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-webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Screen Melodrama</h1><div class="u-tcGrayDark">28 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Screen Melodrama</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Screen_Melodrama">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Screen_Melodrama/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Screen_Melodrama/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Screen_Melodrama/MostRecent">Newest Papers</a></li><li><a class="" 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href="https://www.academia.edu/686194/_Televisual_Melodrama_in_an_Era_of_Transnational_Migration_Exporting_the_Folkloric_Nation_Harvesting_the_Melancholic_Sublime_in_Darlene_Sadlier_ed_Latin_American_Melodrama_University_of_Illinois_Press_2009_139_171">"Televisual Melodrama in an Era of Transnational Migration: Exporting the Folkloric Nation, Harvesting the Melancholic-Sublime," in Darlene Sadlier, ed., Latin American Melodrama (University of Illinois Press, 2009), 139-171</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">an exploration of the factors influencing the transnational transmission of telenovelas from Latin America, coupled with an analysis of the inscription of migratory narratives in telenovelas broadcast on Spanish-language television in the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_686194" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">an exploration of the factors influencing the transnational transmission of telenovelas from Latin America, coupled with an analysis of the inscription of migratory narratives in telenovelas broadcast on Spanish-language television in the United States</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/686194" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c88c17c94252d511600406c2c406c446" rel="nofollow" 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{"id":686194,"title":"\"Televisual Melodrama in an Era of Transnational Migration: Exporting the Folkloric Nation, Harvesting the Melancholic-Sublime,\" in Darlene Sadlier, ed., Latin American Melodrama (University of Illinois Press, 2009), 139-171","created_at":"2011-06-20T15:22:18.277-07:00","url":"https://www.academia.edu/686194/_Televisual_Melodrama_in_an_Era_of_Transnational_Migration_Exporting_the_Folkloric_Nation_Harvesting_the_Melancholic_Sublime_in_Darlene_Sadlier_ed_Latin_American_Melodrama_University_of_Illinois_Press_2009_139_171?f_ri=997147","dom_id":"work_686194","summary":"an exploration of the factors influencing the transnational transmission of telenovelas from Latin America, coupled with an analysis of the inscription of migratory narratives in telenovelas broadcast on Spanish-language television in the United 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40658900" data-work_id="40658900" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40658900/En_los_l%C3%ADmites_del_Apocalipsis_La_est%C3%A9tica_negativa_de_Fassbinder">En los límites del Apocalipsis La estética negativa de Fassbinder</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Publicado en: Fassbinder. Solo quiero que me amen Jesús Rodrigo García (coord.), Shangrila textos aparte 2018 ______________________________________________________________________ En los límites del Apocalipsis La estética negativa de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40658900" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Publicado en: Fassbinder. Solo quiero que me amen Jesús Rodrigo García (coord.), Shangrila textos aparte 2018 ______________________________________________________________________ En los límites del Apocalipsis La estética negativa de Fassbinder El cine es sangre, lágrimas, violencia, odio, muerte y amor Douglas Sirk La filosofía de un director de cine está en la iluminación y los encuadres Douglas Sirk Apocalipsis del yo Cuando en 1978, Fassbinder realiza su contribución a Alemania en otoño (Deutschland im Herbst, 1978), ya tiene en su haber más de treinta películas, si contamos entre ellas sus producciones televisivas. Apenas si hace diez años que se dedica al cine, cortometrajes aparte, y su filmografía ya es más extensa que la de muchos de los cineastas más consagrados de la historia del cine. Su trabajo teatral no es menos impresionante: entre 1969 y 1976, interviene como director, interprete, escritor o adaptador en más de treinta producciones teatrales. Sorprendentemente, aún le queda tiempo para intervenir en unos cuantos programas de radio y participar en películas de otros directores. Una producción tan prodigiosa no es frecuente, como tampoco lo es el frenesí vital que la rodea. Parece como si Fassbinder hubiera querido condensar toda una vida en poco más de una década y que se hubiera planteado este rabioso ejercicio a la manera de un enorme auto sacramental dividido en escenas, capítulos o retablos en los que cobijarse para conjurar los demonios personales y sociales que nunca dejaron de</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40658900" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="29a566cb8f48d16fd63e4273e239a22b" rel="nofollow" data-download="{"attachment_id":60942422,"asset_id":40658900,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60942422/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2555629" href="https://uab.academia.edu/JosepMariaCatal%C3%A0Dom%C3%A8nech">Josep Maria Català Domènech</a><script data-card-contents-for-user="2555629" type="text/json">{"id":2555629,"first_name":"Josep Maria","last_name":"Català Domènech","domain_name":"uab","page_name":"JosepMariaCatalàDomènech","display_name":"Josep Maria Català Domènech","profile_url":"https://uab.academia.edu/JosepMariaCatal%C3%A0Dom%C3%A8nech?f_ri=997147","photo":"https://0.academia-photos.com/2555629/797395/80646887/s65_josep_maria.catal_dom_nech.jpg"}</script></span></span></li><li class="js-paper-rank-work_40658900 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40658900"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40658900, container: ".js-paper-rank-work_40658900", }); 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Solo quiero que me amen Jesús Rodrigo García (coord.), Shangrila textos aparte 2018 ______________________________________________________________________ En los límites del Apocalipsis La estética negativa de Fassbinder El cine es sangre, lágrimas, violencia, odio, muerte y amor Douglas Sirk La filosofía de un director de cine está en la iluminación y los encuadres Douglas Sirk Apocalipsis del yo Cuando en 1978, Fassbinder realiza su contribución a Alemania en otoño (Deutschland im Herbst, 1978), ya tiene en su haber más de treinta películas, si contamos entre ellas sus producciones televisivas. Apenas si hace diez años que se dedica al cine, cortometrajes aparte, y su filmografía ya es más extensa que la de muchos de los cineastas más consagrados de la historia del cine. Su trabajo teatral no es menos impresionante: entre 1969 y 1976, interviene como director, interprete, escritor o adaptador en más de treinta producciones teatrales. 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Studies in Hispanic Cinemas 7.2 (July 2010)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9711865" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="05a8ed1948aa9f173118ab7f94a96b6f" rel="nofollow" data-download="{"attachment_id":35900166,"asset_id":9711865,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35900166/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="20754819" href="https://saintmarys.academia.edu/DianaJorza">Diana Roxana Jorza</a><script data-card-contents-for-user="20754819" type="text/json">{"id":20754819,"first_name":"Diana Roxana","last_name":"Jorza","domain_name":"saintmarys","page_name":"DianaJorza","display_name":"Diana Roxana Jorza","profile_url":"https://saintmarys.academia.edu/DianaJorza?f_ri=997147","photo":"https://0.academia-photos.com/20754819/6324331/7157591/s65_diana.jorza.jpg"}</script></span></span></li><li class="js-paper-rank-work_9711865 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9711865"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9711865, container: ".js-paper-rank-work_9711865", }); 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Mandoki","profile_url":"https://sni.academia.edu/KatyaMandoki?f_ri=997147","photo":"https://0.academia-photos.com/1159210/409858/159749047/s65_katya.mandoki.jpg"}],"research_interests":[{"id":4850,"name":"Migration","url":"https://www.academia.edu/Documents/in/Migration?f_ri=997147","nofollow":false},{"id":9344,"name":"Telenovela and Soap Opera","url":"https://www.academia.edu/Documents/in/Telenovela_and_Soap_Opera?f_ri=997147","nofollow":false},{"id":9391,"name":"Telenovelas","url":"https://www.academia.edu/Documents/in/Telenovelas?f_ri=997147","nofollow":false},{"id":102393,"name":"Transnational Media","url":"https://www.academia.edu/Documents/in/Transnational_Media?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44991554" data-work_id="44991554" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44991554/Im_a_Drama_Queen_But_Im_the_Star_you_Love_to_See_Soap_Operas_Melodrama_and_the_Televisual_Construction_of_Female_Stardom_Ritika_Pant">I'm a Drama Queen…But I'm the Star you Love to See! Soap Operas, Melodrama and the Televisual Construction of Female Stardom Ritika Pant</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The relationship between the silver screen and stardom has been the focus of academic work for several decades. Despite the post-globalization expansion in the Indian mediascape, a rapid increase in the number of television channels, an... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44991554" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The relationship between the silver screen and stardom has been the focus of academic work for several decades. Despite the post-globalization expansion in the Indian mediascape, a rapid increase in the number of television channels, an exponential increase in television programming, and a never-ending production of television stars, small-screen stardom, however, has still not received the same kind of academic attention. With the arrival of Ekta Kapoor's Balaji telefilms in the early 2000s, the soap-opera genre on Indian Television introduced the audiences to melodramatic tales in the form of saas-bahu sagas. Kapoor's soaps gave birth to iconic characters like Tulsi, Parvati, Prerna and Jassi whom an average Indian woman adored, identified with and often held on a pedestal higher than that of film stars. Thus, the phenomenon of stardom, once associated with film actors, slowly found its manifestation in television actors. This paper aims to understand the discourse of the star-text that emerges in relation to the small-screen through the 'leading ladies' of the soap opera genre. The paper will explore</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44991554" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d06e040bde2c2b1a3039cf61177954db" rel="nofollow" data-download="{"attachment_id":65533296,"asset_id":44991554,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65533296/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="166822044" href="https://kalindiorg.academia.edu/RitikaPant">Ritika Pant</a><script data-card-contents-for-user="166822044" type="text/json">{"id":166822044,"first_name":"Ritika","last_name":"Pant","domain_name":"kalindiorg","page_name":"RitikaPant","display_name":"Ritika Pant","profile_url":"https://kalindiorg.academia.edu/RitikaPant?f_ri=997147","photo":"https://0.academia-photos.com/166822044/50997061/39050049/s65_ritika.pant.jpg"}</script></span></span></li><li class="js-paper-rank-work_44991554 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44991554"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44991554, container: ".js-paper-rank-work_44991554", }); 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$(".js-view-count[data-work-id=44991554]").text(description); $(".js-view-count-work_44991554").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44991554").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44991554"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9344" href="https://www.academia.edu/Documents/in/Telenovela_and_Soap_Opera">Telenovela and Soap Opera</a>, <script data-card-contents-for-ri="9344" type="text/json">{"id":9344,"name":"Telenovela and Soap Opera","url":"https://www.academia.edu/Documents/in/Telenovela_and_Soap_Opera?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="69253" href="https://www.academia.edu/Documents/in/Stardom_and_Celebrity">Stardom and Celebrity</a>, <script data-card-contents-for-ri="69253" type="text/json">{"id":69253,"name":"Stardom and Celebrity","url":"https://www.academia.edu/Documents/in/Stardom_and_Celebrity?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="997147" href="https://www.academia.edu/Documents/in/Screen_Melodrama">Screen Melodrama</a><script data-card-contents-for-ri="997147" type="text/json">{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44991554]'), work: {"id":44991554,"title":"I'm a Drama Queen…But I'm the Star you Love to See! Soap Operas, Melodrama and the Televisual Construction of Female Stardom Ritika Pant","created_at":"2021-01-27T09:24:22.317-08:00","url":"https://www.academia.edu/44991554/Im_a_Drama_Queen_But_Im_the_Star_you_Love_to_See_Soap_Operas_Melodrama_and_the_Televisual_Construction_of_Female_Stardom_Ritika_Pant?f_ri=997147","dom_id":"work_44991554","summary":"The relationship between the silver screen and stardom has been the focus of academic work for several decades. Despite the post-globalization expansion in the Indian mediascape, a rapid increase in the number of television channels, an exponential increase in television programming, and a never-ending production of television stars, small-screen stardom, however, has still not received the same kind of academic attention. With the arrival of Ekta Kapoor's Balaji telefilms in the early 2000s, the soap-opera genre on Indian Television introduced the audiences to melodramatic tales in the form of saas-bahu sagas. Kapoor's soaps gave birth to iconic characters like Tulsi, Parvati, Prerna and Jassi whom an average Indian woman adored, identified with and often held on a pedestal higher than that of film stars. Thus, the phenomenon of stardom, once associated with film actors, slowly found its manifestation in television actors. This paper aims to understand the discourse of the star-text that emerges in relation to the small-screen through the 'leading ladies' of the soap opera genre. The paper will explore","downloadable_attachments":[{"id":65533296,"asset_id":44991554,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":166822044,"first_name":"Ritika","last_name":"Pant","domain_name":"kalindiorg","page_name":"RitikaPant","display_name":"Ritika Pant","profile_url":"https://kalindiorg.academia.edu/RitikaPant?f_ri=997147","photo":"https://0.academia-photos.com/166822044/50997061/39050049/s65_ritika.pant.jpg"}],"research_interests":[{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=997147","nofollow":false},{"id":9344,"name":"Telenovela and Soap Opera","url":"https://www.academia.edu/Documents/in/Telenovela_and_Soap_Opera?f_ri=997147","nofollow":false},{"id":69253,"name":"Stardom and Celebrity","url":"https://www.academia.edu/Documents/in/Stardom_and_Celebrity?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false},{"id":1353450,"name":"Female Stardom","url":"https://www.academia.edu/Documents/in/Female_Stardom?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9470826" data-work_id="9470826" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9470826/Refiguring_Melodrama_in_Film_and_Television_Captive_Affects_Elastic_Sufferings_Vicarious_Objects">Refiguring Melodrama in Film and Television: Captive Affects, Elastic Sufferings, Vicarious Objects</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9470826" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">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.<br /><br />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.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9470826" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="01e9bf16232aa1dc2171b8a5aa889cc6" rel="nofollow" data-download="{"attachment_id":35704993,"asset_id":9470826,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35704993/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13929941" href="https://purchase.academia.edu/AgustinZarzosa">Agustin Zarzosa</a><script data-card-contents-for-user="13929941" type="text/json">{"id":13929941,"first_name":"Agustin","last_name":"Zarzosa","domain_name":"purchase","page_name":"AgustinZarzosa","display_name":"Agustin Zarzosa","profile_url":"https://purchase.academia.edu/AgustinZarzosa?f_ri=997147","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_9470826 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9470826"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9470826, container: ".js-paper-rank-work_9470826", }); 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$(".js-view-count[data-work-id=9470826]").text(description); $(".js-view-count-work_9470826").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9470826").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9470826"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="9343" href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a>, <script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="31000" href="https://www.academia.edu/Documents/in/Tragedy_Philosophy_">Tragedy (Philosophy)</a>, <script data-card-contents-for-ri="31000" type="text/json">{"id":31000,"name":"Tragedy (Philosophy)","url":"https://www.academia.edu/Documents/in/Tragedy_Philosophy_?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="997147" href="https://www.academia.edu/Documents/in/Screen_Melodrama">Screen Melodrama</a><script data-card-contents-for-ri="997147" type="text/json">{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9470826]'), work: {"id":9470826,"title":"Refiguring Melodrama in Film and Television: Captive Affects, Elastic Sufferings, Vicarious Objects","created_at":"2014-11-24T00:55:36.826-08:00","url":"https://www.academia.edu/9470826/Refiguring_Melodrama_in_Film_and_Television_Captive_Affects_Elastic_Sufferings_Vicarious_Objects?f_ri=997147","dom_id":"work_9470826","summary":"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.\n\nTo 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. ","downloadable_attachments":[{"id":35704993,"asset_id":9470826,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13929941,"first_name":"Agustin","last_name":"Zarzosa","domain_name":"purchase","page_name":"AgustinZarzosa","display_name":"Agustin Zarzosa","profile_url":"https://purchase.academia.edu/AgustinZarzosa?f_ri=997147","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":31000,"name":"Tragedy (Philosophy)","url":"https://www.academia.edu/Documents/in/Tragedy_Philosophy_?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37671288" data-work_id="37671288" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37671288/Gentlemen_Prefer_Blondes_and_All_That_Heaven_Allows_An_Analysis_of_the_Central_Pairs_Upholding_the_Ideologies_of_the_Diegetic_World_and_1950s_Socio_Historical_Context">Gentlemen Prefer Blondes and All That Heaven Allows: An Analysis of the Central Pairs Upholding the Ideologies of the Diegetic World and 1950s' Socio-Historical Context</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37671288" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f2f8408abf32d6c6e171be1b07e1c27e" rel="nofollow" data-download="{"attachment_id":57660118,"asset_id":37671288,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57660118/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" 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href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a>, <script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="993492" href="https://www.academia.edu/Documents/in/Melodrama_and_Culture">Melodrama & Culture</a><script data-card-contents-for-ri="993492" type="text/json">{"id":993492,"name":"Melodrama \u0026 Culture","url":"https://www.academia.edu/Documents/in/Melodrama_and_Culture?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6714781]'), work: {"id":6714781,"title":"Comment on how Brooks’ Idea of Melodramatic Imagination articulates itself in literary convention with reference to “A Country Excursion” by Guy de Maupassant.","created_at":"2014-04-10T02:01:45.725-07:00","url":"https://www.academia.edu/6714781/Comment_on_how_Brooks_Idea_of_Melodramatic_Imagination_articulates_itself_in_literary_convention_with_reference_to_A_Country_Excursion_by_Guy_de_Maupassant?f_ri=997147","dom_id":"work_6714781","summary":null,"downloadable_attachments":[{"id":33435613,"asset_id":6714781,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":835517,"first_name":"Stotropama","last_name":"Mukherjee","domain_name":"jdvu","page_name":"StotropamaMukherjee","display_name":"Stotropama Mukherjee","profile_url":"https://jdvu.academia.edu/StotropamaMukherjee?f_ri=997147","photo":"https://0.academia-photos.com/835517/293181/349137/s65_stotropama.mukherjee.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":993492,"name":"Melodrama \u0026 Culture","url":"https://www.academia.edu/Documents/in/Melodrama_and_Culture?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5689413" data-work_id="5689413" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5689413/La_doppia_vita_di_Casta_diva">La doppia vita di Casta diva</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5689413" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aa611c958eb41a39d3508a11c70df79f" rel="nofollow" data-download="{"attachment_id":32738144,"asset_id":5689413,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32738144/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span 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data-has-card-for-ri="2428" href="https://www.academia.edu/Documents/in/Popular_Italian_Cinema">Popular Italian Cinema</a>, <script data-card-contents-for-ri="2428" type="text/json">{"id":2428,"name":"Popular Italian Cinema","url":"https://www.academia.edu/Documents/in/Popular_Italian_Cinema?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5301" href="https://www.academia.edu/Documents/in/Film_Genre">Film Genre</a>, <script data-card-contents-for-ri="5301" type="text/json">{"id":5301,"name":"Film Genre","url":"https://www.academia.edu/Documents/in/Film_Genre?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14880" href="https://www.academia.edu/Documents/in/Opera_and_classical_music_in_film">Opera and classical music in film</a>, <script data-card-contents-for-ri="14880" type="text/json">{"id":14880,"name":"Opera and classical music in film","url":"https://www.academia.edu/Documents/in/Opera_and_classical_music_in_film?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18570" href="https://www.academia.edu/Documents/in/Biopic">Biopic</a><script data-card-contents-for-ri="18570" type="text/json">{"id":18570,"name":"Biopic","url":"https://www.academia.edu/Documents/in/Biopic?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5689413]'), work: {"id":5689413,"title":"La doppia vita di Casta 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film","url":"https://www.academia.edu/Documents/in/Opera_and_classical_music_in_film?f_ri=997147","nofollow":false},{"id":18570,"name":"Biopic","url":"https://www.academia.edu/Documents/in/Biopic?f_ri=997147","nofollow":false},{"id":608850,"name":"Opera film","url":"https://www.academia.edu/Documents/in/Opera_film?f_ri=997147"},{"id":608851,"name":"Carmine Gallone","url":"https://www.academia.edu/Documents/in/Carmine_Gallone?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39289839" data-work_id="39289839" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39289839/_Lilya_4_Ever_Post_Soviet_Neoliberal_Angels_and_Nordic_Intellectual_Secularism_In_Scandinavica_53_1_2014_37_58">"Lilya 4-Ever: Post-Soviet Neoliberal Angels and Nordic Intellectual Secularism" In Scandinavica 53:1 (2014). 37-58.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Like many of Lukas Moodysson’s films, Lilja 4-ever (Lilya 4-Ever, 2002) centres on a complex female protagonist on the verge of adulthood. Lilya is based on a documented case of suicide by a trafficked young woman from the former USSR,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39289839" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Like many of Lukas Moodysson’s films, Lilja 4-ever (Lilya 4-Ever, 2002) centres on a complex female protagonist on the verge of adulthood. Lilya is based on a documented case of suicide by a trafficked young woman from the former USSR, whose eventual redemption, or at least her dream of escape, is self-consciously visualized in sequences featuring Lilya and her friend as winged angels. This tension in registers, between fantasy and social realism and between melodrama and societal critique, opens up interpretive venues that paradoxically signal both the film’s protest against, and implication within, ideologies and practices of neoliberalism and globalization. Moodysson’s questioning of neoliberalism and globalization within a double framework of gender and religiosity point to his desire to find alternate (political) discourses outside the dominant ones. This ambition, however, figures Lilya as a victim of abuse on multiple levels: as trafficked girl, as didactic vehicle for a political message and, arguably, also as part of a postmodernist experiment that reinserts a redemptive spirituality into a context marked by capitalist and political secularism.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39289839" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4a3d22bc93e773ac797380e3c0c2ba41" rel="nofollow" data-download="{"attachment_id":59426571,"asset_id":39289839,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59426571/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2457263" href="https://uga.academia.edu/AnnaWesterstahlStenport">Anna Westerstahl Stenport</a><script data-card-contents-for-user="2457263" type="text/json">{"id":2457263,"first_name":"Anna","last_name":"Westerstahl Stenport","domain_name":"uga","page_name":"AnnaWesterstahlStenport","display_name":"Anna Westerstahl Stenport","profile_url":"https://uga.academia.edu/AnnaWesterstahlStenport?f_ri=997147","photo":"https://0.academia-photos.com/2457263/769475/134020188/s65_anna.westerstahl_stenport.png"}</script></span></span></li><li class="js-paper-rank-work_39289839 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39289839"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39289839, container: ".js-paper-rank-work_39289839", }); 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Lilya is based on a documented case of suicide by a trafficked young woman from the former USSR, whose eventual redemption, or at least her dream of escape, is self-consciously visualized in sequences featuring Lilya and her friend as winged angels. This tension in registers, between fantasy and social realism and between melodrama and societal critique, opens up interpretive venues that paradoxically signal both the film’s protest against, and implication within, ideologies and practices of neoliberalism and globalization. Moodysson’s questioning of neoliberalism and globalization within a double framework of gender and religiosity point to his desire to find alternate (political) discourses outside the dominant ones. This ambition, however, figures Lilya as a victim of abuse on multiple levels: as trafficked girl, as didactic vehicle for a political message and, arguably, also as part of a postmodernist experiment that reinserts a redemptive spirituality into a context marked by capitalist and political secularism.\n\n","downloadable_attachments":[{"id":59426571,"asset_id":39289839,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2457263,"first_name":"Anna","last_name":"Westerstahl Stenport","domain_name":"uga","page_name":"AnnaWesterstahlStenport","display_name":"Anna Westerstahl Stenport","profile_url":"https://uga.academia.edu/AnnaWesterstahlStenport?f_ri=997147","photo":"https://0.academia-photos.com/2457263/769475/134020188/s65_anna.westerstahl_stenport.png"}],"research_interests":[{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=997147","nofollow":false},{"id":1439,"name":"Globalization","url":"https://www.academia.edu/Documents/in/Globalization?f_ri=997147","nofollow":false},{"id":6369,"name":"Human Trafficking","url":"https://www.academia.edu/Documents/in/Human_Trafficking?f_ri=997147","nofollow":false},{"id":7392,"name":"Russian Orthodox Church","url":"https://www.academia.edu/Documents/in/Russian_Orthodox_Church?f_ri=997147","nofollow":false},{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=997147"},{"id":12420,"name":"Neoliberalism","url":"https://www.academia.edu/Documents/in/Neoliberalism?f_ri=997147"},{"id":25105,"name":"Swedish Cinema","url":"https://www.academia.edu/Documents/in/Swedish_Cinema?f_ri=997147"},{"id":70603,"name":"Secularism","url":"https://www.academia.edu/Documents/in/Secularism?f_ri=997147"},{"id":121845,"name":"Sex Trafficking","url":"https://www.academia.edu/Documents/in/Sex_Trafficking?f_ri=997147"},{"id":993492,"name":"Melodrama \u0026 Culture","url":"https://www.academia.edu/Documents/in/Melodrama_and_Culture?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10654358" data-work_id="10654358" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10654358/La_voce_e_il_corpo_Lopera_lirica_al_cinema">La voce e il corpo. L'opera lirica al cinema</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L'opera lirica e il cinema possono apparire due forme di espressione artistica piuttosto distanti, con tradizioni e linguaggi assai diversi. Tuttavia, a una ricognizione più attenta si delinea un fitto reticolo di interazioni, di... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10654358" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L'opera lirica e il cinema possono apparire due forme di espressione artistica piuttosto distanti, con tradizioni e linguaggi assai diversi. Tuttavia, a una ricognizione più attenta si delinea un fitto reticolo di interazioni, di contatti, di influenze che rendono conto di una presenza viva della lirica sul grande schermo cinematografico. Certo, c'è il film opera, a cui molta parte di questo volume e dedicata, ma le interazioni sono spesso più sottili: dalle convenzioni melodrammatiche al commento musicale il cinema si è spesso nutrito della tradizione operistica, dei suoi testi e anche del suo pubblico. Questo volume intende proporre una campionatura di tale presenza, con uno sguardo metodologico nella prima parte e analizzando alcuni casi concreti nella seconda, nella convinzione che parlare dell'opera lirica al cinema significhi anche riflettere sullo statuto del cinema stesso e sui suoi rapporti con le altre arti.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10654358" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c33ee306221a0e8a203ada0b70cc99d6" rel="nofollow" data-download="{"attachment_id":36576885,"asset_id":10654358,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36576885/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8220108" href="https://unibo.academia.edu/GuglielmoPescatore">Guglielmo Pescatore</a><script data-card-contents-for-user="8220108" type="text/json">{"id":8220108,"first_name":"Guglielmo","last_name":"Pescatore","domain_name":"unibo","page_name":"GuglielmoPescatore","display_name":"Guglielmo Pescatore","profile_url":"https://unibo.academia.edu/GuglielmoPescatore?f_ri=997147","photo":"https://0.academia-photos.com/8220108/2823640/3295552/s65_guglielmo.pescatore.jpg"}</script></span></span></li><li class="js-paper-rank-work_10654358 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10654358"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10654358, container: ".js-paper-rank-work_10654358", }); });</script></li><li class="js-percentile-work_10654358 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10654358; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_10654358"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_10654358 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="10654358"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10654358; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10654358]").text(description); $(".js-view-count-work_10654358").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10654358").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10654358"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2428" href="https://www.academia.edu/Documents/in/Popular_Italian_Cinema">Popular Italian Cinema</a>, <script data-card-contents-for-ri="2428" type="text/json">{"id":2428,"name":"Popular Italian Cinema","url":"https://www.academia.edu/Documents/in/Popular_Italian_Cinema?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5301" href="https://www.academia.edu/Documents/in/Film_Genre">Film Genre</a><script data-card-contents-for-ri="5301" type="text/json">{"id":5301,"name":"Film Genre","url":"https://www.academia.edu/Documents/in/Film_Genre?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10654358]'), work: {"id":10654358,"title":"La voce e il corpo. L'opera lirica al cinema","created_at":"2015-02-09T14:39:14.465-08:00","url":"https://www.academia.edu/10654358/La_voce_e_il_corpo_Lopera_lirica_al_cinema?f_ri=997147","dom_id":"work_10654358","summary":"L'opera lirica e il cinema possono apparire due forme di espressione artistica piuttosto distanti, con tradizioni e linguaggi assai diversi. Tuttavia, a una ricognizione più attenta si delinea un fitto reticolo di interazioni, di contatti, di influenze che rendono conto di una presenza viva della lirica sul grande schermo cinematografico. Certo, c'è il film opera, a cui molta parte di questo volume e dedicata, ma le interazioni sono spesso più sottili: dalle convenzioni melodrammatiche al commento musicale il cinema si è spesso nutrito della tradizione operistica, dei suoi testi e anche del suo pubblico. Questo volume intende proporre una campionatura di tale presenza, con uno sguardo metodologico nella prima parte e analizzando alcuni casi concreti nella seconda, nella convinzione che parlare dell'opera lirica al cinema significhi anche riflettere sullo statuto del cinema stesso e sui suoi rapporti con le altre arti.","downloadable_attachments":[{"id":36576885,"asset_id":10654358,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8220108,"first_name":"Guglielmo","last_name":"Pescatore","domain_name":"unibo","page_name":"GuglielmoPescatore","display_name":"Guglielmo Pescatore","profile_url":"https://unibo.academia.edu/GuglielmoPescatore?f_ri=997147","photo":"https://0.academia-photos.com/8220108/2823640/3295552/s65_guglielmo.pescatore.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":2428,"name":"Popular Italian Cinema","url":"https://www.academia.edu/Documents/in/Popular_Italian_Cinema?f_ri=997147","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=997147","nofollow":false},{"id":5301,"name":"Film Genre","url":"https://www.academia.edu/Documents/in/Film_Genre?f_ri=997147","nofollow":false},{"id":14880,"name":"Opera and classical music in film","url":"https://www.academia.edu/Documents/in/Opera_and_classical_music_in_film?f_ri=997147"},{"id":18570,"name":"Biopic","url":"https://www.academia.edu/Documents/in/Biopic?f_ri=997147"},{"id":399485,"name":"Film in Opera","url":"https://www.academia.edu/Documents/in/Film_in_Opera?f_ri=997147"},{"id":608850,"name":"Opera film","url":"https://www.academia.edu/Documents/in/Opera_film?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_48921120" data-work_id="48921120" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/48921120/Music_and_Melodrama_Popular_Music_in_Colombian_Telenovela">Music & Melodrama Popular Music in Colombian Telenovela</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/48921120" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7dcc2ecc4d4b62155298a10b036e575e" rel="nofollow" data-download="{"attachment_id":67325734,"asset_id":48921120,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67325734/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="182137" href="https://udea.academia.edu/CarolinaSantamar%C3%ADaDelgado">Carolina Santamaría-Delgado</a><script data-card-contents-for-user="182137" type="text/json">{"id":182137,"first_name":"Carolina","last_name":"Santamaría-Delgado","domain_name":"udea","page_name":"CarolinaSantamaríaDelgado","display_name":"Carolina Santamaría-Delgado","profile_url":"https://udea.academia.edu/CarolinaSantamar%C3%ADaDelgado?f_ri=997147","photo":"https://0.academia-photos.com/182137/44894/30973360/s65_carolina.santamar_a-delgado.jpg"}</script></span></span></li><li class="js-paper-rank-work_48921120 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="48921120"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 48921120, container: ".js-paper-rank-work_48921120", }); 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$(".js-view-count[data-work-id=48921120]").text(description); $(".js-view-count-work_48921120").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_48921120").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="48921120"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6559" href="https://www.academia.edu/Documents/in/Music_and_Media">Music and Media</a>, <script data-card-contents-for-ri="6559" type="text/json">{"id":6559,"name":"Music and Media","url":"https://www.academia.edu/Documents/in/Music_and_Media?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="80469" href="https://www.academia.edu/Documents/in/Soundtrack">Soundtrack</a>, <script data-card-contents-for-ri="80469" type="text/json">{"id":80469,"name":"Soundtrack","url":"https://www.academia.edu/Documents/in/Soundtrack?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="997147" href="https://www.academia.edu/Documents/in/Screen_Melodrama">Screen Melodrama</a><script data-card-contents-for-ri="997147" type="text/json">{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=48921120]'), work: {"id":48921120,"title":"Music \u0026 Melodrama Popular Music in Colombian Telenovela","created_at":"2021-05-14T18:01:41.106-07:00","url":"https://www.academia.edu/48921120/Music_and_Melodrama_Popular_Music_in_Colombian_Telenovela?f_ri=997147","dom_id":"work_48921120","summary":null,"downloadable_attachments":[{"id":67325734,"asset_id":48921120,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":182137,"first_name":"Carolina","last_name":"Santamaría-Delgado","domain_name":"udea","page_name":"CarolinaSantamaríaDelgado","display_name":"Carolina Santamaría-Delgado","profile_url":"https://udea.academia.edu/CarolinaSantamar%C3%ADaDelgado?f_ri=997147","photo":"https://0.academia-photos.com/182137/44894/30973360/s65_carolina.santamar_a-delgado.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=997147","nofollow":false},{"id":6559,"name":"Music and Media","url":"https://www.academia.edu/Documents/in/Music_and_Media?f_ri=997147","nofollow":false},{"id":80469,"name":"Soundtrack","url":"https://www.academia.edu/Documents/in/Soundtrack?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36624257" data-work_id="36624257" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36624257/Law_and_Order_La_doppia_evoluzione_del_melodramma_nel_poliziesco_televisivo_americano">Law and Order. La doppia evoluzione del melodramma nel poliziesco televisivo americano</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Tesi realizzata per il corso magistrale in Cinema, Televisione e Produzione Multimediale. Tutte le storie parlano di controllo. Per questo amiamo le trame investigative, in cui uomini e donne che per lavoro operano tra legalità e... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36624257" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tesi realizzata per il corso magistrale in Cinema, Televisione e Produzione Multimediale.<br /><br />Tutte le storie parlano di controllo. Per questo amiamo le trame investigative, in cui uomini e donne che per lavoro operano tra legalità e illegalità, contro il Male esterno e interiore. Fin dalla sua nascita, la televisione americana si è strutturata attraverso il genere poliziesco: questa tesi vuole studiarne l'evoluzione usando il melodramma - inteso come modalità narrativa alla base di tutte le nostre narrazioni, non come genere o in maniera dispregiativa - come discriminante che ha segnato il passaggio alla Golden Age, da trame autoconclusive a storyline che si evolvono in più puntate. <br />Da Dragnet a The Wire, considerata la miglior serie tv di sempre.<br /><br />In questo modo, si vuole</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36624257" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="977fd8d27b14dd9215bb185c0bfa1fef" rel="nofollow" data-download="{"attachment_id":56555521,"asset_id":36624257,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56555521/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="59579408" href="https://independent.academia.edu/StivenZakaCobani">Stiven Zaka Cobani</a><script data-card-contents-for-user="59579408" type="text/json">{"id":59579408,"first_name":"Stiven","last_name":"Zaka Cobani","domain_name":"independent","page_name":"StivenZakaCobani","display_name":"Stiven Zaka Cobani","profile_url":"https://independent.academia.edu/StivenZakaCobani?f_ri=997147","photo":"https://0.academia-photos.com/59579408/22939574/43340850/s65_stiven.zaka_cobani.jpg"}</script></span></span></li><li class="js-paper-rank-work_36624257 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36624257"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36624257, container: ".js-paper-rank-work_36624257", }); 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href="https://www.academia.edu/7231100/Shifting_codes_dissolving_identities_the_Hindi_social_film_of_the_1950s_as_popular_culture">Shifting codes, dissolving identities: the Hindi social film of the 1950s as popular culture</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7231100" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="315253931e94a3dae6e5007d64af9d40" rel="nofollow" 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type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10758" href="https://www.academia.edu/Documents/in/Modernity">Modernity</a>, <script data-card-contents-for-ri="10758" type="text/json">{"id":10758,"name":"Modernity","url":"https://www.academia.edu/Documents/in/Modernity?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18277" href="https://www.academia.edu/Documents/in/Hindi_Cinema">Hindi Cinema</a><script data-card-contents-for-ri="18277" type="text/json">{"id":18277,"name":"Hindi Cinema","url":"https://www.academia.edu/Documents/in/Hindi_Cinema?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7231100]'), work: {"id":7231100,"title":"Shifting codes, dissolving identities: the Hindi social film 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class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31476059" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aeb6311dc5bf521afa9372fabc4b39f4" rel="nofollow" data-download="{"attachment_id":51829025,"asset_id":31476059,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51829025/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span 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data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6574" href="https://www.academia.edu/Documents/in/Family">Family</a>, <script data-card-contents-for-ri="6574" type="text/json">{"id":6574,"name":"Family","url":"https://www.academia.edu/Documents/in/Family?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9343" href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a>, <script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="41840" href="https://www.academia.edu/Documents/in/Wes_Anderson">Wes Anderson</a><script data-card-contents-for-ri="41840" type="text/json">{"id":41840,"name":"Wes Anderson","url":"https://www.academia.edu/Documents/in/Wes_Anderson?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31476059]'), work: {"id":31476059,"title":"Negotiations of Trauma in Wes Anderson's 'The Royal Tenenbaums' and 'The Darjeerling 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Memory","url":"https://www.academia.edu/Documents/in/Nostalgia_and_Memory?f_ri=997147"},{"id":343363,"name":"Screen Studies","url":"https://www.academia.edu/Documents/in/Screen_Studies?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44725240" data-work_id="44725240" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44725240/The_persistence_of_melodrama_from_Sirk_to_Fassbinder_to_Haynes">The persistence of melodrama: from Sirk to Fassbinder to Haynes</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Three different directors working at different moments in film history shoot three movies loosely based on the same story: Douglas Sirk’s All that heavern allows, Rainer Werner Fassbinder’s Fear eats the soul and Todd Haynes’s Far from... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44725240" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Three different directors working at different moments in film history shoot three movies loosely based on the same story: Douglas Sirk’s All that heavern allows, Rainer Werner Fassbinder’s Fear eats the soul and Todd Haynes’s Far from heaven deal with the same basic theme - how individual freedom is repressed by social conventions and overt discrimination - although treated differently: Sirk makes emotions "overflow" into the surrounding environment, so that all elements of the mise-en-scène become "living replacements" of what happens to the characters; Fassbinder is more directly interested in social critique, but, through his "distancing effects" is able to make us fully and painfully aware of the characters' emotions; and Haynes brings the classical melodramatic elements into new life, infusing them with a sensibility that can very well resonate with contemporary audiences. Taken together, such films witness the persistence of melodrama through changing times and social contexts.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44725240" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="89d75c8e67f77d2d5367c6d12b6cca49" rel="nofollow" data-download="{"attachment_id":65207746,"asset_id":44725240,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65207746/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="354344" href="https://independent.academia.edu/LucianoMariani">Luciano Mariani</a><script data-card-contents-for-user="354344" type="text/json">{"id":354344,"first_name":"Luciano","last_name":"Mariani","domain_name":"independent","page_name":"LucianoMariani","display_name":"Luciano Mariani","profile_url":"https://independent.academia.edu/LucianoMariani?f_ri=997147","photo":"https://0.academia-photos.com/354344/203755/237758/s65_luciano.mariani.jpg"}</script></span></span></li><li class="js-paper-rank-work_44725240 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44725240"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44725240, container: ".js-paper-rank-work_44725240", }); 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$(".js-view-count[data-work-id=44725240]").text(description); $(".js-view-count-work_44725240").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44725240").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44725240"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9343" href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a>, <script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19258" href="https://www.academia.edu/Documents/in/Cinema">Cinema</a><script data-card-contents-for-ri="19258" type="text/json">{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44725240]'), work: {"id":44725240,"title":"The persistence of melodrama: from Sirk to Fassbinder to Haynes","created_at":"2020-12-17T07:15:56.277-08:00","url":"https://www.academia.edu/44725240/The_persistence_of_melodrama_from_Sirk_to_Fassbinder_to_Haynes?f_ri=997147","dom_id":"work_44725240","summary":"Three different directors working at different moments in film history shoot three movies loosely based on the same story: Douglas Sirk’s All that heavern allows, Rainer Werner Fassbinder’s Fear eats the soul and Todd Haynes’s Far from heaven deal with the same basic theme - how individual freedom is repressed by social conventions and overt discrimination - although treated differently: Sirk makes emotions \"overflow\" into the surrounding environment, so that all elements of the mise-en-scène become \"living replacements\" of what happens to the characters; Fassbinder is more directly interested in social critique, but, through his \"distancing effects\" is able to make us fully and painfully aware of the characters' emotions; and Haynes brings the classical melodramatic elements into new life, infusing them with a sensibility that can very well resonate with contemporary audiences. Taken together, such films witness the persistence of melodrama through changing times and social contexts.","downloadable_attachments":[{"id":65207746,"asset_id":44725240,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":354344,"first_name":"Luciano","last_name":"Mariani","domain_name":"independent","page_name":"LucianoMariani","display_name":"Luciano Mariani","profile_url":"https://independent.academia.edu/LucianoMariani?f_ri=997147","photo":"https://0.academia-photos.com/354344/203755/237758/s65_luciano.mariani.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=997147","nofollow":false},{"id":35206,"name":"Todd Haynes","url":"https://www.academia.edu/Documents/in/Todd_Haynes?f_ri=997147"},{"id":44379,"name":"Rainer Werner Fassbinder","url":"https://www.academia.edu/Documents/in/Rainer_Werner_Fassbinder?f_ri=997147"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=997147"},{"id":80698,"name":"Films","url":"https://www.academia.edu/Documents/in/Films?f_ri=997147"},{"id":109342,"name":"Douglas Sirk","url":"https://www.academia.edu/Documents/in/Douglas_Sirk?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1215446,"name":"Film Melodrama","url":"https://www.academia.edu/Documents/in/Film_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40494157" data-work_id="40494157" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40494157/M%C3%A1s_fr%C3%ADo_que_la_muerte_El_melodrama_seg%C3%BAn_Fassbinder_un_itinerario_cr%C3%ADtico_en_Quim_Casas_coord_Rainer_Werner_Fassbinder_Amor_y_rabia_Donostia_Kultura_Filmoteca_Vasca_Colecci%C3%B3n_Nosferatu_San_Sebasti%C3%A1n_2019_pp_71_78">Más frío que la muerte. El melodrama según Fassbinder: un itinerario crítico, en Quim Casas (coord.), Rainer Werner Fassbinder. Amor y rabia, Donostia Kultura/Filmoteca Vasca [Colección Nosferatu], San Sebastián, 2019, pp. 71-78</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40494157" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e02f37d83854fca8f457e68e843ac3a5" rel="nofollow" data-download="{"attachment_id":60762912,"asset_id":40494157,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60762912/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31297836" href="https://pisa.academia.edu/ValerioCarando">Valerio Carando</a><script data-card-contents-for-user="31297836" type="text/json">{"id":31297836,"first_name":"Valerio","last_name":"Carando","domain_name":"pisa","page_name":"ValerioCarando","display_name":"Valerio Carando","profile_url":"https://pisa.academia.edu/ValerioCarando?f_ri=997147","photo":"https://0.academia-photos.com/31297836/9215536/10274993/s65_valerio.carando.jpg"}</script></span></span></li><li class="js-paper-rank-work_40494157 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40494157"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40494157, container: ".js-paper-rank-work_40494157", }); });</script></li><li class="js-percentile-work_40494157 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40494157; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40494157"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40494157 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40494157"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40494157; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40494157]").text(description); $(".js-view-count-work_40494157").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40494157").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40494157"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="384" href="https://www.academia.edu/Documents/in/German_Studies">German Studies</a>, <script data-card-contents-for-ri="384" type="text/json">{"id":384,"name":"German Studies","url":"https://www.academia.edu/Documents/in/German_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1570" href="https://www.academia.edu/Documents/in/European_Cinema">European Cinema</a><script data-card-contents-for-ri="1570" type="text/json">{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40494157]'), work: {"id":40494157,"title":"Más frío que la muerte. El melodrama según Fassbinder: un itinerario crítico, en Quim Casas (coord.), Rainer Werner Fassbinder. Amor y rabia, Donostia Kultura/Filmoteca Vasca [Colección Nosferatu], San Sebastián, 2019, pp. 71-78","created_at":"2019-10-01T14:58:17.990-07:00","url":"https://www.academia.edu/40494157/M%C3%A1s_fr%C3%ADo_que_la_muerte_El_melodrama_seg%C3%BAn_Fassbinder_un_itinerario_cr%C3%ADtico_en_Quim_Casas_coord_Rainer_Werner_Fassbinder_Amor_y_rabia_Donostia_Kultura_Filmoteca_Vasca_Colecci%C3%B3n_Nosferatu_San_Sebasti%C3%A1n_2019_pp_71_78?f_ri=997147","dom_id":"work_40494157","summary":null,"downloadable_attachments":[{"id":60762912,"asset_id":40494157,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31297836,"first_name":"Valerio","last_name":"Carando","domain_name":"pisa","page_name":"ValerioCarando","display_name":"Valerio Carando","profile_url":"https://pisa.academia.edu/ValerioCarando?f_ri=997147","photo":"https://0.academia-photos.com/31297836/9215536/10274993/s65_valerio.carando.jpg"}],"research_interests":[{"id":384,"name":"German Studies","url":"https://www.academia.edu/Documents/in/German_Studies?f_ri=997147","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=997147","nofollow":false},{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=997147","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=997147"},{"id":12960,"name":"German Cinema","url":"https://www.academia.edu/Documents/in/German_Cinema?f_ri=997147"},{"id":25107,"name":"Film Aesthetics","url":"https://www.academia.edu/Documents/in/Film_Aesthetics?f_ri=997147"},{"id":34934,"name":"Europe and Hollywood","url":"https://www.academia.edu/Documents/in/Europe_and_Hollywood?f_ri=997147"},{"id":44379,"name":"Rainer Werner Fassbinder","url":"https://www.academia.edu/Documents/in/Rainer_Werner_Fassbinder?f_ri=997147"},{"id":104272,"name":"German Film","url":"https://www.academia.edu/Documents/in/German_Film?f_ri=997147"},{"id":109342,"name":"Douglas Sirk","url":"https://www.academia.edu/Documents/in/Douglas_Sirk?f_ri=997147"},{"id":123108,"name":"Postmodern Film","url":"https://www.academia.edu/Documents/in/Postmodern_Film?f_ri=997147"},{"id":221622,"name":"Luchino Visconti","url":"https://www.academia.edu/Documents/in/Luchino_Visconti?f_ri=997147"},{"id":225704,"name":"Postmodern Cinema","url":"https://www.academia.edu/Documents/in/Postmodern_Cinema?f_ri=997147"},{"id":547355,"name":"New German Cinema","url":"https://www.academia.edu/Documents/in/New_German_Cinema?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1215446,"name":"Film Melodrama","url":"https://www.academia.edu/Documents/in/Film_Melodrama?f_ri=997147"},{"id":1329635,"name":"Cine Y Postmodernidad","url":"https://www.academia.edu/Documents/in/Cine_Y_Postmodernidad?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12322455" data-work_id="12322455" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12322455/Practical_Magic_Photography_Memory_and_Trauma_in_Ingeborg_Holm">Practical Magic: Photography, Memory and Trauma in Ingeborg Holm</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">When a motion picture repeats an identical photographic image three times, accruing purpose and synthesizing new meaning with each appearance, such an image demands analysis. Surprisingly, no present study comprehensively examines the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12322455" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">When a motion picture repeats an identical photographic image three times, accruing<br />purpose and synthesizing new meaning with each appearance, such an image demands<br />analysis. Surprisingly, no present study comprehensively examines the evolution of the<br />heroine's portrait photograph in Victor Sjöström's silent Swedish melodrama, Ingeborg Holm<br />(1913). The only existing scholarly work that focuses on Ingeborg's photograph with any<br />interest or value is Mark Sandberg's “Maternal Gesture and Photography in Victor Sjöström's<br />Ingeborg Holm,” in which the author explores the film's naturalist gestural system as<br />constitutive of character, and the transparent reliability of the photograph as the dialectic<br />antithesis to melodramatic gesture—the respite necessary to process truth from the<br />obfuscating activity of performance. While I agree, I propose that the photograph obtains<br />multivalent narrative and psychological functions with each appearance, morphing from a<br />talisman into a memento, and finally into the visual representation of the melodramatic<br />trauma cycle. Maintaining its own visual identicality, the photograph ultimately acts as<br />identity's savior through its transformative play of narrative function.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12322455" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f6ce052ced3e4d07c1aff12c9e8ff140" rel="nofollow" data-download="{"attachment_id":37596129,"asset_id":12322455,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37596129/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="20290899" href="https://harrystrumancitycollegeschicago.academia.edu/BethBullock">Elizabeth Bullock</a><script data-card-contents-for-user="20290899" type="text/json">{"id":20290899,"first_name":"Elizabeth","last_name":"Bullock","domain_name":"harrystrumancitycollegeschicago","page_name":"BethBullock","display_name":"Elizabeth Bullock","profile_url":"https://harrystrumancitycollegeschicago.academia.edu/BethBullock?f_ri=997147","photo":"https://gravatar.com/avatar/c03379793a647cfc2ace486533c3e280?s=65"}</script></span></span></li><li class="js-paper-rank-work_12322455 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12322455"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12322455, container: ".js-paper-rank-work_12322455", }); 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$(".js-view-count[data-work-id=12322455]").text(description); $(".js-view-count-work_12322455").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12322455").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12322455"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">22</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5408" href="https://www.academia.edu/Documents/in/Magic">Magic</a>, <script data-card-contents-for-ri="5408" type="text/json">{"id":5408,"name":"Magic","url":"https://www.academia.edu/Documents/in/Magic?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6106" href="https://www.academia.edu/Documents/in/Trauma_Studies">Trauma Studies</a><script data-card-contents-for-ri="6106" type="text/json">{"id":6106,"name":"Trauma Studies","url":"https://www.academia.edu/Documents/in/Trauma_Studies?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12322455]'), work: {"id":12322455,"title":"Practical Magic: Photography, Memory and Trauma in Ingeborg Holm","created_at":"2015-05-10T13:46:58.730-07:00","url":"https://www.academia.edu/12322455/Practical_Magic_Photography_Memory_and_Trauma_in_Ingeborg_Holm?f_ri=997147","dom_id":"work_12322455","summary":"When a motion picture repeats an identical photographic image three times, accruing\npurpose and synthesizing new meaning with each appearance, such an image demands\nanalysis. Surprisingly, no present study comprehensively examines the evolution of the\nheroine's portrait photograph in Victor Sjöström's silent Swedish melodrama, Ingeborg Holm\n(1913). The only existing scholarly work that focuses on Ingeborg's photograph with any\ninterest or value is Mark Sandberg's “Maternal Gesture and Photography in Victor Sjöström's\nIngeborg Holm,” in which the author explores the film's naturalist gestural system as\nconstitutive of character, and the transparent reliability of the photograph as the dialectic\nantithesis to melodramatic gesture—the respite necessary to process truth from the\nobfuscating activity of performance. While I agree, I propose that the photograph obtains\nmultivalent narrative and psychological functions with each appearance, morphing from a\ntalisman into a memento, and finally into the visual representation of the melodramatic\ntrauma cycle. Maintaining its own visual identicality, the photograph ultimately acts as\nidentity's savior through its transformative play of narrative function.","downloadable_attachments":[{"id":37596129,"asset_id":12322455,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":20290899,"first_name":"Elizabeth","last_name":"Bullock","domain_name":"harrystrumancitycollegeschicago","page_name":"BethBullock","display_name":"Elizabeth Bullock","profile_url":"https://harrystrumancitycollegeschicago.academia.edu/BethBullock?f_ri=997147","photo":"https://gravatar.com/avatar/c03379793a647cfc2ace486533c3e280?s=65"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=997147","nofollow":false},{"id":5408,"name":"Magic","url":"https://www.academia.edu/Documents/in/Magic?f_ri=997147","nofollow":false},{"id":6106,"name":"Trauma Studies","url":"https://www.academia.edu/Documents/in/Trauma_Studies?f_ri=997147","nofollow":false},{"id":6397,"name":"Silent Film","url":"https://www.academia.edu/Documents/in/Silent_Film?f_ri=997147"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=997147"},{"id":11471,"name":"Cinema and Memory","url":"https://www.academia.edu/Documents/in/Cinema_and_Memory?f_ri=997147"},{"id":25105,"name":"Swedish Cinema","url":"https://www.academia.edu/Documents/in/Swedish_Cinema?f_ri=997147"},{"id":46858,"name":"Memory","url":"https://www.academia.edu/Documents/in/Memory?f_ri=997147"},{"id":53321,"name":"Silent Cinema","url":"https://www.academia.edu/Documents/in/Silent_Cinema?f_ri=997147"},{"id":88336,"name":"Early Cinema, Swedish cinema/film history, Scriptwriting","url":"https://www.academia.edu/Documents/in/Early_Cinema_Swedish_cinema_film_history_Scriptwriting?f_ri=997147"},{"id":96097,"name":"Motherhood","url":"https://www.academia.edu/Documents/in/Motherhood?f_ri=997147"},{"id":144472,"name":"Memento","url":"https://www.academia.edu/Documents/in/Memento?f_ri=997147"},{"id":146907,"name":"Cultural Memory (especially in Relation to Cinema And/or Photography), Cinema/cultural Experience and Psychoanalytic Theory, Film History; Photography and Cultural Memory","url":"https://www.academia.edu/Documents/in/Cultural_Memory_especially_in_Relation_to_Cinema_And_or_Photography_Cinema_cultural_Experience_an?f_ri=997147"},{"id":512255,"name":"Film Studies, Women's Cinema","url":"https://www.academia.edu/Documents/in/Film_Studies_Womens_Cinema?f_ri=997147"},{"id":596077,"name":"Cinema, Trauma, Memory","url":"https://www.academia.edu/Documents/in/Cinema_Trauma_Memory?f_ri=997147"},{"id":730347,"name":"Photography and Cinema","url":"https://www.academia.edu/Documents/in/Photography_and_Cinema?f_ri=997147"},{"id":877135,"name":"Function of photography ,memory and temporality","url":"https://www.academia.edu/Documents/in/Function_of_photography_memory_and_temporality?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1010048,"name":"Early and Silent Cinema","url":"https://www.academia.edu/Documents/in/Early_and_Silent_Cinema?f_ri=997147"},{"id":1929267,"name":"Maternal Melodrama","url":"https://www.academia.edu/Documents/in/Maternal_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44655255" data-work_id="44655255" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44655255/Il_melodramma_classico_hollywoodiano">Il melodramma classico hollywoodiano</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il melodramma è un genere? O possiamo rintracciare scene e sequenze melodrammatiche attraverso una varietà di generi? La difficoltà nel rispondere a queste domande non dovrebbe farci dimenticare che, nel suo periodo di massimo splendore,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44655255" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il melodramma è un genere? O possiamo rintracciare scene e sequenze melodrammatiche attraverso una varietà di generi? La difficoltà nel rispondere a queste domande non dovrebbe farci dimenticare che, nel suo periodo di massimo splendore, Hollywood ha prodotto una serie di film che possiamo facilmente identificare come melodrammi hollywoodiani "classici" - da Magnifica ossessione a A casa dopo l’uragano a Gioventù bruciata, registi come Douglas Sirk, Vincente Minnelli e Nicholas Ray sono stati in grado, non solo di soddisfare le aspettative popolari contemporanee, ma anche, e soprattutto, di ritrarre con pathos e ironia le difficoltà della famiglia americana colta in uno dei suoi periodi di crisi più acuti e inquietanti.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44655255" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="efd34a8da2baf415e4e82bf31f818b38" rel="nofollow" data-download="{"attachment_id":65126862,"asset_id":44655255,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65126862/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="354344" href="https://independent.academia.edu/LucianoMariani">Luciano Mariani</a><script data-card-contents-for-user="354344" type="text/json">{"id":354344,"first_name":"Luciano","last_name":"Mariani","domain_name":"independent","page_name":"LucianoMariani","display_name":"Luciano Mariani","profile_url":"https://independent.academia.edu/LucianoMariani?f_ri=997147","photo":"https://0.academia-photos.com/354344/203755/237758/s65_luciano.mariani.jpg"}</script></span></span></li><li class="js-paper-rank-work_44655255 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44655255"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44655255, container: ".js-paper-rank-work_44655255", }); 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$(".js-view-count[data-work-id=44655255]").text(description); $(".js-view-count-work_44655255").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44655255").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44655255"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9343" href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a>, <script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19258" href="https://www.academia.edu/Documents/in/Cinema">Cinema</a><script data-card-contents-for-ri="19258" type="text/json">{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44655255]'), work: {"id":44655255,"title":"Il melodramma classico hollywoodiano","created_at":"2020-12-07T10:04:08.127-08:00","url":"https://www.academia.edu/44655255/Il_melodramma_classico_hollywoodiano?f_ri=997147","dom_id":"work_44655255","summary":"Il melodramma è un genere? O possiamo rintracciare scene e sequenze melodrammatiche attraverso una varietà di generi? La difficoltà nel rispondere a queste domande non dovrebbe farci dimenticare che, nel suo periodo di massimo splendore, Hollywood ha prodotto una serie di film che possiamo facilmente identificare come melodrammi hollywoodiani \"classici\" - da Magnifica ossessione a A casa dopo l’uragano a Gioventù bruciata, registi come Douglas Sirk, Vincente Minnelli e Nicholas Ray sono stati in grado, non solo di soddisfare le aspettative popolari contemporanee, ma anche, e soprattutto, di ritrarre con pathos e ironia le difficoltà della famiglia americana colta in uno dei suoi periodi di crisi più acuti e inquietanti.","downloadable_attachments":[{"id":65126862,"asset_id":44655255,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":354344,"first_name":"Luciano","last_name":"Mariani","domain_name":"independent","page_name":"LucianoMariani","display_name":"Luciano Mariani","profile_url":"https://independent.academia.edu/LucianoMariani?f_ri=997147","photo":"https://0.academia-photos.com/354344/203755/237758/s65_luciano.mariani.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=997147","nofollow":false},{"id":47199,"name":"Hollywood","url":"https://www.academia.edu/Documents/in/Hollywood?f_ri=997147"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=997147"},{"id":80698,"name":"Films","url":"https://www.academia.edu/Documents/in/Films?f_ri=997147"},{"id":83447,"name":"Classical Hollywood Cinema","url":"https://www.academia.edu/Documents/in/Classical_Hollywood_Cinema?f_ri=997147"},{"id":188769,"name":"Hollywood Cinema","url":"https://www.academia.edu/Documents/in/Hollywood_Cinema?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1215446,"name":"Film Melodrama","url":"https://www.academia.edu/Documents/in/Film_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12994540" data-work_id="12994540" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12994540/Book_chapter_on_Television_Melodrama_We_Are_Like_That_Only_in_Michael_Stewart_ed_Melodrama_in_Contemporary_Film_and_Television">Book chapter on Television Melodrama 'We Are Like That Only ....' in Michael Stewart (ed) Melodrama in Contemporary Film and Television</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12994540" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="410e652fbf1295b1e7e100979e64c398" rel="nofollow" data-download="{"attachment_id":37910401,"asset_id":12994540,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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} })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8489081" data-work_id="8489081" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8489081/Political_Emotions_Civil_Religion_and_Melodrama_in_Spielbergs_Lincoln">Political Emotions: Civil Religion and Melodrama in Spielberg's Lincoln</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay focuses on how Spielberg’s film engages with and contributes to the myth of Lincoln as a super-natural figure, a saint more than a hero or great statesman, while anchoring his moral authority in the sentimental rhetoric of the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8489081" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay focuses on how Spielberg’s film engages with and contributes to the myth of Lincoln as a super-natural figure, a saint more than a hero or great statesman, while anchoring his moral authority in the sentimental rhetoric of the domestic sphere. It is this use of the melodramatic mode, linking the familial space with the national through the trope of the victim-hero, that is the essay’s main concern. With Tony Kushner, author of Angels in America, as scriptwriter, it is perhaps not surprising that melodrama is the operative mode in the film. One of the issues that emerges from this analysis is how the film updates melodrama for a contemporary audience in order to minimize what could be perceived as manipulative sentimental devices, observing for most of the film an aesthetic of relative sobriety and realism. In the last hour, and especially the final minutes of the film, melodramatic conventions are deployed in full force and infused with hagiographic iconography to produce a series of emotionally charged moments that create a perfect union of American Civil Religion and classical melodrama. The cornerstone of both cultural paradigms, as deployed in this film, is death: Lincoln’s at the hands of an assassin, and the Civil War soldiers’, poignantly depicted at key moments of the film. Finally, the essay shows how film melodrama as a genre weaves together the private and the public, the domestic with the national, the familial with the military, and links pathos to politics in a carefully choreographed narrative of sentimentalized mythopoesis.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8489081" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0b011a51ff89c51fbc97dc79f9ca84a6" rel="nofollow" data-download="{"attachment_id":34870793,"asset_id":8489081,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34870793/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2194702" href="https://unil.academia.edu/AgnieszkaSoltysik">Agnieszka Soltysik</a><script data-card-contents-for-user="2194702" type="text/json">{"id":2194702,"first_name":"Agnieszka","last_name":"Soltysik","domain_name":"unil","page_name":"AgnieszkaSoltysik","display_name":"Agnieszka Soltysik","profile_url":"https://unil.academia.edu/AgnieszkaSoltysik?f_ri=997147","photo":"https://0.academia-photos.com/2194702/704416/18163752/s65_agnieszka.soltysik.jpg"}</script></span></span></li><li class="js-paper-rank-work_8489081 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8489081"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8489081, container: ".js-paper-rank-work_8489081", }); 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It is this use of the melodramatic mode, linking the familial space with the national through the trope of the victim-hero, that is the essay’s main concern. With Tony Kushner, author of Angels in America, as scriptwriter, it is perhaps not surprising that melodrama is the operative mode in the film. One of the issues that emerges from this analysis is how the film updates melodrama for a contemporary audience in order to minimize what could be perceived as manipulative sentimental devices, observing for most of the film an aesthetic of relative sobriety and realism. In the last hour, and especially the final minutes of the film, melodramatic conventions are deployed in full force and infused with hagiographic iconography to produce a series of emotionally charged moments that create a perfect union of American Civil Religion and classical melodrama. The cornerstone of both cultural paradigms, as deployed in this film, is death: Lincoln’s at the hands of an assassin, and the Civil War soldiers’, poignantly depicted at key moments of the film. Finally, the essay shows how film melodrama as a genre weaves together the private and the public, the domestic with the national, the familial with the military, and links pathos to politics in a carefully choreographed narrative of sentimentalized mythopoesis. ","downloadable_attachments":[{"id":34870793,"asset_id":8489081,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2194702,"first_name":"Agnieszka","last_name":"Soltysik","domain_name":"unil","page_name":"AgnieszkaSoltysik","display_name":"Agnieszka Soltysik","profile_url":"https://unil.academia.edu/AgnieszkaSoltysik?f_ri=997147","photo":"https://0.academia-photos.com/2194702/704416/18163752/s65_agnieszka.soltysik.jpg"}],"research_interests":[{"id":4447,"name":"Abraham Lincoln","url":"https://www.academia.edu/Documents/in/Abraham_Lincoln?f_ri=997147","nofollow":false},{"id":5878,"name":"Nationalism","url":"https://www.academia.edu/Documents/in/Nationalism?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":16560,"name":"American Civil Religion","url":"https://www.academia.edu/Documents/in/American_Civil_Religion?f_ri=997147","nofollow":false},{"id":27131,"name":"Civil Religion","url":"https://www.academia.edu/Documents/in/Civil_Religion?f_ri=997147"},{"id":191474,"name":"Steven Spielberg","url":"https://www.academia.edu/Documents/in/Steven_Spielberg?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9711962" data-work_id="9711962" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9711962/_Triunfalismo_nacional_y_m%C3%ADstica_guerrera_en_Harka_y_A_m%C3%AD_la_Legi%C3%B3n_Bulletin_of_Spanish_Studies_LXXXIX_7_8_2012_">“Triunfalismo nacional y mística guerrera en ¡Harka! y ¡A mí la Legión!“. Bulletin of Spanish Studies LXXXIX.7-8 (2012)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9711962" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="331c5cb40e0b5241ebd6cccd8f71b7a9" rel="nofollow" data-download="{"attachment_id":35900258,"asset_id":9711962,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35900258/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="20754819" href="https://saintmarys.academia.edu/DianaJorza">Diana Roxana Jorza</a><script data-card-contents-for-user="20754819" type="text/json">{"id":20754819,"first_name":"Diana Roxana","last_name":"Jorza","domain_name":"saintmarys","page_name":"DianaJorza","display_name":"Diana Roxana Jorza","profile_url":"https://saintmarys.academia.edu/DianaJorza?f_ri=997147","photo":"https://0.academia-photos.com/20754819/6324331/7157591/s65_diana.jorza.jpg"}</script></span></span></li><li class="js-paper-rank-work_9711962 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9711962"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9711962, container: ".js-paper-rank-work_9711962", }); 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$(".js-view-count[data-work-id=9711962]").text(description); $(".js-view-count-work_9711962").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9711962").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9711962"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1174" href="https://www.academia.edu/Documents/in/Spanish_Studies">Spanish Studies</a>, <script data-card-contents-for-ri="1174" type="text/json">{"id":1174,"name":"Spanish Studies","url":"https://www.academia.edu/Documents/in/Spanish_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2544" href="https://www.academia.edu/Documents/in/Spanish_Literature_Peninsular_">Spanish Literature (Peninsular)</a>, <script data-card-contents-for-ri="2544" type="text/json">{"id":2544,"name":"Spanish Literature (Peninsular)","url":"https://www.academia.edu/Documents/in/Spanish_Literature_Peninsular_?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3059" href="https://www.academia.edu/Documents/in/Religion_and_Politics">Religion and Politics</a>, <script data-card-contents-for-ri="3059" type="text/json">{"id":3059,"name":"Religion and Politics","url":"https://www.academia.edu/Documents/in/Religion_and_Politics?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3356" href="https://www.academia.edu/Documents/in/Propaganda">Propaganda</a><script data-card-contents-for-ri="3356" type="text/json">{"id":3356,"name":"Propaganda","url":"https://www.academia.edu/Documents/in/Propaganda?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9711962]'), work: {"id":9711962,"title":"“Triunfalismo nacional y mística guerrera en ¡Harka! y ¡A mí la Legión!“. Bulletin of Spanish Studies LXXXIX.7-8 (2012)","created_at":"2014-12-10T09:54:31.391-08:00","url":"https://www.academia.edu/9711962/_Triunfalismo_nacional_y_m%C3%ADstica_guerrera_en_Harka_y_A_m%C3%AD_la_Legi%C3%B3n_Bulletin_of_Spanish_Studies_LXXXIX_7_8_2012_?f_ri=997147","dom_id":"work_9711962","summary":null,"downloadable_attachments":[{"id":35900258,"asset_id":9711962,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":20754819,"first_name":"Diana Roxana","last_name":"Jorza","domain_name":"saintmarys","page_name":"DianaJorza","display_name":"Diana Roxana Jorza","profile_url":"https://saintmarys.academia.edu/DianaJorza?f_ri=997147","photo":"https://0.academia-photos.com/20754819/6324331/7157591/s65_diana.jorza.jpg"}],"research_interests":[{"id":1174,"name":"Spanish Studies","url":"https://www.academia.edu/Documents/in/Spanish_Studies?f_ri=997147","nofollow":false},{"id":2544,"name":"Spanish Literature (Peninsular)","url":"https://www.academia.edu/Documents/in/Spanish_Literature_Peninsular_?f_ri=997147","nofollow":false},{"id":3059,"name":"Religion and Politics","url":"https://www.academia.edu/Documents/in/Religion_and_Politics?f_ri=997147","nofollow":false},{"id":3356,"name":"Propaganda","url":"https://www.academia.edu/Documents/in/Propaganda?f_ri=997147","nofollow":false},{"id":6017,"name":"Spanish Cinema","url":"https://www.academia.edu/Documents/in/Spanish_Cinema?f_ri=997147"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147"},{"id":20333,"name":"Spanish Civil War","url":"https://www.academia.edu/Documents/in/Spanish_Civil_War?f_ri=997147"},{"id":36236,"name":"War and the Media","url":"https://www.academia.edu/Documents/in/War_and_the_Media?f_ri=997147"},{"id":36842,"name":"Spanish cinema (Film Studies)","url":"https://www.academia.edu/Documents/in/Spanish_cinema_Film_Studies_?f_ri=997147"},{"id":66679,"name":"Francoism","url":"https://www.academia.edu/Documents/in/Francoism?f_ri=997147"},{"id":90255,"name":"History of Spanish Cinema","url":"https://www.academia.edu/Documents/in/History_of_Spanish_Cinema?f_ri=997147"},{"id":782134,"name":"Spanish civil war and cinema","url":"https://www.academia.edu/Documents/in/Spanish_civil_war_and_cinema?f_ri=997147"},{"id":993492,"name":"Melodrama \u0026 Culture","url":"https://www.academia.edu/Documents/in/Melodrama_and_Culture?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4122425" data-work_id="4122425" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4122425/Race_Class_and_the_Pressure_to_Pass_in_American_Maternal_Melodrama_The_Case_of_Stella_Dallas">Race, Class, and the Pressure to Pass in American Maternal Melodrama: The Case of Stella Dallas</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4122425" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="be0c7fe32b5f6d823629b87384e0aedd" rel="nofollow" data-download="{"attachment_id":34445187,"asset_id":4122425,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34445187/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4954855" href="https://ttu.academia.edu/AllisonWhitney">Allison Whitney</a><script data-card-contents-for-user="4954855" 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work-percentile"></span></span><script>$(function () { var workId = 4122425; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4122425"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4122425 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4122425"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4122425; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4122425]").text(description); $(".js-view-count-work_4122425").attr('title', description).tooltip(); }); 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type="text/json">{"id":14912,"name":"African American Studies","url":"https://www.academia.edu/Documents/in/African_American_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="108319" href="https://www.academia.edu/Documents/in/King_Vidor">King Vidor</a>, <script data-card-contents-for-ri="108319" type="text/json">{"id":108319,"name":"King Vidor","url":"https://www.academia.edu/Documents/in/King_Vidor?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="146070" href="https://www.academia.edu/Documents/in/Motherhood_in_Media">Motherhood in Media</a><script data-card-contents-for-ri="146070" type="text/json">{"id":146070,"name":"Motherhood in Media","url":"https://www.academia.edu/Documents/in/Motherhood_in_Media?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4122425]'), work: 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26511944" data-work_id="26511944" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26511944/Influence_de_Douglas_Sirk_sur_le_cin%C3%A9ma_de_Rainer_Werner_Fassbinder_pdf">Influence de Douglas Sirk sur le cinéma de Rainer Werner Fassbinder.pdf</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26511944" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="59ed5ce9f63077c09916a1b5bd4d25b7" rel="nofollow" data-download="{"attachment_id":46808177,"asset_id":26511944,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46808177/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1293202" href="https://mixcloud.academia.edu/PierreSimonGutman">Pierre-Simon Gutman</a><script data-card-contents-for-user="1293202" type="text/json">{"id":1293202,"first_name":"Pierre-Simon","last_name":"Gutman","domain_name":"mixcloud","page_name":"PierreSimonGutman","display_name":"Pierre-Simon Gutman","profile_url":"https://mixcloud.academia.edu/PierreSimonGutman?f_ri=997147","photo":"https://0.academia-photos.com/1293202/476049/599796/s65_pierre-simon.gutman.jpg"}</script></span></span></li><li class="js-paper-rank-work_26511944 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26511944"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26511944, container: ".js-paper-rank-work_26511944", }); });</script></li><li class="js-percentile-work_26511944 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span 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$(".js-view-count[data-work-id=26511944]").text(description); $(".js-view-count-work_26511944").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26511944").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26511944"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="44379" href="https://www.academia.edu/Documents/in/Rainer_Werner_Fassbinder">Rainer Werner Fassbinder</a>, <script data-card-contents-for-ri="44379" type="text/json">{"id":44379,"name":"Rainer Werner Fassbinder","url":"https://www.academia.edu/Documents/in/Rainer_Werner_Fassbinder?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="109342" href="https://www.academia.edu/Documents/in/Douglas_Sirk">Douglas Sirk</a>, <script data-card-contents-for-ri="109342" type="text/json">{"id":109342,"name":"Douglas Sirk","url":"https://www.academia.edu/Documents/in/Douglas_Sirk?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="997147" href="https://www.academia.edu/Documents/in/Screen_Melodrama">Screen Melodrama</a><script data-card-contents-for-ri="997147" type="text/json">{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26511944]'), work: {"id":26511944,"title":"Influence de Douglas Sirk sur le cinéma de Rainer Werner 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Sirk","url":"https://www.academia.edu/Documents/in/Douglas_Sirk?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24049073" data-work_id="24049073" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24049073/Aproximacion_al_melodrama_infantil_espa%C3%B1ol_en_la_d%C3%A9cada_de_los_cincuenta_Marcelino_pan_y_vino">Aproximacion al melodrama infantil español en la década de los cincuenta: Marcelino pan y vino</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7205810" href="https://usc-es.academia.edu/IsabelSempere">Isabel Sempere</a><script data-card-contents-for-user="7205810" type="text/json">{"id":7205810,"first_name":"Isabel","last_name":"Sempere","domain_name":"usc-es","page_name":"IsabelSempere","display_name":"Isabel Sempere","profile_url":"https://usc-es.academia.edu/IsabelSempere?f_ri=997147","photo":"https://0.academia-photos.com/7205810/2691152/20124520/s65_isabel.sempere.jpg"}</script></span></span></li><li class="js-paper-rank-work_24049073 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" 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InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="24049073"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 24049073; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=24049073]").text(description); $(".js-view-count-work_24049073").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_24049073").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="24049073"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6017" href="https://www.academia.edu/Documents/in/Spanish_Cinema">Spanish Cinema</a>, <script data-card-contents-for-ri="6017" type="text/json">{"id":6017,"name":"Spanish Cinema","url":"https://www.academia.edu/Documents/in/Spanish_Cinema?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="348761" href="https://www.academia.edu/Documents/in/Cine_Espa%C3%B1ol">Cine Español</a>, <script data-card-contents-for-ri="348761" type="text/json">{"id":348761,"name":"Cine Español","url":"https://www.academia.edu/Documents/in/Cine_Espa%C3%B1ol?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="739655" href="https://www.academia.edu/Documents/in/Children_and_Cinema">Children and Cinema</a>, <script data-card-contents-for-ri="739655" type="text/json">{"id":739655,"name":"Children and Cinema","url":"https://www.academia.edu/Documents/in/Children_and_Cinema?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="869583" href="https://www.academia.edu/Documents/in/Cine_infantil">Cine infantil</a><script data-card-contents-for-ri="869583" type="text/json">{"id":869583,"name":"Cine infantil","url":"https://www.academia.edu/Documents/in/Cine_infantil?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24049073]'), work: {"id":24049073,"title":"Aproximacion al melodrama infantil español en la década de los cincuenta: Marcelino pan y vino","created_at":"2016-04-05T00:32:29.137-07:00","url":"https://www.academia.edu/24049073/Aproximacion_al_melodrama_infantil_espa%C3%B1ol_en_la_d%C3%A9cada_de_los_cincuenta_Marcelino_pan_y_vino?f_ri=997147","dom_id":"work_24049073","summary":null,"downloadable_attachments":[{"id":44423290,"asset_id":24049073,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7205810,"first_name":"Isabel","last_name":"Sempere","domain_name":"usc-es","page_name":"IsabelSempere","display_name":"Isabel Sempere","profile_url":"https://usc-es.academia.edu/IsabelSempere?f_ri=997147","photo":"https://0.academia-photos.com/7205810/2691152/20124520/s65_isabel.sempere.jpg"}],"research_interests":[{"id":6017,"name":"Spanish Cinema","url":"https://www.academia.edu/Documents/in/Spanish_Cinema?f_ri=997147","nofollow":false},{"id":348761,"name":"Cine Español","url":"https://www.academia.edu/Documents/in/Cine_Espa%C3%B1ol?f_ri=997147","nofollow":false},{"id":739655,"name":"Children and 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class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9730530/Addiction_to_Melodrama">Addiction to Melodrama</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Addiction films have been shaped by the internal demands of a commercial medium. Specifically, melodrama, as a genre, has defined the limits of the visual representation of addiction. Similarly, the process of intermedialization has... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9730530" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Addiction films have been shaped by the internal <br />demands of a commercial medium. Specifically, <br />melodrama, as a genre, has defined the limits of <br />the visual representation of addiction. Similarly, the <br />process of intermedialization has tended to induce a <br />metamorphosis that shapes disparate narratives with <br />diverse goals into a generic filmic form and substantially <br />alters the meanings of the texts. Ultimately, <br />visual representations shape public perceptions of <br />addiction in meaningful ways, privileging a moralistic <br />understanding of drug addiction that makes a complex <br />issue visually uncomplicated by reinforcing “common <br />sense” ideas of moral failure and redemption.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9730530" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="33825298f02b96600a3f54d42e3b3437" rel="nofollow" data-download="{"attachment_id":35916314,"asset_id":9730530,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35916314/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="23360691" href="https://vt.academia.edu/RobertPStephens">Robert Stephens</a><script data-card-contents-for-user="23360691" type="text/json">{"id":23360691,"first_name":"Robert","last_name":"Stephens","domain_name":"vt","page_name":"RobertPStephens","display_name":"Robert Stephens","profile_url":"https://vt.academia.edu/RobertPStephens?f_ri=997147","photo":"https://0.academia-photos.com/23360691/6342064/7190398/s65_robert.stephens.jpg"}</script></span></span></li><li class="js-paper-rank-work_9730530 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9730530"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9730530, container: ".js-paper-rank-work_9730530", }); });</script></li><li class="js-percentile-work_9730530 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 9730530; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_9730530"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_9730530 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="9730530"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9730530; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9730530]").text(description); $(".js-view-count-work_9730530").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9730530").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9730530"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2483" href="https://www.academia.edu/Documents/in/Addiction">Addiction</a>, <script data-card-contents-for-ri="2483" type="text/json">{"id":2483,"name":"Addiction","url":"https://www.academia.edu/Documents/in/Addiction?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2484" href="https://www.academia.edu/Documents/in/Drugs_And_Addiction">Drugs And Addiction</a>, <script data-card-contents-for-ri="2484" type="text/json">{"id":2484,"name":"Drugs And Addiction","url":"https://www.academia.edu/Documents/in/Drugs_And_Addiction?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3934" href="https://www.academia.edu/Documents/in/Visual_Narrative">Visual Narrative</a>, <script data-card-contents-for-ri="3934" type="text/json">{"id":3934,"name":"Visual Narrative","url":"https://www.academia.edu/Documents/in/Visual_Narrative?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9343" href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a><script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9730530]'), work: {"id":9730530,"title":"Addiction to Melodrama","created_at":"2014-12-11T13:49:54.605-08:00","url":"https://www.academia.edu/9730530/Addiction_to_Melodrama?f_ri=997147","dom_id":"work_9730530","summary":"Addiction films have been shaped by the internal\r\ndemands of a commercial medium. Specifically,\r\nmelodrama, as a genre, has defined the limits of\r\nthe visual representation of addiction. Similarly, the\r\nprocess of intermedialization has tended to induce a\r\nmetamorphosis that shapes disparate narratives with\r\ndiverse goals into a generic filmic form and substantially\r\nalters the meanings of the texts. Ultimately,\r\nvisual representations shape public perceptions of\r\naddiction in meaningful ways, privileging a moralistic\r\nunderstanding of drug addiction that makes a complex\r\nissue visually uncomplicated by reinforcing “common\r\nsense” ideas of moral failure and redemption.","downloadable_attachments":[{"id":35916314,"asset_id":9730530,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":23360691,"first_name":"Robert","last_name":"Stephens","domain_name":"vt","page_name":"RobertPStephens","display_name":"Robert Stephens","profile_url":"https://vt.academia.edu/RobertPStephens?f_ri=997147","photo":"https://0.academia-photos.com/23360691/6342064/7190398/s65_robert.stephens.jpg"}],"research_interests":[{"id":2483,"name":"Addiction","url":"https://www.academia.edu/Documents/in/Addiction?f_ri=997147","nofollow":false},{"id":2484,"name":"Drugs And Addiction","url":"https://www.academia.edu/Documents/in/Drugs_And_Addiction?f_ri=997147","nofollow":false},{"id":3934,"name":"Visual Narrative","url":"https://www.academia.edu/Documents/in/Visual_Narrative?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":12920,"name":"History of Alcohol and Drug Use","url":"https://www.academia.edu/Documents/in/History_of_Alcohol_and_Drug_Use?f_ri=997147"},{"id":28311,"name":"Contemporary Hollywood","url":"https://www.academia.edu/Documents/in/Contemporary_Hollywood?f_ri=997147"},{"id":43776,"name":"Movies","url":"https://www.academia.edu/Documents/in/Movies?f_ri=997147"},{"id":53881,"name":"Drug Policy","url":"https://www.academia.edu/Documents/in/Drug_Policy?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_71788731" data-work_id="71788731" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/71788731/Combat_Death_in_Contemporary_American_Culture_Popular_Cultural_Conceptions_of_War_Since_World_War_II">Combat Death in Contemporary American Culture: Popular Cultural Conceptions of War Since World War II</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">War has become a fixture of American life and culture, a constant background fact, the theme of countless books, films and games, and pervading almost all aspects of our lives. Focusing on the emotionally charged but rarely scrutinized... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_71788731" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">War has become a fixture of American life and culture, a constant background fact, the theme of countless books, films and games, and pervading almost all aspects of our lives. Focusing on the emotionally charged but rarely scrutinized topic of combat death in popular culture, this book explores how war has been portrayed in the U.S. since the Second World War. The author argues that – contrary to the commonly-held notion that war films can be judged according to their realism – in fact, most stories about war fall into three main patterns: melodrama, adventure and horror. The first two -- melodrama and adventure -- are the most common and have helped make war seem acceptable to the American public by portraying military death as a meaningful sacrifice and military killing as necessary and/or pleasurable. Horror has been the main tool of antiwar discourse but has been repurposed in recent years to serve the ideological imperatives of melodrama and adventure.  Often these three are present together but one of the first two tends to dominate and turn the story into a pro-military work. Together all three forms help explain the ideological and emotional work of war stories and their powerful grip on the American imagination.<br /><br />This book examines the portrayal of combat and military death in American culture from the flagraising on Iwo Jima to the Clint Eastwood film about Chris Kyle, showing how the genres of melodrama, adventure and horror shape the way we feel about war and its core themes of killing and dying.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/71788731" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="add13b5c04e03aa78bb27089bd9b6278" rel="nofollow" data-download="{"attachment_id":81017505,"asset_id":71788731,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/81017505/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2194702" href="https://unil.academia.edu/AgnieszkaSoltysik">Agnieszka Soltysik</a><script data-card-contents-for-user="2194702" type="text/json">{"id":2194702,"first_name":"Agnieszka","last_name":"Soltysik","domain_name":"unil","page_name":"AgnieszkaSoltysik","display_name":"Agnieszka Soltysik","profile_url":"https://unil.academia.edu/AgnieszkaSoltysik?f_ri=997147","photo":"https://0.academia-photos.com/2194702/704416/18163752/s65_agnieszka.soltysik.jpg"}</script></span></span></li><li class="js-paper-rank-work_71788731 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="71788731"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 71788731, container: ".js-paper-rank-work_71788731", }); });</script></li><li class="js-percentile-work_71788731 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 71788731; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_71788731"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_71788731 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="71788731"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 71788731; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=71788731]").text(description); $(".js-view-count-work_71788731").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_71788731").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="71788731"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3651" href="https://www.academia.edu/Documents/in/Cold_War_and_Culture">Cold War and Culture</a>, <script data-card-contents-for-ri="3651" type="text/json">{"id":3651,"name":"Cold War and Culture","url":"https://www.academia.edu/Documents/in/Cold_War_and_Culture?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9343" href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a>, <script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16235" href="https://www.academia.edu/Documents/in/Popular_And_Political_Cultures_Of_Memory">Popular And Political Cultures Of Memory</a>, <script data-card-contents-for-ri="16235" type="text/json">{"id":16235,"name":"Popular And Political Cultures Of Memory","url":"https://www.academia.edu/Documents/in/Popular_And_Political_Cultures_Of_Memory?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16560" href="https://www.academia.edu/Documents/in/American_Civil_Religion">American Civil Religion</a><script data-card-contents-for-ri="16560" type="text/json">{"id":16560,"name":"American Civil Religion","url":"https://www.academia.edu/Documents/in/American_Civil_Religion?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=71788731]'), work: {"id":71788731,"title":"Combat Death in Contemporary American Culture: Popular Cultural Conceptions of War Since World War II","created_at":"2022-02-17T23:22:02.971-08:00","url":"https://www.academia.edu/71788731/Combat_Death_in_Contemporary_American_Culture_Popular_Cultural_Conceptions_of_War_Since_World_War_II?f_ri=997147","dom_id":"work_71788731","summary":"War has become a fixture of American life and culture, a constant background fact, the theme of countless books, films and games, and pervading almost all aspects of our lives. Focusing on the emotionally charged but rarely scrutinized topic of combat death in popular culture, this book explores how war has been portrayed in the U.S. since the Second World War. The author argues that – contrary to the commonly-held notion that war films can be judged according to their realism – in fact, most stories about war fall into three main patterns: melodrama, adventure and horror. The first two -- melodrama and adventure -- are the most common and have helped make war seem acceptable to the American public by portraying military death as a meaningful sacrifice and military killing as necessary and/or pleasurable. Horror has been the main tool of antiwar discourse but has been repurposed in recent years to serve the ideological imperatives of melodrama and adventure. Often these three are present together but one of the first two tends to dominate and turn the story into a pro-military work. Together all three forms help explain the ideological and emotional work of war stories and their powerful grip on the American imagination.\n\nThis book examines the portrayal of combat and military death in American culture from the flagraising on Iwo Jima to the Clint Eastwood film about Chris Kyle, showing how the genres of melodrama, adventure and horror shape the way we feel about war and its core themes of killing and dying. \n","downloadable_attachments":[{"id":81017505,"asset_id":71788731,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2194702,"first_name":"Agnieszka","last_name":"Soltysik","domain_name":"unil","page_name":"AgnieszkaSoltysik","display_name":"Agnieszka Soltysik","profile_url":"https://unil.academia.edu/AgnieszkaSoltysik?f_ri=997147","photo":"https://0.academia-photos.com/2194702/704416/18163752/s65_agnieszka.soltysik.jpg"}],"research_interests":[{"id":3651,"name":"Cold War and Culture","url":"https://www.academia.edu/Documents/in/Cold_War_and_Culture?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":16235,"name":"Popular And Political Cultures Of Memory","url":"https://www.academia.edu/Documents/in/Popular_And_Political_Cultures_Of_Memory?f_ri=997147","nofollow":false},{"id":16560,"name":"American Civil Religion","url":"https://www.academia.edu/Documents/in/American_Civil_Religion?f_ri=997147","nofollow":false},{"id":30313,"name":"Adventure Literature","url":"https://www.academia.edu/Documents/in/Adventure_Literature?f_ri=997147"},{"id":38198,"name":"Queer Cinema","url":"https://www.academia.edu/Documents/in/Queer_Cinema?f_ri=997147"},{"id":46057,"name":"Narratives and Literature of War","url":"https://www.academia.edu/Documents/in/Narratives_and_Literature_of_War?f_ri=997147"},{"id":625866,"name":"Culture and death","url":"https://www.academia.edu/Documents/in/Culture_and_death?f_ri=997147"},{"id":993492,"name":"Melodrama \u0026 Culture","url":"https://www.academia.edu/Documents/in/Melodrama_and_Culture?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32719698" data-work_id="32719698" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32719698/Melodramatic_Revision_and_Black_Swan_Gender_Genre_and_Excess">Melodramatic Revision and Black Swan: Gender, Genre, and Excess</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This research paper considers how Black Swan (Darren Aronofsky, 2011) engages with and revises the melodrama mode through its incorporation of elements from the “woman’s film,” the paranoid female gothic, and the maternal melodrama... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32719698" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This research paper considers how Black Swan (Darren Aronofsky, 2011) engages with and revises the melodrama mode through its incorporation of elements from the “woman’s film,” the paranoid female gothic, and the maternal melodrama genres. Within this context, I will situate issues surrounding the film’s presentation of the female body, female suffering, motherhood, and excess with reference to Peter Brooks, Thomas Elsaesser, Linda Williams, Geoffrey Nowell-Smith, Christine Gledhill, Julia Kristeva, and Barbara Creed. <br /> <br />This paper received First Class Honors at Trinity College, Dublin. <br />Vanessa graduated with Distinction in B.A. English Literature and Media Studies.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32719698" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f07fffa0852f9ec50c64be2e022f6a10" rel="nofollow" data-download="{"attachment_id":62284722,"asset_id":32719698,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62284722/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="20494557" href="https://tcd.academia.edu/VanessaChen">Vanessa Chen</a><script data-card-contents-for-user="20494557" type="text/json">{"id":20494557,"first_name":"Vanessa","last_name":"Chen","domain_name":"tcd","page_name":"VanessaChen","display_name":"Vanessa Chen","profile_url":"https://tcd.academia.edu/VanessaChen?f_ri=997147","photo":"https://0.academia-photos.com/20494557/5674153/48886514/s65_vanessa.chen.jpg"}</script></span></span></li><li class="js-paper-rank-work_32719698 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32719698"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32719698, container: ".js-paper-rank-work_32719698", }); 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Within this context, I will situate issues surrounding the film’s presentation of the female body, female suffering, motherhood, and excess with reference to Peter Brooks, Thomas Elsaesser, Linda Williams, Geoffrey Nowell-Smith, Christine Gledhill, Julia Kristeva, and Barbara Creed.\r\n\r\nThis paper received First Class Honors at Trinity College, Dublin.\r\nVanessa graduated with Distinction in B.A. English Literature and Media Studies.","downloadable_attachments":[{"id":62284722,"asset_id":32719698,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":20494557,"first_name":"Vanessa","last_name":"Chen","domain_name":"tcd","page_name":"VanessaChen","display_name":"Vanessa 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Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1114432,"name":"Woman's Film","url":"https://www.academia.edu/Documents/in/Womans_Film?f_ri=997147"},{"id":1929267,"name":"Maternal Melodrama","url":"https://www.academia.edu/Documents/in/Maternal_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38021617" data-work_id="38021617" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38021617/Redefining_melodrama_Saving_Private_Rya_n_as_male_weepie">Redefining melodrama: "Saving Private Rya"n as male weepie</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Spielberg’s dramatic films usually engage in an aesthetic of excess that is redolent of melodrama in general, the ultimate goal of which is to bring the audience to tears. Following Steve Neale’s rationale in “Melodrama and Tears (1986),... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38021617" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Spielberg’s dramatic films usually engage in an aesthetic of excess that is redolent of melodrama in general, the ultimate goal of which is to bring the audience to tears. Following Steve Neale’s rationale in “Melodrama and Tears (1986), I argue that Saving Private Ryan, the ultimate war movie, is a “male weepie,” a variety of melodrama destined to make audiences cry, but starring a male protagonist instead of a woman. I focus on the generic hybridity of the film, reconciling Jeanine Basinger’s paradigm of the combat movie, with the emotion and sentiment the film contains and how this affects the viewer’s reception of it. In other words, it is a question of coordinating the conflict between good and evil, from a family-based and symbolically mothering perspective, with the hyperbolic dimension and the breath-taking action of combat-riddled films. From a cognitive perspective, it could be said that this article strives to approach the “rules of engagement,” not of the enemy but of the audience.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38021617" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="753928158dc6b1dbe1693561e105d8a1" rel="nofollow" data-download="{"attachment_id":58043048,"asset_id":38021617,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58043048/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="27054644" href="https://ipl-pt.academia.edu/F%C3%A1timaChinita">Fátima Chinita</a><script data-card-contents-for-user="27054644" type="text/json">{"id":27054644,"first_name":"Fátima","last_name":"Chinita","domain_name":"ipl-pt","page_name":"FátimaChinita","display_name":"Fátima Chinita","profile_url":"https://ipl-pt.academia.edu/F%C3%A1timaChinita?f_ri=997147","photo":"https://0.academia-photos.com/27054644/7619917/11086151/s65_f_tima.chinita.jpg"}</script></span></span></li><li class="js-paper-rank-work_38021617 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38021617"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38021617, container: ".js-paper-rank-work_38021617", }); 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$(".js-view-count[data-work-id=38021617]").text(description); $(".js-view-count-work_38021617").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38021617").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38021617"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" href="https://www.academia.edu/Documents/in/Film_History">Film History</a><script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38021617]'), work: {"id":38021617,"title":"Redefining melodrama: \"Saving Private Rya\"n as male weepie","created_at":"2018-12-21T08:31:50.259-08:00","url":"https://www.academia.edu/38021617/Redefining_melodrama_Saving_Private_Rya_n_as_male_weepie?f_ri=997147","dom_id":"work_38021617","summary":"Spielberg’s dramatic films usually engage in an aesthetic of excess that is redolent of melodrama in general, the ultimate goal of which is to bring the audience to tears. Following Steve Neale’s rationale in “Melodrama and Tears (1986), I argue that Saving Private Ryan, the ultimate war movie, is a “male weepie,” a variety of melodrama destined to make audiences cry, but starring a male protagonist instead of a woman. I focus on the generic hybridity of the film, reconciling Jeanine Basinger’s paradigm of the combat movie, with the emotion and sentiment the film contains and how this affects the viewer’s reception of it. In other words, it is a question of coordinating the conflict between good and evil, from a family-based and symbolically mothering perspective, with the hyperbolic dimension and the breath-taking action of combat-riddled films. From a cognitive perspective, it could be said that this article strives to approach the “rules of engagement,” not of the enemy but of the audience.","downloadable_attachments":[{"id":58043048,"asset_id":38021617,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":27054644,"first_name":"Fátima","last_name":"Chinita","domain_name":"ipl-pt","page_name":"FátimaChinita","display_name":"Fátima Chinita","profile_url":"https://ipl-pt.academia.edu/F%C3%A1timaChinita?f_ri=997147","photo":"https://0.academia-photos.com/27054644/7619917/11086151/s65_f_tima.chinita.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=997147","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=997147","nofollow":false},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=997147"},{"id":153134,"name":"Film Genres","url":"https://www.academia.edu/Documents/in/Film_Genres?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38733634" data-work_id="38733634" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38733634/Sharp_Objects_Daydreams_Can_Be_Dangerous">Sharp Objects: Daydreams Can Be Dangerous</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">“She wanted to shield her, from the bullet of an ordinary life.” —Rachel Cusk, Arlington Park I believe, perhaps counterintuitively and certainly masochistically, that a good film or TV show should make you feel profoundly banal. It... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38733634" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">“She wanted to shield her, from the bullet of an ordinary life.”<br /><br />—Rachel Cusk, Arlington Park<br /><br />I believe, perhaps counterintuitively and certainly masochistically, that a good film or TV show should make you feel profoundly banal. It should not transport you or give you hope that dreams come true. It is the role of avant-garde television to make you understand that you are a cliché, that there is truly nothing remarkable about you, that no one will tell your story, that everyone has been wounded and only some wounds are worth watching.<br /><br />Such is the case with Sharp Objects, Jean-Marc Vallée’s miniseries that premiered on July 8 on HBO. Coming off the extraordinary success of Big Little Lies, Vallée brings us another murder story mixed with a biting comedy of manners, this time with a healthy dose of Lana Del Rey Americana. Camille Preaker (Amy Adams) has escaped her stifling, socialite mother Adora (Patricia Clarkson) and the small town of Wind Gap, Missouri, to become a reporter in St. Louis, only to be sent back to cover the murder of two young girls.<br /><br />The story is one that has been told countless times — a woman with a dark past returns home to confront traumas internal and external. To say that Sharp Objects is innovative would be an exaggeration, but this is exactly my point. So unapologetically does the series embrace the hackneyed traditions of crime shows (especially those starring women) and melodramas that it becomes something discomfiting that dares us to love it despite our entrenched desire for that wink-wink that tells us it is all a joke.<br /><br />The irony never comes. In this way, the sincerity of Sharp Objects denies any such markers of highbrow enjoyment and instead provokes a hysterical need to chase the impossible — to become that booze-swigging, chain-smoking, windows-down-tunes-blasting woman with a traumatic secret you have seen so many times onscreen. Sharp Objects reminds us that some people have their lives immortalized onscreen, but those people are only characters. We can never approach that freeing artifice.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38733634" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="11eaab529d71cd2659b5d78b420ec93d" rel="nofollow" data-download="{"attachment_id":58819666,"asset_id":38733634,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58819666/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38991984" href="https://harvard.academia.edu/WilliamJSimmons">William J Simmons</a><script data-card-contents-for-user="38991984" type="text/json">{"id":38991984,"first_name":"William","last_name":"Simmons","domain_name":"harvard","page_name":"WilliamJSimmons","display_name":"William J Simmons","profile_url":"https://harvard.academia.edu/WilliamJSimmons?f_ri=997147","photo":"https://0.academia-photos.com/38991984/18151288/18139044/s65_william.simmons.jpg"}</script></span></span></li><li class="js-paper-rank-work_38733634 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38733634"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38733634, container: ".js-paper-rank-work_38733634", }); 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$(".js-view-count[data-work-id=38733634]").text(description); $(".js-view-count-work_38733634").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38733634").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38733634"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2" href="https://www.academia.edu/Documents/in/Creative_Nonfiction">Creative Nonfiction</a>, <script data-card-contents-for-ri="2" type="text/json">{"id":2,"name":"Creative Nonfiction","url":"https://www.academia.edu/Documents/in/Creative_Nonfiction?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2858" href="https://www.academia.edu/Documents/in/Popular_Culture">Popular Culture</a>, <script data-card-contents-for-ri="2858" type="text/json">{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8408" href="https://www.academia.edu/Documents/in/Creative_Non-Fiction">Creative Non-Fiction</a><script data-card-contents-for-ri="8408" type="text/json">{"id":8408,"name":"Creative Non-Fiction","url":"https://www.academia.edu/Documents/in/Creative_Non-Fiction?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38733634]'), work: {"id":38733634,"title":"Sharp Objects: Daydreams Can Be Dangerous","created_at":"2019-04-07T09:33:47.021-07:00","url":"https://www.academia.edu/38733634/Sharp_Objects_Daydreams_Can_Be_Dangerous?f_ri=997147","dom_id":"work_38733634","summary":"“She wanted to shield her, from the bullet of an ordinary life.”\n\n—Rachel Cusk, Arlington Park\n\nI believe, perhaps counterintuitively and certainly masochistically, that a good film or TV show should make you feel profoundly banal. It should not transport you or give you hope that dreams come true. It is the role of avant-garde television to make you understand that you are a cliché, that there is truly nothing remarkable about you, that no one will tell your story, that everyone has been wounded and only some wounds are worth watching.\n\nSuch is the case with Sharp Objects, Jean-Marc Vallée’s miniseries that premiered on July 8 on HBO. Coming off the extraordinary success of Big Little Lies, Vallée brings us another murder story mixed with a biting comedy of manners, this time with a healthy dose of Lana Del Rey Americana. Camille Preaker (Amy Adams) has escaped her stifling, socialite mother Adora (Patricia Clarkson) and the small town of Wind Gap, Missouri, to become a reporter in St. Louis, only to be sent back to cover the murder of two young girls.\n\nThe story is one that has been told countless times — a woman with a dark past returns home to confront traumas internal and external. To say that Sharp Objects is innovative would be an exaggeration, but this is exactly my point. So unapologetically does the series embrace the hackneyed traditions of crime shows (especially those starring women) and melodramas that it becomes something discomfiting that dares us to love it despite our entrenched desire for that wink-wink that tells us it is all a joke.\n\nThe irony never comes. In this way, the sincerity of Sharp Objects denies any such markers of highbrow enjoyment and instead provokes a hysterical need to chase the impossible — to become that booze-swigging, chain-smoking, windows-down-tunes-blasting woman with a traumatic secret you have seen so many times onscreen. Sharp Objects reminds us that some people have their lives immortalized onscreen, but those people are only characters. We can never approach that freeing artifice.","downloadable_attachments":[{"id":58819666,"asset_id":38733634,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38991984,"first_name":"William","last_name":"Simmons","domain_name":"harvard","page_name":"WilliamJSimmons","display_name":"William J Simmons","profile_url":"https://harvard.academia.edu/WilliamJSimmons?f_ri=997147","photo":"https://0.academia-photos.com/38991984/18151288/18139044/s65_william.simmons.jpg"}],"research_interests":[{"id":2,"name":"Creative Nonfiction","url":"https://www.academia.edu/Documents/in/Creative_Nonfiction?f_ri=997147","nofollow":false},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=997147","nofollow":false},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=997147","nofollow":false},{"id":8408,"name":"Creative Non-Fiction","url":"https://www.academia.edu/Documents/in/Creative_Non-Fiction?f_ri=997147","nofollow":false},{"id":8693,"name":"Pop Culture","url":"https://www.academia.edu/Documents/in/Pop_Culture?f_ri=997147"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147"},{"id":21829,"name":"Series TV","url":"https://www.academia.edu/Documents/in/Series_TV?f_ri=997147"},{"id":34074,"name":"Television","url":"https://www.academia.edu/Documents/in/Television?f_ri=997147"},{"id":222048,"name":"Social TV","url":"https://www.academia.edu/Documents/in/Social_TV?f_ri=997147"},{"id":274431,"name":"TV Series","url":"https://www.academia.edu/Documents/in/TV_Series?f_ri=997147"},{"id":303218,"name":"Cliché","url":"https://www.academia.edu/Documents/in/Cliche?f_ri=997147"},{"id":993492,"name":"Melodrama \u0026 Culture","url":"https://www.academia.edu/Documents/in/Melodrama_and_Culture?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5100013" data-work_id="5100013" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5100013/JOAN_DOES_DYNASTY_32_minutes_1986_Complete_Script">JOAN DOES DYNASTY, 32 minutes, 1986, Complete Script</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5100013" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8475200c491d7b75efb885d33f40a6fc" rel="nofollow" data-download="{"attachment_id":32905256,"asset_id":5100013,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32905256/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5195703" href="https://hampshire.academia.edu/httpwwwheresiesfilmprojectorgnomorenicegirlsorg">Joan E Braderman</a><script data-card-contents-for-user="5195703" type="text/json">{"id":5195703,"first_name":"Joan","last_name":"Braderman","domain_name":"hampshire","page_name":"httpwwwheresiesfilmprojectorgnomorenicegirlsorg","display_name":"Joan E Braderman","profile_url":"https://hampshire.academia.edu/httpwwwheresiesfilmprojectorgnomorenicegirlsorg?f_ri=997147","photo":"https://0.academia-photos.com/5195703/2289195/2673358/s65_joan.braderman.jpg"}</script></span></span></li><li class="js-paper-rank-work_5100013 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5100013"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5100013, container: ".js-paper-rank-work_5100013", }); 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$(".js-view-count[data-work-id=5100013]").text(description); $(".js-view-count-work_5100013").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5100013").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5100013"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15565" href="https://www.academia.edu/Documents/in/Spectatorship">Spectatorship</a>, <script data-card-contents-for-ri="15565" type="text/json">{"id":15565,"name":"Spectatorship","url":"https://www.academia.edu/Documents/in/Spectatorship?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="100476" href="https://www.academia.edu/Documents/in/Performane">Performane</a>, <script data-card-contents-for-ri="100476" type="text/json">{"id":100476,"name":"Performane","url":"https://www.academia.edu/Documents/in/Performane?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="123571" href="https://www.academia.edu/Documents/in/Cultural_and_Gender_Representations">Cultural and Gender Representations</a>, <script data-card-contents-for-ri="123571" type="text/json">{"id":123571,"name":"Cultural and Gender Representations","url":"https://www.academia.edu/Documents/in/Cultural_and_Gender_Representations?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="627836" href="https://www.academia.edu/Documents/in/Film_Studies_and_Tv_Production">Film Studies and Tv Production</a><script data-card-contents-for-ri="627836" type="text/json">{"id":627836,"name":"Film Studies and Tv Production","url":"https://www.academia.edu/Documents/in/Film_Studies_and_Tv_Production?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5100013]'), work: {"id":5100013,"title":"JOAN DOES DYNASTY, 32 minutes, 1986, Complete Script","created_at":"2013-11-14T03:19:08.331-08:00","url":"https://www.academia.edu/5100013/JOAN_DOES_DYNASTY_32_minutes_1986_Complete_Script?f_ri=997147","dom_id":"work_5100013","summary":null,"downloadable_attachments":[{"id":32905256,"asset_id":5100013,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5195703,"first_name":"Joan","last_name":"Braderman","domain_name":"hampshire","page_name":"httpwwwheresiesfilmprojectorgnomorenicegirlsorg","display_name":"Joan E Braderman","profile_url":"https://hampshire.academia.edu/httpwwwheresiesfilmprojectorgnomorenicegirlsorg?f_ri=997147","photo":"https://0.academia-photos.com/5195703/2289195/2673358/s65_joan.braderman.jpg"}],"research_interests":[{"id":15565,"name":"Spectatorship","url":"https://www.academia.edu/Documents/in/Spectatorship?f_ri=997147","nofollow":false},{"id":100476,"name":"Performane","url":"https://www.academia.edu/Documents/in/Performane?f_ri=997147","nofollow":false},{"id":123571,"name":"Cultural and Gender Representations","url":"https://www.academia.edu/Documents/in/Cultural_and_Gender_Representations?f_ri=997147","nofollow":false},{"id":627836,"name":"Film Studies and Tv Production","url":"https://www.academia.edu/Documents/in/Film_Studies_and_Tv_Production?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":2058296,"name":"Camp and Gender","url":"https://www.academia.edu/Documents/in/Camp_and_Gender?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_59048705" data-work_id="59048705" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/59048705/Imagens_melodram%C3%A1ticas_de_prostitutas_e_esposas_em_Amorteamo_por_entre_continuidades_refor%C3%A7adas_e_tentativas_de_ruptura">Imagens melodramáticas de prostitutas e esposas em "Amorteamo": por entre continuidades reforçadas e tentativas de ruptura</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Tendo como objeto empírico a minissérie brasileira "Amorteamo", o artigo busca discutir os protótipos melodramáticos latino-americanos da prostituta e da esposa. O objetivo central diz respeito a identificar as continuidades reforçadas e... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_59048705" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tendo como objeto empírico a minissérie brasileira "Amorteamo", o artigo busca discutir os protótipos melodramáticos latino-americanos da prostituta e da esposa. O objetivo central diz respeito a identificar as continuidades reforçadas e as tentativas de ruptura que se estabelecem nas imagens melodramáticas analisadas a partir de uma perspectiva multimetodológica. Como achados do texto é possível destacar que as contraditoriedades intrínsecas do melodrama televisivo acabam por se encontrar justamente nas personagens de Dora (em seu suicídio como continuidade reforçada à punição moral e "merecida" na vida lupanária) e de Lena e Arlinda (na tentativa de ruptura simbólica com o tradicional "final feliz" das esposas e do casamento).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/59048705" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4a15f55f172032715a674fa39059ea6a" rel="nofollow" data-download="{"attachment_id":73166377,"asset_id":59048705,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/73166377/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5154259" href="https://chula.academia.edu/AndersonLopesdaSilva">Anderson Lopes da Silva</a><script data-card-contents-for-user="5154259" type="text/json">{"id":5154259,"first_name":"Anderson","last_name":"Lopes da Silva","domain_name":"chula","page_name":"AndersonLopesdaSilva","display_name":"Anderson Lopes da Silva","profile_url":"https://chula.academia.edu/AndersonLopesdaSilva?f_ri=997147","photo":"https://0.academia-photos.com/5154259/2265112/157781346/s65_anderson.lopes_da_silva.jpg"}</script></span></span></li><li class="js-paper-rank-work_59048705 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="59048705"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 59048705, container: ".js-paper-rank-work_59048705", }); });</script></li><li class="js-percentile-work_59048705 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 59048705; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_59048705"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_59048705 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="59048705"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 59048705; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=59048705]").text(description); $(".js-view-count-work_59048705").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_59048705").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="59048705"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9343" href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a><script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=59048705]'), work: {"id":59048705,"title":"Imagens melodramáticas de prostitutas e esposas em \"Amorteamo\": por entre continuidades reforçadas e tentativas de ruptura","created_at":"2021-10-19T10:45:09.878-07:00","url":"https://www.academia.edu/59048705/Imagens_melodram%C3%A1ticas_de_prostitutas_e_esposas_em_Amorteamo_por_entre_continuidades_refor%C3%A7adas_e_tentativas_de_ruptura?f_ri=997147","dom_id":"work_59048705","summary":"Tendo como objeto empírico a minissérie brasileira \"Amorteamo\", o artigo busca discutir os protótipos melodramáticos latino-americanos da prostituta e da esposa. O objetivo central diz respeito a identificar as continuidades reforçadas e as tentativas de ruptura que se estabelecem nas imagens melodramáticas analisadas a partir de uma perspectiva multimetodológica. Como achados do texto é possível destacar que as contraditoriedades intrínsecas do melodrama televisivo acabam por se encontrar justamente nas personagens de Dora (em seu suicídio como continuidade reforçada à punição moral e \"merecida\" na vida lupanária) e de Lena e Arlinda (na tentativa de ruptura simbólica com o tradicional \"final feliz\" das esposas e do casamento).","downloadable_attachments":[{"id":73166377,"asset_id":59048705,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5154259,"first_name":"Anderson","last_name":"Lopes da Silva","domain_name":"chula","page_name":"AndersonLopesdaSilva","display_name":"Anderson Lopes da Silva","profile_url":"https://chula.academia.edu/AndersonLopesdaSilva?f_ri=997147","photo":"https://0.academia-photos.com/5154259/2265112/157781346/s65_anderson.lopes_da_silva.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=997147","nofollow":false},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=997147","nofollow":false},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":9391,"name":"Telenovelas","url":"https://www.academia.edu/Documents/in/Telenovelas?f_ri=997147"},{"id":34074,"name":"Television","url":"https://www.academia.edu/Documents/in/Television?f_ri=997147"},{"id":159995,"name":"América Latina","url":"https://www.academia.edu/Documents/in/Am%C3%A9rica_Latina?f_ri=997147"},{"id":392861,"name":"TV Fiction","url":"https://www.academia.edu/Documents/in/TV_Fiction?f_ri=997147"},{"id":443183,"name":"Televisão","url":"https://www.academia.edu/Documents/in/Televisao?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42990998" data-work_id="42990998" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42990998/Mollys_Game_Medical_Melodrama_and_Misguided_Ambitions_Video_Essay_">Molly's Game - Medical Melodrama & Misguided Ambitions (Video Essay)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Why is Hollywood so uncomfortable with ambitious women? In this video, I look at Aaron Sorkin's 2017 film Molly's Game and explore how female ambition in American cinema is often framed as an illness.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42990998" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Why is Hollywood so uncomfortable with ambitious women? <br /> <br />In this video, I look at Aaron Sorkin's 2017 film Molly's Game and explore how female ambition in American cinema is often framed as an illness. <br /> <br /><a href="https://www.youtube.com/watch?v=1US-I4mKHzU" rel="nofollow">https://www.youtube.com/watch?v=1US-I4mKHzU</a> <br /> <br />Filmography: <br />Dark Victory (Edmund Goulding, 1939) <br />Mildred Pierce (Michael Curtiz, 1945) <br />A Woman's Face (George Cukor, 1941) <br />Now, Voyager (Irving Rapper, 1942) <br />Lady in the Dark (Mitchell Leisen, 1944) <br />The Dark Mirror (Robert Siodmak, 1946) <br />Shock (Alfred L. Werker, 1946) <br />Possessed (Curtis Bernhardt, 1947) <br />Whirlpool (Otto Preminger, 1950) <br />All About Eve (Joseph L. Mankiewicz, 1950) <br />The Seven Year Itch (Billy Wilder, 1955) <br />Rocky (John G. Avildsen, 1976) <br />Baby Boom (Charles Shyer, 1987) <br />To Die For (Gus Van Sant, 1995) <br />Jerry Maguire (Cameron Crowe, 1996) <br />Working Girl (Mike Nichols, 1988) <br />Boiler Room (Ben Younger, 2000) <br />Maria Full of Grace (Joshua Marston, 2004) <br />Morning Glory (Roger Michell, 2010) <br />The Social Network (David Fincher, 2010) <br />I Don't Know How She Does It (Douglas McGrath, 2011) <br />Wadjda (Haifaa Al-Mansour, 2012) <br />The Wolf of Wall Street (Martin Scorsese, 2013) <br />Nightcrawler (Dan Gilroy, 2014) <br />The Intern (Nancy Meyers, 2015) <br />The Big Short ( Adam McKay, 2015) <br />Molly's Game (Aaron Sorkin, 2017) <br />Float Like a Butterfly (Carmel Winters, 2018)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42990998" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="552b05999ae6b90d21533ba3c674e1ec" rel="nofollow" data-download="{"attachment_id":63252677,"asset_id":42990998,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63252677/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="890491" href="https://yorku.academia.edu/Desir%C3%A9edeJesus">Desirée de Jesus</a><script data-card-contents-for-user="890491" type="text/json">{"id":890491,"first_name":"Desirée","last_name":"de Jesus","domain_name":"yorku","page_name":"DesiréedeJesus","display_name":"Desirée de Jesus","profile_url":"https://yorku.academia.edu/Desir%C3%A9edeJesus?f_ri=997147","photo":"https://0.academia-photos.com/890491/325385/37096284/s65_desir_e.de_jesus.jpg"}</script></span></span></li><li class="js-paper-rank-work_42990998 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42990998"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42990998, container: ".js-paper-rank-work_42990998", }); 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Werker, 1946)\r\nPossessed (Curtis Bernhardt, 1947)\r\nWhirlpool (Otto Preminger, 1950)\r\nAll About Eve (Joseph L. Mankiewicz, 1950)\r\nThe Seven Year Itch (Billy Wilder, 1955)\r\nRocky (John G. Avildsen, 1976)\r\nBaby Boom (Charles Shyer, 1987)\r\nTo Die For (Gus Van Sant, 1995)\r\nJerry Maguire (Cameron Crowe, 1996)\r\nWorking Girl (Mike Nichols, 1988)\r\nBoiler Room (Ben Younger, 2000)\r\nMaria Full of Grace (Joshua Marston, 2004)\r\nMorning Glory (Roger Michell, 2010)\r\nThe Social Network (David Fincher, 2010)\r\nI Don't Know How She Does It (Douglas McGrath, 2011)\r\nWadjda (Haifaa Al-Mansour, 2012)\r\nThe Wolf of Wall Street (Martin Scorsese, 2013)\r\nNightcrawler (Dan Gilroy, 2014)\r\nThe Intern (Nancy Meyers, 2015)\r\nThe Big Short ( Adam McKay, 2015)\r\nMolly's Game (Aaron Sorkin, 2017)\r\nFloat Like a Butterfly (Carmel Winters, 2018)","downloadable_attachments":[{"id":63252677,"asset_id":42990998,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":890491,"first_name":"Desirée","last_name":"de Jesus","domain_name":"yorku","page_name":"DesiréedeJesus","display_name":"Desirée de Jesus","profile_url":"https://yorku.academia.edu/Desir%C3%A9edeJesus?f_ri=997147","photo":"https://0.academia-photos.com/890491/325385/37096284/s65_desir_e.de_jesus.jpg"}],"research_interests":[{"id":242398,"name":"Women in Film","url":"https://www.academia.edu/Documents/in/Women_in_Film?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false},{"id":1215446,"name":"Film Melodrama","url":"https://www.academia.edu/Documents/in/Film_Melodrama?f_ri=997147","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36391353" data-work_id="36391353" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36391353/Marmo_Variazioni_di_Senso_La_voce_narrante_in_Boito_e_Visconti_Meridiana_69_2011_">Marmo - Variazioni di "Senso". La voce narrante in Boito e Visconti (Meridiana 69, 2011)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36391353" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3542b6c190a0339516a9ccfd51677188" rel="nofollow" data-download="{"attachment_id":56301700,"asset_id":36391353,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56301700/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="831098" href="https://iuo.academia.edu/LorenzoMarmo">Lorenzo Marmo</a><script data-card-contents-for-user="831098" type="text/json">{"id":831098,"first_name":"Lorenzo","last_name":"Marmo","domain_name":"iuo","page_name":"LorenzoMarmo","display_name":"Lorenzo Marmo","profile_url":"https://iuo.academia.edu/LorenzoMarmo?f_ri=997147","photo":"https://0.academia-photos.com/831098/290655/343857/s65_lorenzo.marmo.jpg"}</script></span></span></li><li class="js-paper-rank-work_36391353 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36391353"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36391353, container: ".js-paper-rank-work_36391353", }); 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Forum di storia orale a partire da un numero di «Italia Contemporanea»</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25271960" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7f5b275d9914f765d0f28e3dbe1cb83b" rel="nofollow" data-download="{"attachment_id":45574632,"asset_id":25271960,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45574632/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="871978" href="https://uniroma1.academia.edu/DamianoGarofalo">Damiano Garofalo</a><script data-card-contents-for-user="871978" type="text/json">{"id":871978,"first_name":"Damiano","last_name":"Garofalo","domain_name":"uniroma1","page_name":"DamianoGarofalo","display_name":"Damiano Garofalo","profile_url":"https://uniroma1.academia.edu/DamianoGarofalo?f_ri=997147","photo":"https://0.academia-photos.com/871978/314298/122158595/s65_damiano.garofalo.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-25271960">+4</span><div class="hidden js-additional-users-25271960"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://talentgate.academia.edu/PaolaStelliferi">Paola Stelliferi</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://museoscienza.academia.edu/GiovanniPietrangeli">Giovanni Pietrangeli</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/JessicaMatteo">Jessica Matteo</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/sficacci">stefania ficacci</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-25271960'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-25271960').html(); 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O cineasta contemporâneo português João Canijo é um excelente exemplo dessa discussão, efetuando um debate... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23408572" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O cinema tem sido um meio importante para discutir a identidade nacional e a “comunidade imaginada” de Benedict Anderson (1983). O cineasta contemporâneo português João Canijo é um excelente exemplo dessa discussão, efetuando um debate sobre algumas representações culturais que persistem ao longo do tempo. Baseando-se em conceitos como “não-inscrição” (Gil, 2005) ou “passividade” (Lourenço, 1999, 2010), este texto procura esclarecer como João Canijo revela esses problemas numa dialética entre identidade idealizada e um choque violento nas relações sociais. Analisando o seu último filme, Sangue do Meu Sangue (2011), aclamado pela crítica, em termos de narrativa e estética, este texto vai argumentar como as relações intertextuais entre realismo e melodrama se sobrepõem em busca de uma dramaturgia de violência.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23408572" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f3b454999726373bde76db21df6755aa" rel="nofollow" data-download="{"attachment_id":43854642,"asset_id":23408572,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43854642/download_file?st=MTczMjQ0MjEyOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2797566" href="https://ucp.academia.edu/DanielRibas">Daniel Ribas</a><script data-card-contents-for-user="2797566" type="text/json">{"id":2797566,"first_name":"Daniel","last_name":"Ribas","domain_name":"ucp","page_name":"DanielRibas","display_name":"Daniel Ribas","profile_url":"https://ucp.academia.edu/DanielRibas?f_ri=997147","photo":"https://0.academia-photos.com/2797566/921189/23376133/s65_daniel.ribas.jpg"}</script></span></span></li><li class="js-paper-rank-work_23408572 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23408572"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23408572, container: ".js-paper-rank-work_23408572", }); 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$(".js-view-count[data-work-id=23408572]").text(description); $(".js-view-count-work_23408572").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_23408572").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="23408572"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1570" href="https://www.academia.edu/Documents/in/European_Cinema">European Cinema</a>, <script data-card-contents-for-ri="1570" type="text/json">{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2222" href="https://www.academia.edu/Documents/in/Portuguese_Studies">Portuguese Studies</a><script data-card-contents-for-ri="2222" type="text/json">{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23408572]'), work: {"id":23408572,"title":"Melodrama e realismo em João Canijo","created_at":"2016-03-18T05:38:16.272-07:00","url":"https://www.academia.edu/23408572/Melodrama_e_realismo_em_Jo%C3%A3o_Canijo?f_ri=997147","dom_id":"work_23408572","summary":"O cinema tem sido um meio importante para discutir a identidade nacional e a “comunidade imaginada” de Benedict Anderson (1983). 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Analisando o seu último filme, Sangue do Meu Sangue (2011), aclamado pela crítica, em termos de narrativa e estética, este texto vai argumentar como as relações intertextuais entre realismo e melodrama se sobrepõem em busca de uma dramaturgia de violência.","downloadable_attachments":[{"id":43854642,"asset_id":23408572,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2797566,"first_name":"Daniel","last_name":"Ribas","domain_name":"ucp","page_name":"DanielRibas","display_name":"Daniel Ribas","profile_url":"https://ucp.academia.edu/DanielRibas?f_ri=997147","photo":"https://0.academia-photos.com/2797566/921189/23376133/s65_daniel.ribas.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=997147","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=997147","nofollow":false},{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147"},{"id":10422,"name":"National Identity","url":"https://www.academia.edu/Documents/in/National_Identity?f_ri=997147"},{"id":38844,"name":"Portuguese Culture","url":"https://www.academia.edu/Documents/in/Portuguese_Culture?f_ri=997147"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=997147"},{"id":53318,"name":"Portuguese Cinema","url":"https://www.academia.edu/Documents/in/Portuguese_Cinema?f_ri=997147"},{"id":64833,"name":"Realism","url":"https://www.academia.edu/Documents/in/Realism?f_ri=997147"},{"id":225157,"name":"Contemporary Cinema","url":"https://www.academia.edu/Documents/in/Contemporary_Cinema?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1457460,"name":"João Canijo","url":"https://www.academia.edu/Documents/in/Joao_Canijo?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15976912" data-work_id="15976912" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/15976912/Vulcano_Volcano">Vulcano/Volcano</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">in Directory of World Cinema: Italy (Bristol: Intellect, 2011), pp. 105-07.</div></div><ul class="InlineList u-ph0x u-fs13"><li 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45044808/The_Price_of_Heaven_Remaking_Politics_in_All_that_Heaven_Allows_Ali_Fear_Eats_the_Soul_and_Far_from_Heaven_">The Price of Heaven: Remaking Politics in _All that Heaven Allows_, _Ali: Fear Eats the Soul_, and _Far from Heaven_</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay investigates identity politics in Todd Haynes’s 2002 film, _Far from Heaven_, and in two of its precursors, Douglas Sirk’s _All that Heaven Allows_ and Rainer Werner Fassbinder’s _Ali: Fear Eats the Soul_. It takes as its... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45044808" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay investigates identity politics in Todd Haynes’s 2002 film, _Far<br />from Heaven_, and in two of its precursors, Douglas Sirk’s _All that Heaven Allows_ and Rainer Werner Fassbinder’s _Ali: Fear Eats the Soul_. It takes as its starting point two puzzling features of Haynes’s film: the oddity of setting a remake in the same time and place as its original, and the film’s banal representation of racism and homophobia. The essay proposes a reading of _Far from Heaven_ in which the film questions the ability of melodrama to plausibly address contemporary forms of social injustice.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45044808" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d3eca573b7a12557f049af074c8746c7" rel="nofollow" data-download="{"attachment_id":65597380,"asset_id":45044808,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65597380/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="81293473" href="https://chicago.academia.edu/SalomeSkvirsky">Salomé Aguilera Skvirsky</a><script data-card-contents-for-user="81293473" type="text/json">{"id":81293473,"first_name":"Salomé","last_name":"Aguilera Skvirsky","domain_name":"chicago","page_name":"SalomeSkvirsky","display_name":"Salomé Aguilera Skvirsky","profile_url":"https://chicago.academia.edu/SalomeSkvirsky?f_ri=997147","photo":"https://0.academia-photos.com/81293473/51146707/39206299/s65_salom_.skvirsky.jpg"}</script></span></span></li><li class="js-paper-rank-work_45044808 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45044808"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45044808, container: ".js-paper-rank-work_45044808", }); 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It takes as its starting point two puzzling features of Haynes’s film: the oddity of setting a remake in the same time and place as its original, and the film’s banal representation of racism and homophobia. The essay proposes a reading of _Far from Heaven_ in which the film questions the ability of melodrama to plausibly address contemporary forms of social injustice.","downloadable_attachments":[{"id":65597380,"asset_id":45044808,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":81293473,"first_name":"Salomé","last_name":"Aguilera Skvirsky","domain_name":"chicago","page_name":"SalomeSkvirsky","display_name":"Salomé Aguilera Skvirsky","profile_url":"https://chicago.academia.edu/SalomeSkvirsky?f_ri=997147","photo":"https://0.academia-photos.com/81293473/51146707/39206299/s65_salom_.skvirsky.jpg"}],"research_interests":[{"id":17218,"name":"Film Remakes","url":"https://www.academia.edu/Documents/in/Film_Remakes?f_ri=997147","nofollow":false},{"id":35206,"name":"Todd Haynes","url":"https://www.academia.edu/Documents/in/Todd_Haynes?f_ri=997147","nofollow":false},{"id":44379,"name":"Rainer Werner Fassbinder","url":"https://www.academia.edu/Documents/in/Rainer_Werner_Fassbinder?f_ri=997147","nofollow":false},{"id":496483,"name":"Political cinema","url":"https://www.academia.edu/Documents/in/Political_cinema?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1381880,"name":"Race and Cinema","url":"https://www.academia.edu/Documents/in/Race_and_Cinema?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45148251" data-work_id="45148251" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45148251/%CE%9A%CE%B1%CF%83%CF%83%CE%B1%CE%B2%CE%AD%CF%84%CE%B7_%CE%9F_%CE%95_2017_%CE%A4%CE%BF_%CE%B5%CE%BB%CE%BB%CE%B7%CE%BD%CE%B9%CE%BA%CF%8C_%CE%BC%CE%B5%CE%BB%CF%8C%CE%B4%CF%81%CE%B1%CE%BC%CE%B1_%CE%97_%CE%B5%CE%BE%CE%AD%CE%BB%CE%B9%CE%BE%CE%B7_%CE%B5%CE%BD%CF%8C%CF%82_%CE%B4%CE%B7%CE%BC%CE%BF%CF%86%CE%B9%CE%BB%CE%BF%CF%8D%CF%82_%CE%BA%CE%B9%CE%BD%CE%B7%CE%BC%CE%B1%CF%84%CE%BF%CE%B3%CF%81%CE%B1%CF%86%CE%B9%CE%BA%CE%BF%CF%8D_%CE%B5%CE%AF%CE%B4%CE%BF%CF%85%CF%82_%CE%A3%CF%84%CE%BF_%CE%9C_%CE%A0%CE%B1%CF%81%CE%B1%CE%B4%CE%B5%CE%AF%CF%83%CE%B7_and_%CE%91_%CE%9D%CE%B9%CE%BA%CE%BF%CE%BB%CE%B1%CE%90%CE%B4%CE%BF%CF%85_%CE%B5%CF%80_%CE%91%CF%80%CF%8C_%CF%84%CE%BF%CE%BD_%CE%A0%CF%81%CF%8E%CE%B9%CE%BC%CE%BF_%CF%83%CF%84%CE%BF%CE%BD_%CE%A3%CF%8D%CE%B3%CF%87%CF%81%CE%BF%CE%BD%CE%BF_%CE%95%CE%BB%CE%BB%CE%B7%CE%BD%CE%B9%CE%BA%CF%8C_%CE%9A%CE%B9%CE%BD%CE%B7%CE%BC%CE%B1%CF%84%CE%BF%CE%B3%CF%81%CE%AC%CF%86%CE%BF_%CE%96%CE%B7%CF%84%CE%AE%CE%BC%CE%B1%CF%84%CE%B1_%CE%9C%CE%B5%CE%B8%CE%BF%CE%B4%CE%BF%CE%BB%CE%BF%CE%B3%CE%AF%CE%B1%CF%82_%CE%98%CE%B5%CF%89%CF%81%CE%AF%CE%B1%CF%82_%CE%99%CF%83%CF%84%CE%BF%CF%81%CE%AF%CE%B1%CF%82_%CF%83%CF%83_45_75_%CE%91%CE%B8%CE%AE%CE%BD%CE%B1_Gutenberg">Κασσαβέτη, Ο.-Ε. (2017). Το ελληνικό μελόδραμα. Η εξέλιξη ενός δημοφιλούς κινηματογραφικού είδους. Στο Μ. Παραδείση & Α. Νικολαΐδου (επ.), Από τον Πρώιμο στον Σύγχρονο Ελληνικό Κινηματογράφο: Ζητήματα Μεθοδολογίας, Θεωρίας, Ιστορίας (σσ. 45-75). Αθήνα: Gutenberg.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45148251" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e3dc318fa953844e7694b4a1755e10f2" rel="nofollow" data-download="{"attachment_id":65722374,"asset_id":45148251,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65722374/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10260370" href="https://eap.academia.edu/OrsaliaEleniKassaveti">Orsalia-Eleni Kassaveti</a><script data-card-contents-for-user="10260370" type="text/json">{"id":10260370,"first_name":"Orsalia-Eleni","last_name":"Kassaveti","domain_name":"eap","page_name":"OrsaliaEleniKassaveti","display_name":"Orsalia-Eleni Kassaveti","profile_url":"https://eap.academia.edu/OrsaliaEleniKassaveti?f_ri=997147","photo":"https://0.academia-photos.com/10260370/3142042/3699718/s65_orsalia-eleni.kassaveti.jpg"}</script></span></span></li><li class="js-paper-rank-work_45148251 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45148251"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45148251, container: ".js-paper-rank-work_45148251", }); 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(2017). Το ελληνικό μελόδραμα. Η εξέλιξη ενός δημοφιλούς κινηματογραφικού είδους. Στο Μ. Παραδείση \u0026 Α. Νικολαΐδου (επ.), Από τον Πρώιμο στον Σύγχρονο Ελληνικό Κινηματογράφο: Ζητήματα Μεθοδολογίας, Θεωρίας, Ιστορίας (σσ. 45-75). 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Or can we trace melodramatic scenes and sequences across a variety of genres? The difficulty in answering such questions should not make us forget that, in its heyday, Hollywood produced a number of movies that we... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44655275" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Is melodrama a genre? Or can we trace melodramatic scenes and sequences across a variety of genres? The difficulty in answering such questions should not make us forget that, in its heyday, Hollywood produced a number of movies that we can readily identify as “classical” Hollywood melodramas – from Magnificent obsession to Home from the hill to Rebel without a cause, directors such Douglas Sirk, Vincente Minnelli and Nicholas Ray were able, not only to meet contemporary popular expectations, but also, and more importantly, to portray with pathos and irony the plights of the American family caught in one of its most acute and disturbing critical periods.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44655275" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5e841c9cf7bbb11bc6ae974667e8db0d" rel="nofollow" data-download="{"attachment_id":65126888,"asset_id":44655275,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65126888/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="354344" href="https://independent.academia.edu/LucianoMariani">Luciano Mariani</a><script data-card-contents-for-user="354344" type="text/json">{"id":354344,"first_name":"Luciano","last_name":"Mariani","domain_name":"independent","page_name":"LucianoMariani","display_name":"Luciano Mariani","profile_url":"https://independent.academia.edu/LucianoMariani?f_ri=997147","photo":"https://0.academia-photos.com/354344/203755/237758/s65_luciano.mariani.jpg"}</script></span></span></li><li class="js-paper-rank-work_44655275 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44655275"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44655275, container: ".js-paper-rank-work_44655275", }); 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$(".js-view-count[data-work-id=44655275]").text(description); $(".js-view-count-work_44655275").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44655275").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44655275"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9343" href="https://www.academia.edu/Documents/in/Melodrama">Melodrama</a>, <script data-card-contents-for-ri="9343" type="text/json">{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19258" href="https://www.academia.edu/Documents/in/Cinema">Cinema</a><script data-card-contents-for-ri="19258" type="text/json">{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44655275]'), work: {"id":44655275,"title":"Classical Hollywood melodrama","created_at":"2020-12-07T10:07:22.712-08:00","url":"https://www.academia.edu/44655275/Classical_Hollywood_melodrama?f_ri=997147","dom_id":"work_44655275","summary":"Is melodrama a genre? Or can we trace melodramatic scenes and sequences across a variety of genres? The difficulty in answering such questions should not make us forget that, in its heyday, Hollywood produced a number of movies that we can readily identify as “classical” Hollywood melodramas – from Magnificent obsession to Home from the hill to Rebel without a cause, directors such Douglas Sirk, Vincente Minnelli and Nicholas Ray were able, not only to meet contemporary popular expectations, but also, and more importantly, to portray with pathos and irony the plights of the American family caught in one of its most acute and disturbing critical periods.","downloadable_attachments":[{"id":65126888,"asset_id":44655275,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":354344,"first_name":"Luciano","last_name":"Mariani","domain_name":"independent","page_name":"LucianoMariani","display_name":"Luciano Mariani","profile_url":"https://independent.academia.edu/LucianoMariani?f_ri=997147","photo":"https://0.academia-photos.com/354344/203755/237758/s65_luciano.mariani.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=997147","nofollow":false},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147","nofollow":false},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=997147","nofollow":false},{"id":47199,"name":"Hollywood","url":"https://www.academia.edu/Documents/in/Hollywood?f_ri=997147"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=997147"},{"id":80698,"name":"Films","url":"https://www.academia.edu/Documents/in/Films?f_ri=997147"},{"id":83447,"name":"Classical Hollywood Cinema","url":"https://www.academia.edu/Documents/in/Classical_Hollywood_Cinema?f_ri=997147"},{"id":188769,"name":"Hollywood Cinema","url":"https://www.academia.edu/Documents/in/Hollywood_Cinema?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1215446,"name":"Film Melodrama","url":"https://www.academia.edu/Documents/in/Film_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27672746" data-work_id="27672746" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27672746/Fam%C3%ADlia_e_Viol%C3%AAncia_em_Jo%C3%A3o_Canijo">Família e Violência em João Canijo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Este texto pretende discutir as representações da identidade nacional portuguesa a partir de um caso de estudo específico: o cinema de João Canijo. Esta análise cultural a partir das imagens em movimento tentará perceber a forma como o... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27672746" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Este texto pretende discutir as representações da identidade nacional portuguesa a partir de um caso de estudo específico: o cinema de João Canijo. Esta análise cultural a partir das imagens em movimento tentará perceber a forma como o cinema se introduz no debate contemporâneo das identidades nacionais. Esta discussão – que tem sido persistente nos campos dos estudos culturais, da história, da filosofia e da sociologia – coloca-se no campo das mentalidades em que se propõe uma divisão entre representações idealizadas (com uma forte influência do legado salazarista), e uma realidade mais complexa e violenta. Iremos sugerir que o cinema de João Canijo, de forma sistemática desde o final dos anos noventa, dialoga com estas duas representações paradoxais.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27672746" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d3943d5abaad571d4f3b7bc366342427" rel="nofollow" data-download="{"attachment_id":48092402,"asset_id":27672746,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48092402/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2797566" href="https://ucp.academia.edu/DanielRibas">Daniel Ribas</a><script data-card-contents-for-user="2797566" type="text/json">{"id":2797566,"first_name":"Daniel","last_name":"Ribas","domain_name":"ucp","page_name":"DanielRibas","display_name":"Daniel Ribas","profile_url":"https://ucp.academia.edu/DanielRibas?f_ri=997147","photo":"https://0.academia-photos.com/2797566/921189/23376133/s65_daniel.ribas.jpg"}</script></span></span></li><li class="js-paper-rank-work_27672746 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27672746"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27672746, container: ".js-paper-rank-work_27672746", }); 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$(".js-view-count[data-work-id=27672746]").text(description); $(".js-view-count-work_27672746").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27672746").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="27672746"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="666" href="https://www.academia.edu/Documents/in/Portuguese_and_Brazilian_Literature">Portuguese and Brazilian Literature</a>, <script data-card-contents-for-ri="666" type="text/json">{"id":666,"name":"Portuguese and Brazilian Literature","url":"https://www.academia.edu/Documents/in/Portuguese_and_Brazilian_Literature?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1697" href="https://www.academia.edu/Documents/in/Violence">Violence</a><script data-card-contents-for-ri="1697" type="text/json">{"id":1697,"name":"Violence","url":"https://www.academia.edu/Documents/in/Violence?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27672746]'), work: {"id":27672746,"title":"Família e Violência em João Canijo","created_at":"2016-08-10T02:59:09.447-07:00","url":"https://www.academia.edu/27672746/Fam%C3%ADlia_e_Viol%C3%AAncia_em_Jo%C3%A3o_Canijo?f_ri=997147","dom_id":"work_27672746","summary":"Este texto pretende discutir as representações da identidade nacional portuguesa a partir de um caso de estudo específico: o cinema de João Canijo. Esta análise cultural a partir das imagens em movimento tentará perceber a forma como o cinema se introduz no debate contemporâneo das identidades nacionais. Esta discussão – que tem sido persistente nos campos dos estudos culturais, da história, da filosofia e da sociologia – coloca-se no campo das mentalidades em que se propõe uma divisão entre representações idealizadas (com uma forte influência do legado salazarista), e uma realidade mais complexa e violenta. Iremos sugerir que o cinema de João Canijo, de forma sistemática desde o final dos anos noventa, dialoga com estas duas representações paradoxais.","downloadable_attachments":[{"id":48092402,"asset_id":27672746,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2797566,"first_name":"Daniel","last_name":"Ribas","domain_name":"ucp","page_name":"DanielRibas","display_name":"Daniel Ribas","profile_url":"https://ucp.academia.edu/DanielRibas?f_ri=997147","photo":"https://0.academia-photos.com/2797566/921189/23376133/s65_daniel.ribas.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=997147","nofollow":false},{"id":666,"name":"Portuguese and Brazilian Literature","url":"https://www.academia.edu/Documents/in/Portuguese_and_Brazilian_Literature?f_ri=997147","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":1697,"name":"Violence","url":"https://www.academia.edu/Documents/in/Violence?f_ri=997147","nofollow":false},{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies?f_ri=997147"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147"},{"id":9650,"name":"Cultural Identity","url":"https://www.academia.edu/Documents/in/Cultural_Identity?f_ri=997147"},{"id":10422,"name":"National Identity","url":"https://www.academia.edu/Documents/in/National_Identity?f_ri=997147"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=997147"},{"id":38844,"name":"Portuguese Culture","url":"https://www.academia.edu/Documents/in/Portuguese_Culture?f_ri=997147"},{"id":51293,"name":"Screen violence","url":"https://www.academia.edu/Documents/in/Screen_violence?f_ri=997147"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=997147"},{"id":53318,"name":"Portuguese Cinema","url":"https://www.academia.edu/Documents/in/Portuguese_Cinema?f_ri=997147"},{"id":64833,"name":"Realism","url":"https://www.academia.edu/Documents/in/Realism?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1457460,"name":"João Canijo","url":"https://www.academia.edu/Documents/in/Joao_Canijo?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39504258" data-work_id="39504258" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39504258/Interview_with_Alex_Prager">Interview with Alex Prager</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Alex Prager’s willingness to provide something for everyone makes her one of the most generous contemporary artists. She combines technical skill and compositional precision with the beautiful thematics of film noir or melodrama. Perhaps... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39504258" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Alex Prager’s willingness to provide something for everyone makes her one of the most generous contemporary artists. She combines technical skill and compositional precision with the beautiful thematics of film noir or melodrama. Perhaps above all Prager uses photography and film to excavate the inner lives of individuals – some of whom we recognize, but most are anonymous faces in the crowd. Nowhere is this more potent than in Prager’s commission for Times Square’s Midnight Moment, in which her short film Applause plays every night at 11:57 PM during the month of June. A sea of people clap across the enormous electronic billboards, and one is filled with exhilaration and fear. Every time we get up in the morning and step outside, after all, we are performing for somebody – why not get the recognition we deserve? Or is there freedom in anonymity?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39504258" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3cd62ac9c15a2491dbeeaf67bd5735f4" rel="nofollow" data-download="{"attachment_id":63152106,"asset_id":39504258,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63152106/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38991984" href="https://harvard.academia.edu/WilliamJSimmons">William J Simmons</a><script data-card-contents-for-user="38991984" type="text/json">{"id":38991984,"first_name":"William","last_name":"Simmons","domain_name":"harvard","page_name":"WilliamJSimmons","display_name":"William J Simmons","profile_url":"https://harvard.academia.edu/WilliamJSimmons?f_ri=997147","photo":"https://0.academia-photos.com/38991984/18151288/18139044/s65_william.simmons.jpg"}</script></span></span></li><li class="js-paper-rank-work_39504258 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39504258"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39504258, container: ".js-paper-rank-work_39504258", }); 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$(".js-view-count[data-work-id=39504258]").text(description); $(".js-view-count-work_39504258").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39504258").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39504258"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3516" href="https://www.academia.edu/Documents/in/Contemporary_History">Contemporary History</a><script data-card-contents-for-ri="3516" type="text/json">{"id":3516,"name":"Contemporary History","url":"https://www.academia.edu/Documents/in/Contemporary_History?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39504258]'), work: {"id":39504258,"title":"Interview with Alex Prager","created_at":"2019-06-10T09:15:42.856-07:00","url":"https://www.academia.edu/39504258/Interview_with_Alex_Prager?f_ri=997147","dom_id":"work_39504258","summary":"Alex Prager’s willingness to provide something for everyone makes her one of the most generous contemporary artists. She combines technical skill and compositional precision with the beautiful thematics of film noir or melodrama. Perhaps above all Prager uses photography and film to excavate the inner lives of individuals – some of whom we recognize, but most are anonymous faces in the crowd. Nowhere is this more potent than in Prager’s commission for Times Square’s Midnight Moment, in which her short film Applause plays every night at 11:57 PM during the month of June. A sea of people clap across the enormous electronic billboards, and one is filled with exhilaration and fear. Every time we get up in the morning and step outside, after all, we are performing for somebody – why not get the recognition we deserve? Or is there freedom in anonymity?","downloadable_attachments":[{"id":63152106,"asset_id":39504258,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38991984,"first_name":"William","last_name":"Simmons","domain_name":"harvard","page_name":"WilliamJSimmons","display_name":"William J Simmons","profile_url":"https://harvard.academia.edu/WilliamJSimmons?f_ri=997147","photo":"https://0.academia-photos.com/38991984/18151288/18139044/s65_william.simmons.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=997147","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=997147","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=997147","nofollow":false},{"id":3516,"name":"Contemporary History","url":"https://www.academia.edu/Documents/in/Contemporary_History?f_ri=997147","nofollow":false},{"id":3858,"name":"Fashion Photography","url":"https://www.academia.edu/Documents/in/Fashion_Photography?f_ri=997147"},{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=997147"},{"id":6013,"name":"Performativity","url":"https://www.academia.edu/Documents/in/Performativity?f_ri=997147"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=997147"},{"id":11563,"name":"Performance and performativity","url":"https://www.academia.edu/Documents/in/Performance_and_performativity?f_ri=997147"},{"id":19022,"name":"Documentary Photography","url":"https://www.academia.edu/Documents/in/Documentary_Photography?f_ri=997147"},{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=997147"},{"id":21189,"name":"Fine Art Photography","url":"https://www.academia.edu/Documents/in/Fine_Art_Photography?f_ri=997147"},{"id":27379,"name":"Cindy Sherman","url":"https://www.academia.edu/Documents/in/Cindy_Sherman?f_ri=997147"},{"id":27665,"name":"Photography (Visual Studies)","url":"https://www.academia.edu/Documents/in/Photography_Visual_Studies_?f_ri=997147"},{"id":31103,"name":"Performativity of Gender","url":"https://www.academia.edu/Documents/in/Performativity_of_Gender?f_ri=997147"},{"id":288962,"name":"Queer Art History","url":"https://www.academia.edu/Documents/in/Queer_Art_History?f_ri=997147"},{"id":303218,"name":"Cliché","url":"https://www.academia.edu/Documents/in/Cliche?f_ri=997147"},{"id":993492,"name":"Melodrama \u0026 Culture","url":"https://www.academia.edu/Documents/in/Melodrama_and_Culture?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38838901" data-work_id="38838901" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38838901/History_As_Imitation_of_Life_Sherrie_Levine_by_William_J_Simmons">History As Imitation of Life: Sherrie Levine by William J. Simmons</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38838901" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4fefd87c92309e154b5a969ce30b7fe4" rel="nofollow" data-download="{"attachment_id":58933134,"asset_id":38838901,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58933134/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38991984" href="https://harvard.academia.edu/WilliamJSimmons">William J Simmons</a><script data-card-contents-for-user="38991984" type="text/json">{"id":38991984,"first_name":"William","last_name":"Simmons","domain_name":"harvard","page_name":"WilliamJSimmons","display_name":"William J Simmons","profile_url":"https://harvard.academia.edu/WilliamJSimmons?f_ri=997147","photo":"https://0.academia-photos.com/38991984/18151288/18139044/s65_william.simmons.jpg"}</script></span></span></li><li class="js-paper-rank-work_38838901 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38838901"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38838901, container: ".js-paper-rank-work_38838901", }); 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$(".js-view-count[data-work-id=38838901]").text(description); $(".js-view-count-work_38838901").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38838901").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38838901"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4950" href="https://www.academia.edu/Documents/in/Modern_Art">Modern Art</a>, <script data-card-contents-for-ri="4950" type="text/json">{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8850" href="https://www.academia.edu/Documents/in/Melancholy">Melancholy</a><script data-card-contents-for-ri="8850" type="text/json">{"id":8850,"name":"Melancholy","url":"https://www.academia.edu/Documents/in/Melancholy?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38838901]'), work: {"id":38838901,"title":"History As Imitation of Life: Sherrie Levine by William J. 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Il cinema, dunque, diventa in questa sede spazio e tempo dell’amore: intervallo nel quale si consuma il reale per lasciare spazio a ciò che lo trascende; entr’acte del sentire interiore.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37889377" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="161ce052719ef6cad7d5a936067461da" rel="nofollow" data-download="{"attachment_id":57897363,"asset_id":37889377,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57897363/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="60373167" href="https://unical.academia.edu/MartinaPuliatti">Martina Puliatti</a><script data-card-contents-for-user="60373167" type="text/json">{"id":60373167,"first_name":"Martina","last_name":"Puliatti","domain_name":"unical","page_name":"MartinaPuliatti","display_name":"Martina Puliatti","profile_url":"https://unical.academia.edu/MartinaPuliatti?f_ri=997147","photo":"https://0.academia-photos.com/60373167/15728890/37058046/s65_martina.puliatti.jpg"}</script></span></span></li><li class="js-paper-rank-work_37889377 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37889377"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37889377, container: ".js-paper-rank-work_37889377", }); 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$(".js-view-count[data-work-id=37889377]").text(description); $(".js-view-count-work_37889377").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37889377").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37889377"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3145" href="https://www.academia.edu/Documents/in/Literature_and_cinema">Literature and cinema</a>, <script data-card-contents-for-ri="3145" type="text/json">{"id":3145,"name":"Literature and cinema","url":"https://www.academia.edu/Documents/in/Literature_and_cinema?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="997147" href="https://www.academia.edu/Documents/in/Screen_Melodrama">Screen Melodrama</a><script data-card-contents-for-ri="997147" type="text/json">{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37889377]'), work: {"id":37889377,"title":"Fine di una storia, di Neil Jordan - Sentieri Selvaggi","created_at":"2018-12-01T02:07:32.109-08:00","url":"https://www.academia.edu/37889377/Fine_di_una_storia_di_Neil_Jordan_Sentieri_Selvaggi?f_ri=997147","dom_id":"work_37889377","summary":"Una lezione inequivocabile traspare attraverso la soffice stoffa della quale è rivestito un film elegante come \"Fine di una storia\": che la restituzione oggettiva di una realtà filtrata attraverso l’occhio meccanico non sia un dato della visione in sé indubitabile; bensì quell’occhio sia molto più affine alla forma di un sentimento, conforme al punto di vista dello sguardo di chi sente e viene sentito. Il cinema, dunque, diventa in questa sede spazio e tempo dell’amore: intervallo nel quale si consuma il reale per lasciare spazio a ciò che lo trascende; entr’acte del sentire interiore.","downloadable_attachments":[{"id":57897363,"asset_id":37889377,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":60373167,"first_name":"Martina","last_name":"Puliatti","domain_name":"unical","page_name":"MartinaPuliatti","display_name":"Martina Puliatti","profile_url":"https://unical.academia.edu/MartinaPuliatti?f_ri=997147","photo":"https://0.academia-photos.com/60373167/15728890/37058046/s65_martina.puliatti.jpg"}],"research_interests":[{"id":3145,"name":"Literature and cinema","url":"https://www.academia.edu/Documents/in/Literature_and_cinema?f_ri=997147","nofollow":false},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_17742515" data-work_id="17742515" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/17742515/_Between_a_Rock_and_No_place_Ursusla_Meier_s_Home_2009_in_Bill_Richardson_ed_Spatiality_and_Symbolic_Expression_Palgrave_2015_">‘Between a Rock and No-place: Ursusla Meier’s Home (2009)’ in Bill Richardson (ed.), Spatiality and Symbolic Expression (Palgrave, 2015)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In cinema, as in everyday life, the home is imagined to have distinct spatio-temporal qualities which distinguish it from its spatial surrounds. By paying close attention to the qualities which cinema confers upon the home, we may learn... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_17742515" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In cinema, as in everyday life, the home is imagined to have distinct spatio-temporal qualities which distinguish it from its spatial surrounds. By paying close attention to the qualities which cinema confers upon the home, we may learn something of what is at stake in our desire for spatial belonging. In this paper, the tension between our emotional commitment to the home-space and the necessary repressions which such commitment entails is explored through detailed analysis of the 2008 French film Home (Ursula Meier) . As suggested by its title, this film brings to an explicit level the narrative and visual investment in the home-space which remains implicit within most narrative cinema. By reading the film through the spatial theories of Marc Auge and Doreen Massey, as well as through the generic prism of melodrama, this paper will seek to situate the home within the spatio-temporal categories which collectively constitute our globalised postmodern culture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17742515" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fa87d06a79593d7ac6bb16ccc1516ceb" rel="nofollow" data-download="{"attachment_id":55934524,"asset_id":17742515,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55934524/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1268898" href="https://universityofgalway.academia.edu/ConnHolohan">Conn Holohan</a><script data-card-contents-for-user="1268898" type="text/json">{"id":1268898,"first_name":"Conn","last_name":"Holohan","domain_name":"universityofgalway","page_name":"ConnHolohan","display_name":"Conn Holohan","profile_url":"https://universityofgalway.academia.edu/ConnHolohan?f_ri=997147","photo":"https://0.academia-photos.com/1268898/10189343/11370768/s65_conn.holohan.jpg"}</script></span></span></li><li class="js-paper-rank-work_17742515 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="17742515"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 17742515, container: ".js-paper-rank-work_17742515", }); 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$(".js-view-count[data-work-id=17742515]").text(description); $(".js-view-count-work_17742515").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_17742515").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="17742515"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">23</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1569" href="https://www.academia.edu/Documents/in/French_Cinema">French Cinema</a>, <script data-card-contents-for-ri="1569" type="text/json">{"id":1569,"name":"French Cinema","url":"https://www.academia.edu/Documents/in/French_Cinema?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1570" href="https://www.academia.edu/Documents/in/European_Cinema">European Cinema</a>, <script data-card-contents-for-ri="1570" type="text/json">{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3116" href="https://www.academia.edu/Documents/in/Space_and_Place">Space and Place</a><script data-card-contents-for-ri="3116" type="text/json">{"id":3116,"name":"Space and Place","url":"https://www.academia.edu/Documents/in/Space_and_Place?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=17742515]'), work: {"id":17742515,"title":"‘Between a Rock and No-place: Ursusla Meier’s Home (2009)’ in Bill Richardson (ed.), Spatiality and Symbolic Expression (Palgrave, 2015)","created_at":"2015-11-04T07:47:47.035-08:00","url":"https://www.academia.edu/17742515/_Between_a_Rock_and_No_place_Ursusla_Meier_s_Home_2009_in_Bill_Richardson_ed_Spatiality_and_Symbolic_Expression_Palgrave_2015_?f_ri=997147","dom_id":"work_17742515","summary":"In cinema, as in everyday life, the home is imagined to have distinct spatio-temporal qualities which distinguish it from its spatial surrounds. By paying close attention to the qualities which cinema confers upon the home, we may learn something of what is at stake in our desire for spatial belonging. In this paper, the tension between our emotional commitment to the home-space and the necessary repressions which such commitment entails is explored through detailed analysis of the 2008 French film Home (Ursula Meier) . As suggested by its title, this film brings to an explicit level the narrative and visual investment in the home-space which remains implicit within most narrative cinema. By reading the film through the spatial theories of Marc Auge and Doreen Massey, as well as through the generic prism of melodrama, this paper will seek to situate the home within the spatio-temporal categories which collectively constitute our globalised postmodern culture.","downloadable_attachments":[{"id":55934524,"asset_id":17742515,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1268898,"first_name":"Conn","last_name":"Holohan","domain_name":"universityofgalway","page_name":"ConnHolohan","display_name":"Conn Holohan","profile_url":"https://universityofgalway.academia.edu/ConnHolohan?f_ri=997147","photo":"https://0.academia-photos.com/1268898/10189343/11370768/s65_conn.holohan.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=997147","nofollow":false},{"id":1569,"name":"French Cinema","url":"https://www.academia.edu/Documents/in/French_Cinema?f_ri=997147","nofollow":false},{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=997147","nofollow":false},{"id":3116,"name":"Space and Place","url":"https://www.academia.edu/Documents/in/Space_and_Place?f_ri=997147","nofollow":false},{"id":5301,"name":"Film Genre","url":"https://www.academia.edu/Documents/in/Film_Genre?f_ri=997147"},{"id":7268,"name":"Place (Architecture)","url":"https://www.academia.edu/Documents/in/Place_Architecture_?f_ri=997147"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=997147"},{"id":12191,"name":"Gender in Film","url":"https://www.academia.edu/Documents/in/Gender_in_Film?f_ri=997147"},{"id":12200,"name":"Sense of Place","url":"https://www.academia.edu/Documents/in/Sense_of_Place?f_ri=997147"},{"id":21988,"name":"Architecture and Phenomenology","url":"https://www.academia.edu/Documents/in/Architecture_and_Phenomenology?f_ri=997147"},{"id":25618,"name":"Phenomenology of Space and Place","url":"https://www.academia.edu/Documents/in/Phenomenology_of_Space_and_Place?f_ri=997147"},{"id":29487,"name":"Space","url":"https://www.academia.edu/Documents/in/Space?f_ri=997147"},{"id":30632,"name":"Public Space","url":"https://www.academia.edu/Documents/in/Public_Space?f_ri=997147"},{"id":49911,"name":"Non-Places","url":"https://www.academia.edu/Documents/in/Non-Places?f_ri=997147"},{"id":84033,"name":"Road Movies","url":"https://www.academia.edu/Documents/in/Road_Movies?f_ri=997147"},{"id":110140,"name":"Marc Augé","url":"https://www.academia.edu/Documents/in/Marc_Aug%C3%A9?f_ri=997147"},{"id":215860,"name":"Doreen Massey","url":"https://www.academia.edu/Documents/in/Doreen_Massey?f_ri=997147"},{"id":599334,"name":"Architecture and Public Spaces","url":"https://www.academia.edu/Documents/in/Architecture_and_Public_Spaces?f_ri=997147"},{"id":678568,"name":"HIGHWAY ROADS AND BRIDGES","url":"https://www.academia.edu/Documents/in/HIGHWAY_ROADS_AND_BRIDGES?f_ri=997147"},{"id":697451,"name":"European road movie","url":"https://www.academia.edu/Documents/in/European_road_movie?f_ri=997147"},{"id":953047,"name":"Massey","url":"https://www.academia.edu/Documents/in/Massey?f_ri=997147"},{"id":997147,"name":"Screen Melodrama","url":"https://www.academia.edu/Documents/in/Screen_Melodrama?f_ri=997147"},{"id":1807966,"name":"Phenomenology of Time and Space","url":"https://www.academia.edu/Documents/in/Phenomenology_of_Time_and_Space?f_ri=997147"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40841274" data-work_id="40841274" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40841274/Pathos_of_the_Failed_Embrace_Frank_Borzages_Lazy_Bones">Pathos of the Failed Embrace: Frank Borzage's Lazy Bones</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40841274" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bbf89b8bed2139277de5d6753edf6905" rel="nofollow" data-download="{"attachment_id":61126362,"asset_id":40841274,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61126362/download_file?st=MTczMjQ0MjEyOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5024264" href="https://wesleyan.academia.edu/ScottHiggins">Scott Higgins</a><script data-card-contents-for-user="5024264" 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Studies","url":"https://www.academia.edu/Documents/in/Auteur_Studies?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="38769" href="https://www.academia.edu/Documents/in/Cinematography">Cinematography</a>, <script data-card-contents-for-ri="38769" type="text/json">{"id":38769,"name":"Cinematography","url":"https://www.academia.edu/Documents/in/Cinematography?f_ri=997147","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="53321" href="https://www.academia.edu/Documents/in/Silent_Cinema">Silent Cinema</a><script data-card-contents-for-ri="53321" type="text/json">{"id":53321,"name":"Silent Cinema","url":"https://www.academia.edu/Documents/in/Silent_Cinema?f_ri=997147","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40841274]'), work: {"id":40841274,"title":"Pathos of the Failed Embrace: Frank Borzage's Lazy 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