J. "‘History’ on Film: the historical melodrama in early Soviet cinema." Historical Journal of Film, Radio and Television 11, no. 2 (January 1991): 173–84. http://dx.doi.org/10.1080/01439689100260191.

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38

Devin Griffiths. "Petrodrama: Melodrama and Energetic Modernity." Victorian Studies 60, no. 4 (2018): 611. http://dx.doi.org/10.2979/victorianstudies.60.4.05.

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39

Green, Joel B. "Rethinking "History" for Theological Interpretation." Journal of Theological Interpretation 5, no. 2 (2011): 159–73. http://dx.doi.org/10.2307/26421422.

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Abstract In recent years, theological interpretation of Christian Scripture has often been distinguished by its wholesale antipathy toward history and/or to historical criticism. Working with a typology of different forms of "historical criticism," this essay urges (1) that historical criticism understood as reconstruction of "what really happened" and/or historical criticism that assumes the necessary segregation of "facts" from "faith" is inimical to theological interpretation; (2) that this form of historical criticism is increasingly difficult to support in light of contemporary work in the philosophy of history; and (3) that contemporary theological interpretation is dependent on expressions of historical criticism concerned with the historical situation within which the biblical materials were generated, including the sociocultural conventions they take for granted.

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40

Green, Joel B. "Rethinking "History" for Theological Interpretation." Journal of Theological Interpretation 5, no. 2 (2011): 159–73. http://dx.doi.org/10.2307/jtheointe.5.2.0159.

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Abstract In recent years, theological interpretation of Christian Scripture has often been distinguished by its wholesale antipathy toward history and/or to historical criticism. Working with a typology of different forms of "historical criticism," this essay urges (1) that historical criticism understood as reconstruction of "what really happened" and/or historical criticism that assumes the necessary segregation of "facts" from "faith" is inimical to theological interpretation; (2) that this form of historical criticism is increasingly difficult to support in light of contemporary work in the philosophy of history; and (3) that contemporary theological interpretation is dependent on expressions of historical criticism concerned with the historical situation within which the biblical materials were generated, including the sociocultural conventions they take for granted.

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41

Hugo, Chaparro Valderrama. "“CINE COLOMBIANO 1915-1933: LA HISTORIA, EL MELODRAMA Y SU HISTERIA” / “COLOMBIAN CINEMA 1915-1933: ITS HISTORY, MELODRAMA AND HYSTERIA”." Revista de Estudios Sociales, no. 25 (December 2006): 33–37. http://dx.doi.org/10.7440/res25.2006.04.

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42

Gibert, John C., and George A. Kennedy. "The Cambridge History of Literary Criticism: Volume I: Classical Criticism." Classical World 84, no. 6 (1991): 514. http://dx.doi.org/10.2307/4350972.

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43

Peradotto, John, and George A. Kennedy. "The Cambridge History of Literary Criticism, Volume I: Classical Criticism." American Journal of Philology 113, no. 3 (1992): 473. http://dx.doi.org/10.2307/295476.

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44

Ignatova, Irina, and Elena Zubarkina. "Media Criticism in Germany: History and Theory." Theoretical and Practical Issues of Journalism 8, no. 3 (July 16, 2019): 512–23. http://dx.doi.org/10.17150/2308-6203.2019.8(3).512-523.

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The article is dedicated to the study of the history and theory of media criticism in Germany and the importance of the phenomenon of media criticism for the development and successful functioning of the mass media in German-speaking countries. The theoretical preconditions for the development of media criticism in Germany and its historical stages play an important role in understanding the modern institution of media criticism and the mechanisms of its impact on the recipient. Media criticism has existed since the media themselves appeared, and the existence and emergence of new media is always accompanied by positive or negative feedback on them. The development of the media inevitably leads to their criticism. The article considers media criticism as a global criticism of the media and as a study of individual specific phenomena in the media environment. The estimated role of media criticism is recognized by German-speaking researchers as one of the main functions. And it must be understood that media criticism provides an opportunity for a reasoned discussion about the media, without which neither the existence of the media, nor indeed the society as a whole is possible. Media criticism generates an open discussion and thereby contributes to the enlightenment of society. To some extent, setting norms and standards for the quality of journalism, it forms ethical boundaries of communication, both for journalists and for the audience. The stages of development of media criticism in Germany, described in the article, cover the period from the late 1980s to the present. The main subsystems of mass media are considered: television media criticism, media criticism on the radio, in print media, media criticism in the Internet space. Thanks to this, we get a full picture of the formation and development of media criticism in Germany.

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45

KUPRIYANOV, A. "WESTPHALIAN MYTH: HISTORY AND CRITICISM." Analysis and Forecasting. IMEMO Journal, no. 3 (2019): 37–50. http://dx.doi.org/10.20542/afij-2019-3-37-50.

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46

Williams, Joyce. "Design discourse: History/theory/criticism." Journal of Social and Evolutionary Systems 15, no. 3 (January 1992): 327–31. http://dx.doi.org/10.1016/1061-7361(92)90014-5.

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47

Triggs, Teal. "Writing Design Criticism into History." Design and Culture 5, no. 1 (March 2013): 33–38. http://dx.doi.org/10.2752/175470813x13491105785505.

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48

Cunningham, Stuart. "Docker: Criticism, History and Policy." Media Information Australia 59, no. 1 (February 1991): 27–30. http://dx.doi.org/10.1177/1329878x9105900104.

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49

Jeremy Maron. "Affective Historiography: Schindler's List, Melodrama and Historical Representation." Shofar: An Interdisciplinary Journal of Jewish Studies 27, no. 4 (2009): 66–94. http://dx.doi.org/10.1353/sho.0.0422.

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50

Gaglio, Sam. "Indiscretions of an Italian Lover: Montgomery Clift, Masculinity, and Melodrama." Italianist 39, no. 2 (May 4, 2019): 242–50. http://dx.doi.org/10.1080/02614340.2019.1591708.

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