Linda Williams argues that melodrama is not a genre but a mode or device used in filmmaking to heighten emotional engagement with audiences. She analyzes the use of melodrama in the film Stella Dallas to show how it can manipulate viewers' emotions, especially female viewers. Williams seeks to "revise" the definition of melodrama, arguing it is a fundamental part of popular American cinema rather than an "excess." She contends narrative, character development, and the interplay between pathos (emotion) and action are key to melodrama's effect on audiences.
This document provides an overview of the representation of women in horror films from early films to modern works. It discusses several key theories around the objectification and portrayal of women, including Laura Mulvey's "male gaze" theory which argues that women are presented on screen as objects for the male gaze. The document also analyzes the representation of women in film posters from the 1920s-1950s and how women were typically portrayed as vulnerable victims in need of male rescue. It discusses the portrayal of women in various horror films from different decades and how they often conformed to stereotypical gender roles or were sexualized for the male audience.
Gender in american beauty research pro formaMadeleineRoss7
The document contains notes and potential topics for an essay on the portrayal of gender in films. It discusses several films from the 1990s and 2000s and how they portray gender roles and stereotypes. Theories from Gaye Tuchman, Laura Mulvey, and David Gauntlett on media representation of gender are summarized. Notes are provided on specific characters from American Beauty, including Angela Hayes, Carolyn Burnham, and the film's depiction of masculinity in the 1990s context. The family dynamic in the film is analyzed in relation to functionalist perspectives on the nuclear family model.
This document provides an introduction to Lumir Lapray's final paper analyzing representations of interracial female friendships in teen movies from the late 1990s to early 2000s. The paper will examine how these friendships inform contemporary understandings of gender and racial stereotypes, particularly those surrounding black women. It summarizes the four movies that will be analyzed - Clueless, 10 Things I Hate About You, Bring It On, and Save the Last Dance - and introduces some of the key concepts and theories that will be used, such as those from Hall, Omi & Winant, and Gramsci, regarding representation and racial projects. The introduction establishes how teen movies predominantly represent white, suburban experiences and struggles to portray non
The document discusses the representation of gender in the film Shatterproof. It notes that traditionally, femme fatales in film noir are represented as mysterious and seductive women who charm men into dangerous situations. However, in Shatterproof, the femme fatale Leo Newton subverts this by being bisexual. The document also discusses how Laura Mulvey's theory of the male gaze has traditionally framed women as objects of pleasure for the male viewer but that Shatterproof avoids this by representing the women Myra Frost and Leo Newton as strong-willed individuals rather than objects.
Frederic Jameson argues that postmodern nostalgia films represent the commodification of history. These films evoke a sense of the past through stylistic references rather than attempting to accurately portray history. According to Jameson, nostalgia films reflect a "cultural schizophrenia" where time is experienced as a series of perpetual presents disconnected from the past and future. While Jameson links nostalgia to late capitalism, Susannah Radstone critiques this view for not considering nostalgia's role in constituting social identities and the political meanings expressed through nostalgic perspectives of the past.
This document discusses definitions and approaches to social realism. It notes that social realism is difficult to define as it is politically and historically dependent. Several theorists are discussed who attempted to define elements of realism in film and media. André Bazin believed realism allows finding personal realities through techniques like depth of shot. Branston and Stafford say realism captures accurate events and conveys societal messages. Several films and art forms from the late 19th century aimed to depict truth or reality through realistic conventions. Theories of filmmakers like Kracauer and Gerhadie viewed realism as representing daily life with minimal embellishment.
This document discusses definitions and approaches to social realism. It notes that social realism is difficult to define as it is politically and historically dependent. Several theorists are discussed who attempted to define elements of realism in film and media. André Bazin believed realism allows finding personal realities through techniques like depth of shot. Branston and Stafford argue realism requires accurately capturing real events and conveying a message about society. The document examines different views on how realism attempts to represent truth and everyday life through conventions.
This document discusses issues with demanding that films represent gay characters and themes according to certain aesthetic ideals, which are often rooted in heterosexual values that marginalize homosexuality. It argues that the notion of a distinct "gay sensibility" is problematic, as oppression alone does not produce subcultural identities. Even films with sympathetic intentions, like The Detective, tend to reproduce dominant negative images of gayness due to the power of established cinematic conventions. The document also examines how James Dean's possible gay identity was necessarily suppressed in his film roles due to narrative and character constraints, limiting his ability to truly express gayness on screen.
This document provides an overview of the representation of women in horror films from early films to modern works. It discusses several key theories around the objectification and portrayal of women, including Laura Mulvey's "male gaze" theory which argues that women are presented on screen as objects for the male gaze. The document also analyzes the representation of women in film posters from the 1920s-1950s and how women were typically portrayed as vulnerable victims in need of male rescue. It discusses the portrayal of women in various horror films from different decades and how they often conformed to stereotypical gender roles or were sexualized for the male audience.
Gender in american beauty research pro formaMadeleineRoss7
The document contains notes and potential topics for an essay on the portrayal of gender in films. It discusses several films from the 1990s and 2000s and how they portray gender roles and stereotypes. Theories from Gaye Tuchman, Laura Mulvey, and David Gauntlett on media representation of gender are summarized. Notes are provided on specific characters from American Beauty, including Angela Hayes, Carolyn Burnham, and the film's depiction of masculinity in the 1990s context. The family dynamic in the film is analyzed in relation to functionalist perspectives on the nuclear family model.
This document provides an introduction to Lumir Lapray's final paper analyzing representations of interracial female friendships in teen movies from the late 1990s to early 2000s. The paper will examine how these friendships inform contemporary understandings of gender and racial stereotypes, particularly those surrounding black women. It summarizes the four movies that will be analyzed - Clueless, 10 Things I Hate About You, Bring It On, and Save the Last Dance - and introduces some of the key concepts and theories that will be used, such as those from Hall, Omi & Winant, and Gramsci, regarding representation and racial projects. The introduction establishes how teen movies predominantly represent white, suburban experiences and struggles to portray non
The document discusses the representation of gender in the film Shatterproof. It notes that traditionally, femme fatales in film noir are represented as mysterious and seductive women who charm men into dangerous situations. However, in Shatterproof, the femme fatale Leo Newton subverts this by being bisexual. The document also discusses how Laura Mulvey's theory of the male gaze has traditionally framed women as objects of pleasure for the male viewer but that Shatterproof avoids this by representing the women Myra Frost and Leo Newton as strong-willed individuals rather than objects.
Frederic Jameson argues that postmodern nostalgia films represent the commodification of history. These films evoke a sense of the past through stylistic references rather than attempting to accurately portray history. According to Jameson, nostalgia films reflect a "cultural schizophrenia" where time is experienced as a series of perpetual presents disconnected from the past and future. While Jameson links nostalgia to late capitalism, Susannah Radstone critiques this view for not considering nostalgia's role in constituting social identities and the political meanings expressed through nostalgic perspectives of the past.
This document discusses definitions and approaches to social realism. It notes that social realism is difficult to define as it is politically and historically dependent. Several theorists are discussed who attempted to define elements of realism in film and media. André Bazin believed realism allows finding personal realities through techniques like depth of shot. Branston and Stafford say realism captures accurate events and conveys societal messages. Several films and art forms from the late 19th century aimed to depict truth or reality through realistic conventions. Theories of filmmakers like Kracauer and Gerhadie viewed realism as representing daily life with minimal embellishment.
This document discusses definitions and approaches to social realism. It notes that social realism is difficult to define as it is politically and historically dependent. Several theorists are discussed who attempted to define elements of realism in film and media. André Bazin believed realism allows finding personal realities through techniques like depth of shot. Branston and Stafford argue realism requires accurately capturing real events and conveying a message about society. The document examines different views on how realism attempts to represent truth and everyday life through conventions.
This document discusses issues with demanding that films represent gay characters and themes according to certain aesthetic ideals, which are often rooted in heterosexual values that marginalize homosexuality. It argues that the notion of a distinct "gay sensibility" is problematic, as oppression alone does not produce subcultural identities. Even films with sympathetic intentions, like The Detective, tend to reproduce dominant negative images of gayness due to the power of established cinematic conventions. The document also examines how James Dean's possible gay identity was necessarily suppressed in his film roles due to narrative and character constraints, limiting his ability to truly express gayness on screen.
The document discusses the representation of gender in the film Shatterproof. It notes that in many noir films, the femme fatale is represented as a mysterious and seductive woman who charms men into dangerous situations. However, in Shatterproof, the femme fatale Leo Newton subverts this by being bisexual. The document also discusses how representations in media become familiar over time and feel natural. It analyzes how representations of women have changed from traditional noir films to neo-noir, with femmes fatales in neo-noir portrayed more as purely evil. Shatterproof further subverts expectations by representing the main women, Myra Frost and Leo Newton, as strong-willed individuals who dominate scre
question 2 : How does your media product represent particular social groups? dowsa_xo
- The protagonist in the film subverts typical representations of females in horror by portraying a strong, sporty teenage girl rather than the usual weak and feminine targets.
- The character also represents black women from London, differing from the typical American setting and characters.
- While challenging some conventions, the protagonist also fits others like being a teenager and ending up isolated with the killer, to still engage the target audience.
- The antagonist resembles typical horror villains through his masked appearance and determination to kill, but is also portrayed as a troubled teenage boy to provide psychological motivation for his actions.
This document discusses film genres and the war film genre specifically. It provides context on how genres are used to categorize films based on similar qualities and themes. The war film genre is examined in depth, including how it has been studied in relation to World War II films in Britain and America. Different scholars are discussed who have analyzed the war film genre from various perspectives, such as similarities to the Western genre, the influence of documentary filmmaking during WWII, and how the genre both highlights and transgresses Hollywood norms.
The document discusses the evolution of the femme fatale character from 1940s films to modern films. It argues that early femme fatale characters like Rita Hayworth in "Gilda" seduced men while maintaining dignity, whereas modern characters like Sharon Stone in "Basic Instinct" explicitly exploit themselves sexually. Over time, as social norms have changed, the femme fatale has transitioned from suggestive to graphically sexual, reflecting broader changes in morality. Comparing early detective films to modern ones like "Basic Instinct" shows how the genre and gender roles have been influenced by the women's movement and changing social attitudes around sexuality.
Here are some ways the social, historical, and political contexts are relevant to La Haine:
- The banlieues where the film is set represent the urban poverty and marginalization experienced by many immigrants and descendants of former French colonies. The multicultural population of the banlieue reflects France's colonial history and the influx of immigrants from former colonies.
- The tensions between police and youths in the film stem in part from longstanding racial inequalities and discrimination faced by non-white citizens. As former colonies gained independence, many immigrants came to France but faced social exclusion and racism.
- The film was made during a time of social unrest, as the banlieues experienced regular riots and clashes between minority youths and
The document discusses several key concepts related to postmodernist theory and its emergence in the 1960s. It notes that postmodernism grew out of modernist and structural thinking and emerged as major political ideologies of the time like Nazism and Communism were called into question. Some date the beginning of postmodernism to Marshall McLuhan coining the phrase "The medium is the message" which emphasized how the message is mediated over its meaning. It was also during this time that theories about message mediation, representation, and how audiences interpret messages emerged. The document then analyzes how a Disney film incorporates postmodernist elements through its use of irony, self-referentiality, and merging of cartoon and real world genres and characters.
This document analyzes film posters for classical noir and neo noir films. For the classical noir poster of "Killers", it summarizes that the poster uses symbolism like the male cradling the femme fatale to show her manipulation of him, and two men carrying guns and casting shadows to represent violence and the protagonists hiding from their crimes. For the neo noir poster of "The Dark Knight", it summarizes that the dark color scheme represents violence and doom, while modern elements like the billing box update the classic noir style for modern audiences. The analysis provides insight into features to include in a noir film poster.
Postmodernism in media rejects notions of absolute truth and reality. It blurs the lines between high and low culture and reality versus representations of reality. Postmodern media emphasizes style over substance and questions traditional narratives and interpretations. Some key aspects include a lack of originality, intertextuality between different media forms, and a collapsed distinction between media and lived experience where media simulations define reality. The Matrix film trilogy exemplifies these postmodern themes through its simulated reality and lack of clear distinctions.
This document discusses the role of storytelling in addressing climate change denial. It argues that fiction can help bridge ideological divides and promote empathy in a way that scientific facts alone cannot. The document analyzes the novel Ceremony by Leslie Marmon Silko, in which the protagonist Tayo undergoes a Native American healing ritual involving storytelling that helps him reconnect to the natural world and overcome feelings of isolation. The ritual demonstrates how embracing a communal, holistic understanding of our interdependence with the environment can help address both social and ecological problems. More broadly, the document asserts that fiction allows readers to imagine other perspectives in a way that motivates understanding across boundaries, and this type of empathy is needed to overcome polarized debates on issues like climate
The document discusses several films that portray urban stories dealing with issues of power, poverty, and conflict. It provides background context on the settings and time periods of City of God, La Haine, Chungking Express, and Princesses. It examines how these films represent masculinity and femininity, as well as themes of poverty, crime, and the struggle to escape difficult social environments. Key cinematic techniques used and the impact of representing urban issues through film are also addressed.
The document discusses the representation of gender in the music video for Imagine Dragons' song "Radioactive". It summarizes that initially, the video seems to portray stereotypical views of men as powerful through techniques like low-angle shots. However, it challenges this by showing a female character who conquers the male leader and frees the oppressed people. Her casual clothing and central positioning in shots presents her as independent and powerful rather than focused on appearances. Overall, the video challenges common misogynistic stereotypes by presenting a woman in a heroic, empowered role.
This document discusses postmodernism in films. It provides definitions of postmodern films, noting they subvert mainstream conventions and break down divides between high and low art. It then outlines some key concepts of postmodern films, including simulation, prefabrication, intertextuality, and bricolage. Several conventions of postmodern films are also defined, such as pastiche, flattened affect, hyperreality, and altered states. Examples like Pulp Fiction, Kick Ass, and Avatar are analyzed in depth. The document also discusses how postmodern films aim to challenge audiences' expectations and views of reality. It concludes by mentioning some criticisms of postmodernism from thinkers like Chomsky and Callinicos.
Postmodernist films are characterized by self-conscious use of styles and conventions, mixing of styles and media, and distrust of theories. They challenge mainstream narratives and aim to destroy audience suspension of disbelief. Key conventions include pastiche, flattened emotion, hyperreality, time bending, and altered states. Pulp Fiction and Run Lola Run are examples that blend genres, have nonlinear narratives, and reference other works. However, some philosophers criticize postmodernism as meaningless and unable to add analytical knowledge.
This document provides an in-depth analysis of William Shakespeare's play Hamlet. It discusses key elements of the plot and characters, including Hamlet's introspective nature and delay in seeking revenge. It also analyzes other main characters like Ophelia, Claudius, and Horatio, and contrasts Hamlet's contemplative traits with more impulsive characters like Laertes. Overall, the document analyzes the themes, characters, and critical reception of Hamlet through numerous quotes and references from the play.
Elit 48 c class 12 post qhq singulars vs pluralsjordanlachance
The document discusses the lyric poetry of Wallace Stevens, specifically analyzing his poems "The Snow Man" and "The Emperor of Ice-Cream". It also discusses Mina Loy's modernist poem "Parturition" written in the style of stream of consciousness. Key points include analyzing the themes, symbols, and language in Stevens' poems, comparing his lyric poetry to modernism. It also analyzes Loy's poem in the context of feminist theory and her feminist manifesto, examining how it uses childbirth as a metaphor for patriarchal oppression.
This document catalogs films, TV shows, books, journals, and an image that will be used to analyze stereotypes in teen dramas from the 1970s to modern day. It provides descriptions of how Grease, The Breakfast Club, 10 Things I Hate About You, and Mean Girls portray and sometimes challenge social stereotypes. References such as journal articles and books are included to further discuss the evolution of stereotypes over time and their impact on perceptions of teenagers. The image depicted shows the iconic stereotypes represented by the characters in The Breakfast Club.
Social realism films focus on contemporary social issues and characters within modern societies, depicting the problems everyday people face in a logical rather than mystical way. They typically use locating shots to set scenes, semi-professional actors, semi-improvised scripts to develop characters, and both humor and seriousness to explore wider social issues through dramatic stories centered on a specific character's viewpoint. Example films in the social realism genre include Submarine, Paris, Texas, Fish Tank, Train Spotting, Shifty, and Kidulthood.
This is a collaborative Slideshow prepare by three sixth pupil On Adrienne Rich.
Lorna Cudmore, Gavin Brady and Hannah Armstrong studied the poetry of Adrienne Rich as part of their L.C. Course.
This document outlines common stereotypes seen in representations of age, gender, ethnicity, physical ability, social class, region, and sexuality in US and UK television dramas. It discusses how characters within these groups are often portrayed through binary oppositions such as young vs old, strong vs weak, domestic vs professional, urban vs rural, and refined vs crude. The document advises the reader to analyze whether characters conform to or challenge these stereotypes when evaluating representations in television shows.
This document discusses key concepts in analyzing cultural representations of social groups. It argues that representations have real political and social impacts by shaping how groups see themselves and are seen by others. However, representations are always incomplete resolutions that use existing cultural forms, and different audiences can interpret them in varied ways. Representations also refer to other representations, and reality sets limits to what can be meaningfully represented, though reality can only be understood through representations. The document examines how representations help constitute the very social groups they depict, using the example of lesbian and gay identities.
The 1999 Chinese film Shower depicts the conflict one man faces between his modern lifestyle in Shenzhen and his traditional father's way of life in Beijing. The opening scene of a man being showered by a machine symbolizes the fast-paced, automated nature of modern life where time is money. The main character Da Ming left home to get rich in Shenzhen but struggles between maintaining this modern life and fulfilling his familial duties in his father's more traditional world.
The document discusses film genres and how they have evolved over time. It provides definitions and examples of different genres such as drama, documentary, Western, war film, horror film, romantic comedy, and musical. Genres help film producers engage target audiences and allow audiences to choose films based on familiar genres. The first genre was the Western. Silent films were popular before the 1930s and war propaganda films emerged in the 1940s. Genre can involve blends of two or more styles and changes depending on the current social and historical context. Examples are provided to illustrate how genres have developed newer conventions and represent different perspectives over time.
The document discusses the representation of gender in the film Shatterproof. It notes that in many noir films, the femme fatale is represented as a mysterious and seductive woman who charms men into dangerous situations. However, in Shatterproof, the femme fatale Leo Newton subverts this by being bisexual. The document also discusses how representations in media become familiar over time and feel natural. It analyzes how representations of women have changed from traditional noir films to neo-noir, with femmes fatales in neo-noir portrayed more as purely evil. Shatterproof further subverts expectations by representing the main women, Myra Frost and Leo Newton, as strong-willed individuals who dominate scre
question 2 : How does your media product represent particular social groups? dowsa_xo
- The protagonist in the film subverts typical representations of females in horror by portraying a strong, sporty teenage girl rather than the usual weak and feminine targets.
- The character also represents black women from London, differing from the typical American setting and characters.
- While challenging some conventions, the protagonist also fits others like being a teenager and ending up isolated with the killer, to still engage the target audience.
- The antagonist resembles typical horror villains through his masked appearance and determination to kill, but is also portrayed as a troubled teenage boy to provide psychological motivation for his actions.
This document discusses film genres and the war film genre specifically. It provides context on how genres are used to categorize films based on similar qualities and themes. The war film genre is examined in depth, including how it has been studied in relation to World War II films in Britain and America. Different scholars are discussed who have analyzed the war film genre from various perspectives, such as similarities to the Western genre, the influence of documentary filmmaking during WWII, and how the genre both highlights and transgresses Hollywood norms.
The document discusses the evolution of the femme fatale character from 1940s films to modern films. It argues that early femme fatale characters like Rita Hayworth in "Gilda" seduced men while maintaining dignity, whereas modern characters like Sharon Stone in "Basic Instinct" explicitly exploit themselves sexually. Over time, as social norms have changed, the femme fatale has transitioned from suggestive to graphically sexual, reflecting broader changes in morality. Comparing early detective films to modern ones like "Basic Instinct" shows how the genre and gender roles have been influenced by the women's movement and changing social attitudes around sexuality.
Here are some ways the social, historical, and political contexts are relevant to La Haine:
- The banlieues where the film is set represent the urban poverty and marginalization experienced by many immigrants and descendants of former French colonies. The multicultural population of the banlieue reflects France's colonial history and the influx of immigrants from former colonies.
- The tensions between police and youths in the film stem in part from longstanding racial inequalities and discrimination faced by non-white citizens. As former colonies gained independence, many immigrants came to France but faced social exclusion and racism.
- The film was made during a time of social unrest, as the banlieues experienced regular riots and clashes between minority youths and
The document discusses several key concepts related to postmodernist theory and its emergence in the 1960s. It notes that postmodernism grew out of modernist and structural thinking and emerged as major political ideologies of the time like Nazism and Communism were called into question. Some date the beginning of postmodernism to Marshall McLuhan coining the phrase "The medium is the message" which emphasized how the message is mediated over its meaning. It was also during this time that theories about message mediation, representation, and how audiences interpret messages emerged. The document then analyzes how a Disney film incorporates postmodernist elements through its use of irony, self-referentiality, and merging of cartoon and real world genres and characters.
This document analyzes film posters for classical noir and neo noir films. For the classical noir poster of "Killers", it summarizes that the poster uses symbolism like the male cradling the femme fatale to show her manipulation of him, and two men carrying guns and casting shadows to represent violence and the protagonists hiding from their crimes. For the neo noir poster of "The Dark Knight", it summarizes that the dark color scheme represents violence and doom, while modern elements like the billing box update the classic noir style for modern audiences. The analysis provides insight into features to include in a noir film poster.
Postmodernism in media rejects notions of absolute truth and reality. It blurs the lines between high and low culture and reality versus representations of reality. Postmodern media emphasizes style over substance and questions traditional narratives and interpretations. Some key aspects include a lack of originality, intertextuality between different media forms, and a collapsed distinction between media and lived experience where media simulations define reality. The Matrix film trilogy exemplifies these postmodern themes through its simulated reality and lack of clear distinctions.
This document discusses the role of storytelling in addressing climate change denial. It argues that fiction can help bridge ideological divides and promote empathy in a way that scientific facts alone cannot. The document analyzes the novel Ceremony by Leslie Marmon Silko, in which the protagonist Tayo undergoes a Native American healing ritual involving storytelling that helps him reconnect to the natural world and overcome feelings of isolation. The ritual demonstrates how embracing a communal, holistic understanding of our interdependence with the environment can help address both social and ecological problems. More broadly, the document asserts that fiction allows readers to imagine other perspectives in a way that motivates understanding across boundaries, and this type of empathy is needed to overcome polarized debates on issues like climate
The document discusses several films that portray urban stories dealing with issues of power, poverty, and conflict. It provides background context on the settings and time periods of City of God, La Haine, Chungking Express, and Princesses. It examines how these films represent masculinity and femininity, as well as themes of poverty, crime, and the struggle to escape difficult social environments. Key cinematic techniques used and the impact of representing urban issues through film are also addressed.
The document discusses the representation of gender in the music video for Imagine Dragons' song "Radioactive". It summarizes that initially, the video seems to portray stereotypical views of men as powerful through techniques like low-angle shots. However, it challenges this by showing a female character who conquers the male leader and frees the oppressed people. Her casual clothing and central positioning in shots presents her as independent and powerful rather than focused on appearances. Overall, the video challenges common misogynistic stereotypes by presenting a woman in a heroic, empowered role.
This document discusses postmodernism in films. It provides definitions of postmodern films, noting they subvert mainstream conventions and break down divides between high and low art. It then outlines some key concepts of postmodern films, including simulation, prefabrication, intertextuality, and bricolage. Several conventions of postmodern films are also defined, such as pastiche, flattened affect, hyperreality, and altered states. Examples like Pulp Fiction, Kick Ass, and Avatar are analyzed in depth. The document also discusses how postmodern films aim to challenge audiences' expectations and views of reality. It concludes by mentioning some criticisms of postmodernism from thinkers like Chomsky and Callinicos.
Postmodernist films are characterized by self-conscious use of styles and conventions, mixing of styles and media, and distrust of theories. They challenge mainstream narratives and aim to destroy audience suspension of disbelief. Key conventions include pastiche, flattened emotion, hyperreality, time bending, and altered states. Pulp Fiction and Run Lola Run are examples that blend genres, have nonlinear narratives, and reference other works. However, some philosophers criticize postmodernism as meaningless and unable to add analytical knowledge.
This document provides an in-depth analysis of William Shakespeare's play Hamlet. It discusses key elements of the plot and characters, including Hamlet's introspective nature and delay in seeking revenge. It also analyzes other main characters like Ophelia, Claudius, and Horatio, and contrasts Hamlet's contemplative traits with more impulsive characters like Laertes. Overall, the document analyzes the themes, characters, and critical reception of Hamlet through numerous quotes and references from the play.
Elit 48 c class 12 post qhq singulars vs pluralsjordanlachance
The document discusses the lyric poetry of Wallace Stevens, specifically analyzing his poems "The Snow Man" and "The Emperor of Ice-Cream". It also discusses Mina Loy's modernist poem "Parturition" written in the style of stream of consciousness. Key points include analyzing the themes, symbols, and language in Stevens' poems, comparing his lyric poetry to modernism. It also analyzes Loy's poem in the context of feminist theory and her feminist manifesto, examining how it uses childbirth as a metaphor for patriarchal oppression.
This document catalogs films, TV shows, books, journals, and an image that will be used to analyze stereotypes in teen dramas from the 1970s to modern day. It provides descriptions of how Grease, The Breakfast Club, 10 Things I Hate About You, and Mean Girls portray and sometimes challenge social stereotypes. References such as journal articles and books are included to further discuss the evolution of stereotypes over time and their impact on perceptions of teenagers. The image depicted shows the iconic stereotypes represented by the characters in The Breakfast Club.
Social realism films focus on contemporary social issues and characters within modern societies, depicting the problems everyday people face in a logical rather than mystical way. They typically use locating shots to set scenes, semi-professional actors, semi-improvised scripts to develop characters, and both humor and seriousness to explore wider social issues through dramatic stories centered on a specific character's viewpoint. Example films in the social realism genre include Submarine, Paris, Texas, Fish Tank, Train Spotting, Shifty, and Kidulthood.
This is a collaborative Slideshow prepare by three sixth pupil On Adrienne Rich.
Lorna Cudmore, Gavin Brady and Hannah Armstrong studied the poetry of Adrienne Rich as part of their L.C. Course.
This document outlines common stereotypes seen in representations of age, gender, ethnicity, physical ability, social class, region, and sexuality in US and UK television dramas. It discusses how characters within these groups are often portrayed through binary oppositions such as young vs old, strong vs weak, domestic vs professional, urban vs rural, and refined vs crude. The document advises the reader to analyze whether characters conform to or challenge these stereotypes when evaluating representations in television shows.
This document discusses key concepts in analyzing cultural representations of social groups. It argues that representations have real political and social impacts by shaping how groups see themselves and are seen by others. However, representations are always incomplete resolutions that use existing cultural forms, and different audiences can interpret them in varied ways. Representations also refer to other representations, and reality sets limits to what can be meaningfully represented, though reality can only be understood through representations. The document examines how representations help constitute the very social groups they depict, using the example of lesbian and gay identities.
The 1999 Chinese film Shower depicts the conflict one man faces between his modern lifestyle in Shenzhen and his traditional father's way of life in Beijing. The opening scene of a man being showered by a machine symbolizes the fast-paced, automated nature of modern life where time is money. The main character Da Ming left home to get rich in Shenzhen but struggles between maintaining this modern life and fulfilling his familial duties in his father's more traditional world.
The document discusses film genres and how they have evolved over time. It provides definitions and examples of different genres such as drama, documentary, Western, war film, horror film, romantic comedy, and musical. Genres help film producers engage target audiences and allow audiences to choose films based on familiar genres. The first genre was the Western. Silent films were popular before the 1930s and war propaganda films emerged in the 1940s. Genre can involve blends of two or more styles and changes depending on the current social and historical context. Examples are provided to illustrate how genres have developed newer conventions and represent different perspectives over time.
The intention of the essay is to link evolution
in cinema genres with the changes in the structure
of popular culture.
La intención del ensayo es asociar la evolución en los géneros cinematográficos con los cambios en la estructura de la cultura popular.
This document discusses five media theoretical ideas: genre theory, audience theory (cultivation theory), mediation and stereotyping, Todorov's narrative theory, and semiotics. It provides definitions and examples of each theory. Genre theory examines how texts are categorized into genres and subgenres. Cultivation theory proposes that television shapes viewers' perceptions of reality. Mediation theory explores how media constructs alternate realities through selection, organization and focus. Todorov's theory analyzes common narrative patterns in stories. Semiotics studies signs and their meanings in communication and media.
Drama is a film genre that focuses on developing realistic characters dealing with serious emotional struggles. It aims to gain empathy from audiences by touching on deep emotions. In the 1950s, the arrival of trained stage actors brought a more naturalistic style. Notable drama directors in the 1970s included Coppola, Scorsese, and Stallone. Subgenres include historical, courtroom, and period dramas. The group chose to do a drama because it allows portraying elements that engage audiences emotionally. They took inspiration from raw, honest dramas about self-destruction.
The document discusses the drama film genre and its conventions and subgenres. It notes that drama films focus on realistic storylines and settings that portray emotional themes audiences can relate to. Character development and a build up of tension are key conventions. Subgenres include biographies, courtroom drama, comedy-drama, historical drama, melodrama, period pieces, political drama, romance, tragedy, and dark comedy. Each subgenre explores a particular theme or context. Monodrama, a single-actor drama, is highlighted as a subgenre choice for a short film due to its psychological focus and representation of loneliness.
This document provides an overview of the different types of movies discussed in the chapter, including narrative movies, documentary movies, and experimental movies. It explains that narrative movies are focused on telling fictional stories, even if based on true events, through scripted dialogue and planned scenes. Documentary movies aim to record and present reality in a nonfiction manner, though filmmakers still exercise influence through editing. Experimental movies seek to break conventions but still employ loose narrative structures through logical sequencing of events. The document discusses how most movies incorporate elements of narrative through cause-and-effect storytelling, and that classifications are not absolute as some movies defy strict categories.
Drama is a genre of film or television programming that tells a serious story focused on realistic characters and emotional struggles. It aims to depict realistic situations, settings, and conflicts. Some key characteristics of drama films include a realistic narrative, normal locations, simpler camerawork and editing to enhance realism, and a focus on serious dramatic themes like addiction, prejudice, or family conflicts. The genre allows audiences to relate to everyday problems and find hope in difficult situations through an honest portrayal of human struggles.
A Kaleidoscope Of Fluctuating Memories Exploring Tennessee Williams The Gla...Lisa Muthukumar
This document provides an in-depth analysis of Tennessee Williams' play "The Glass Menagerie" and how it explores themes of memory and illusion. It discusses how the play uses memory in its structure by having the narrator Tom recollect past events. It also analyzes how the play shows how fragile and deceitful memory can be. Additionally, it explores how the characters withdraw into private worlds of illusion to find comfort, and how Williams combined naturalism with psychological elements in his plays. The document provides significant historical and literary context on memory in drama and how Williams innovated the genre of the "memory play".
An Essay On The Short Documentary Ten Meter TowerJennifer Strong
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The Person I Admire The Most Essay | Essay on The Person I Admire The .... The Person I Admire Free Essay Example. Someone I admire | Teaching english grammar, English writing, Learn english. Essay on Someone I Admire (500 Words) - PHDessay.com. PPT - The Person I Admire PowerPoint Presentation, free download - ID .... A Person Who I Admire Essay Example - PHDessa
People I Admire Essay. Essay about the person whom i admire - larepairinnyc.w...Lisa Cartagena
The Spanish settlement in Hispaniola in the 16th century had devastating effects on the native Taino population, drastically reducing their numbers through forced labor and exposure to diseases. The establishment of plantations and mines focused on extracting gold and other resources for profit. This made Hispaniola an important hub for the expanding Spanish colonial empire in the Caribbean and launched the colonization of other islands.
People I Admire Essay. Essay about the person whom i admire - larepairinnyc.w...
CompExam3
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Question: What is Melodrama and why is Melodrama important for Film and Media
Studies? Explore this question by analyzing in detail a tradition or form in film or
television melodrama in a specific national or transition context.
In order to understand melodrama’s significance to film, it is important to
understand that melodrama’s influence began with the theater. Specifically speaking,
melodrama originated around the time of the 19th century according to critics and
historians, yet the same critics and historians argue that theatrical melodrama is the
complete opposite of cinematic realism. More importantly, melodrama is essentially the
core of American moviemaking itself. That is to say it is the basic mode of American
cinema; the backbone of the classical Hollywood movie.
“It is not a specific genre like the Western or horror film; it is not a ‘deviation’ of
the classical realist narrative; it cannot be located primarily in women’s films, ‘weepies’
or family melodramas-though it includes them. Rather, melodrama is a peculiarly
democratic and American form that seeks dramatic revelation of moral and emotional
truths through a dialectic of pathos and action” (Melodrama Revised). From this excerpt
by Linda Williams, in her essay “Melodrama Revised,” it can be deduced that melodrama
is not a genre or style of filmmaking but rather a device implemented by the filmmaker in
order to heighten the emotional temperature of the film for the pleasure of the audience at
large viewing the spectacle. The purpose of Williams’ essay is not to define what
melodrama is and how it is implemented but rather redefine the definition and
implementation of melodrama. “In the present essay I set out the terms of a revised
theory of a melodramatic mode-rather than the more familiar notion of the melodramatic
genre-that seems crucial to any further consideration of popular American moving
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pictures. An initial survey of the status and place of melodrama in film studies serves as
an explanation for the neglect of this basic mode” (Melodrama Revised).
Williams takes from Christine Gledhill’s volumes on melodrama in her essay to
convey that the perception of melodrama from the turn of the century to the 1960s was
viewed as a negative in part to the rise of genre criticism and the fact that the culture at
the time wanted realism and tragedy for their entertainment pleasures. “In the few places
where melodrama was seen to have a visible generic existence-in the family melodrama
and the woman’s film-melodrama could offer neither the thematic and evolutionary
coherence exhibited by, say, the western, nor significant cultural prestige to appeal to the
cognoscenti-condemned as it was by association with a mass and, above all, ‘female
audience’” (Melodrama Revised). Williams continued to note that Gledhill associated
melodrama as a genre in film studies due to the relational “excesses” of manipulating
emotions and feminist association.
No one stopped to realize that melodrama had an effect that was overlooked
though. “Film studies established a rigid polarity: on the one hand, a bourgeois, classical
realist, acritical ‘norm’ and on the other hand, an anti-realist, melodramatic, critical
‘excess.’ In this way melodrama could never be investigated as a basic element of
popular cinema, but only as an oppositional excess. More importantly, this so-excessive-
as-to-be ironic model rendered taboo the most crucial element of the study of melodrama:
its capacity to generate emotion in audiences” (Melodrama Revised). Williams uses King
Vidor’s Stella Dallas as an example of how the emotional appeal of the characters could
spill out from the screen onto the audience to manipulate the feelings of the specators.
“At the pathos-filled end of the film, the viewer sees Stella looking through a picture
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window at her daughter, who is marrying into an upper-class milieu to which Stella will
never belong. Outside the window in the rain, self-exiled from the ideal world within,
Stella, the mother who gives up the one thing in the world dear to her, is nevertheless
triumphant in her tears…Because the end of the film so insistently frames the issue of
female spectatorship-placing Stella like a movie spectator outside the window gazing at
the daughter who is now lost to her-Stella Dallas seemed a crucial film” (Melodrama
Revised).
Stella Dallas proves to be a prime example for a film that uses the effect of
melodrama to emotionally manipulate its audience, specifically speaking it’s female
audience and Williams uses that in her argument and the ensuing discourse between
Willaims and her colleagues. “I argued, in other words, that there was room for some
negotiation in a female viewing position that was animated by the contradiction of
identifying both as a woman and as a mother. The crux of my argument, however, rested
upon a fairly complex reinterpretation of psychoanalytic concepts of fetishistic disavowal.
I claimed that the female spectator is capable of experiencing the contradiction between
knowledge and belief in an image as any healthy neurotic male viewer” (Melodrama
Revised). Williams ran into challenges with this stance, particularly with the notion that
women viewers can be voyeurs and fetishists. Debate and discourse ensued in an attempt
to find the right answers regarding what melodrama could be interpreted as.
“The understanding of melodrama has been impeded by the failure to
acknowledge the complex tensions between different emotions as well as the relation of
thought to emotion. The overly simplistic notion of the ‘monopathy’ of melodramatic
characters-the idea that each character in melodrama sounds a single emotional note that
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is in turn simply mimicked by the viewer-has impeded the serious study of how
complexly we can be ‘moved’” (Melodrama Revised). Williams eventually proceeds to
the core principle in her findings on melodrama and how pathos, or the understanding of
pathos, is central to determine its proper place in cinema studies. “If pathos is crucial to
melodrama, it is always in tension with other emotions and, as I hope to show in the
following, is in a constant dynamic relation with that other primary staple of American
popular movies: action-the spectacular rescues, chases, and fights that augment, prolong
and conclude pathos” (Melodrama Revised).
“Melodrama should be viewed, then, not as an excess or an aberration but in
many ways as the typical form of American popular narrative in literature, stage, film and
television. It is the best example of American culture’s notion of itself as the locus of
innocence and virtue” (Melodrama Revised). It stands to reason why melodrama is a
popular entertainment form. Thanks to the ability of manipulating pathos, the affect on
the audience leaves an impression and that impression is dependent on what emotion is
being played on or upon on the screen. Williams has interpreted melodrama as a basic
mode of storytelling that can translate across any situation or style in filmmaking. “It is
this basic sense of melodrama as a modality of narrative with a high quotient of pathos
and action to which we need to attend if we are to confront the most fundamental appeal
of movies” (Melodrama Revised).
In order to melodrama to take full effect in any genre or environment it is
established that narrative must be present, as much as pathos. The narrative of a film
must include a setting and characters must occupy the setting and the interactions of any
character must build towards a moment for the emotional resonance of the melodrama to
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take full effect. It is important to note that melodrama is not a style, it’s a form of a
medium and in the case of cinema, it is a form to enhance audience reaction by placating
to their emotional state-of-being. In order to argue that melodrama is more of a form than
a style, it is important to observe how both terms are defined and what sets melodrama
apart from being a style and why it is categorized as a form, in this case a narrative form.
“Style is produced and sustained by the culture in which it functions. But often
the stylistic features of artwork have no evident connection with culture” (Culture, Vision
and the Perpetually New). This was an excerpt from David Bordwell’s book “On the
History of Film Style,” which is a study of how cinema was historically and theoretically
interpreted over the decades. Bordwell utilized the writings and studies of Walter
Benjamin to touch on a thesis related to the effect of the implementation of melodrama in
classical American filmmaking even though Benjamin doesn’t use the term directly.
“Nonetheless, film scholars have found Benjamin’s claims attractive, perhaps because he
declares that cinema was the medium most in tune with the new mode of perception. Film
reflects modernity, Benjamin believes, by being inherently an art of abruptness. A film
produces ‘changes of place and focus which periodically assail the spectator…No sooner
has his eye grasped a scene than it is already changed. It cannot be arrested.’ In
manifesting the culture of distraction, cinema maintains the city’s sensuous barrage;
presumably the sensorium’s training is reinforced every time the spectator visits a movie
theater” (Culture, Vision and the Perpetually New). What Bordwell and Benjamin are
claiming is that the reason cinema is such a popular art form, the reason why emotions
are always shifting, moving, heightened is because what is being seen is playing on the
emotions of the audience; the work of melodramatic effect.
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Cinema was established as an escapist medium for the spectator; people
regardless of class, location, taste or interest ventured to cinema for the purpose of
escaping from the usual events of their everyday lives for entertainment. This could be
summed up as a “cinema of attractions,” a reference Bordwell makes to revisionist
historian Tom Gunning. “Gunning suggests that many tactics of the ‘cinema of attraction’
reflect culturally determined modes of experience at the turn of the century. He adduces
examples of an “aesthetic of astonishment”-locomotives hurtling to the viewer, early
audiences’ wonder at magical transformations, and the charm of the very illusion of
motion. The attraction, Gunning claims, at once epitomizes the very fragmentation of
modern experience and responds to alienation under capitalism…In such ways, the
attraction played a role in creating characteristically modern conceptions of time and
space sometimes even pushing human perception to new limits” (Culture, Vision and the
Perpetually New).
Bordwell claims that Gunning’s view is shaky because he is basing his argument
in what is being seen in the moment, for example the example of the locomotive hurtling
toward the viewer. When films began to transition toward narrative structure, and
eventually the integration of sound and then color, the way audiences looked at cinema
began to change yet how they looked at cinema. The emotional manipulation of the
audience remained or rather it evolved as the technological and stylistic innovations came
forward as it were. “In sum, we do not have good reasons to believe that particular
changes in film style can be traced to a new way of seeing produced by modernity”
(Culture, Vision and the Perpetually New).
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In order to fully comprehend that the phrase and practice of melodrama
transcended the notion of genre, it is important to understand how genres approach
melodrama to their own language. Hence the excerpt from Steven Neale’s “Genre and
Hollywood.” “A lineage, provenance, an aesthetic, an institutional and critical status, a
generic-or sub-generic-field of application, and a putatively gender-specific appeal or
address to woman have all, since the mid-1970s, been attributed to melodrama in the
cinema on the basis, thus helping to compromise both the framework and the substance
of what might termed as the ‘standard’ or ‘orthodox’ Film Studies account. If only
because there is such as discrepancy between the ways the term has been used and
defined, it is clear that on the one hand the widespread use of ‘melodrama’ as a synonym
for ‘thriller’ or ‘action-adventure’ needs to be explained and on the other that the tenets
of the standard account need to be scrutinized much more closely. In both cases, the
history of melodrama in the theatre needs to be addressed, as does the history of
‘melodrama’ in Film Studies” (Melodrama and the Woman’s Film).
“A major point of reference for nearly all academic writing on melodrama and the
cinema to have appeared since the mid-1970s has been Thomas Elsaesser’s article ‘Tales
of Sound and Fury, Observations on the Family Melodrama’ which was first published in
Monogram in 1972 and which has been anthologized on a number of occasions since then
(1987)” (Melodrama and the Woman’s Film). Neale elaborates on how Elsaesser’s article
touches on themes such as the novels of Dostoevsky, Gothic thrillers, film noir, how
Freudian theory can define the dynamics of Hollywood films such as Imitation of Life or
Rebel Without a Cause or filmmakers such as Nicholas Ray or Vincente Minelli and how
it argues that certain tendencies in Hollywood, specifically post-studio era Hollywood,
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excercised form, style, camera movement and mise-en-scene to express themes and
issues specific to the films they were making and critique the contemporary culture and
how they drew inspiration from 18th and 19th century literature and theater. “Then, in an
era of massive social change, social conflict and social injustice, forms and structures
marked above all by arbitrariness and improbability served ‘as the literary equivalent of a
particular, historically and socially conditioned mode of experience. ‘Melodrama’ is the
term Elsaesser uses to describe both the plays, novels and films to which he refers, and
the forms and structures with which they are marked” (Melodrama and the Woman’s
Film).
Considering the fact that the term “melodrama” was being used so vaguely, it is
no wonder why a proper definition was so difficult to properly pin down. Theorists and
critics of cinema had no properly settled under one definitive umbrella and in fact, the
studios couldn’t properly define it, but they did utilize it. “As evident from some of the
reviews cited above, far from shunning or avoiding them, all of the industry’s journals
frequently used the terms ‘melodrama’ or ‘melodramatic in their reviews and discussions
of films. In addition, the studios themselves also used them in press releases, publicity
sheets and advertisements…Although there are occasions on which terms such as
melodrama are used in a pejorative sense, it is in fact much more common to find it used
neutrally, as a term of generic description. This melodrama can be good, bad, indifferent
or standard depending on the nature of the films and, of course, the judgment of its
reviewer ” (Melodrama and the Woman’s Film).
“The mere occurrence of this last phrase in particular (virile realist melodrama)
would be unthinkable within the framework of standard account, which has not just
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associated melodrama with women and femininity, it has also seen melodrama as one of
the few generic areas in Hollywood in which masculinity in general, and ‘virile’
masculinity in particular, has been consistently qualified, questioned, impaired or
castrated-unable to realize or express itself in action” (Melodrama and the Woman’s
Film). Neale has established the “realism” is a term to be used to contrast “melodrama”
but the two terms can be associated with one another in the appropriate context. “In most
instances, they imply either that the film in question is marked by a particularly powerful,
intense or convincing set of appropriate generic effects, or else-and this is especially
interesting from a historical point of view-that it involves sordid, sensational or low-life
events, characters and settings, and thus perhaps draws on elements of naturalism”
(Melodrama and the Woman’s Film).
It is important to remember that melodrama was a European theatrical invention
established in the late 18th century. It eventually made its way across the Atlantic and was
initially defined as formally and specifically a dramatic passage/scene/play in which
dialogue is spoken, then silent action accompanied by, typically, music, which was a key
ingredient to the effect of melodrama in theater. Neale identifies several basic features
and contracts that melodrama adhered itself to at this time; a conflict between good and
evil where good always wins, there has to be a hero, heroine and villain to name a couple,
but he also identifies something vital to understand regarding melodrama. “it is worth
emphasizing the extent to which these features are much more obviously characteristic of
the genres labeled as melodrama by the industry’s relay than they are of the woman’s
film” (Melodrama and the Woman’s Film). The use of melodrama transcends the genres,
it isn’t just fitting to one designed for just one audience.
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“The kinship between 19th century melodrama and Hollywood’s genres of action
and suspense is also apparent in their actions and situations, and in the passions and
emotions they help generate and bring to the fore” (Melodrama and the Woman’s Film).
It is also important to realize that melodrama is the culmination of the narrative to build
itself up to a certain moment and stop in order for the audience to emote and/or
sympathize for a moment. Neale uses Lea Jacobs’ research on melodrama to enhance his
viewpoint and brings up a surprising fact. “melodramatic situations always involve
suspense and suspense is as much a property of thrillers and action films as it is of
romantic or domestic drama” (Melodrama and the Woman’s Film). That is why
melodrama can be found all across genres such as Westerns, Suspense-Thriller, Horror,
Gangster Films, not just women’s films.
“It is clear by the turn of the century that melodrama had become a ‘cluster
concept.’ It is also clear that it had become what might be called a cluster form, a form
marked by a number of distinct aesthetic features and tradition, all of which found their
way into the cinema and may of which continue to be drawn on today…Instances of
‘melodrama’ run the gamut from horror films to thrillers to westerns, from woman’s
films to war films to action-adventure in general” (Melodrama and the Woman’s Film).
It can be noted that what melodrama is, at its core, is the backbone of Hollywood
cinematic storytelling that transcends the genres in order to elicit an emotional resonance
within the characters of the film and the audience viewing the spectacle.
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Works Cited
Bordwell, David. "Culture, Vision, and the Perpetually New." On the History of
Film Style. Cambridge, MA: Harvard UP, 1997. N. pag. Print.
Neale, Stephen. "Melodrama and the Woman's Film." Genre and Hollywood.
London: Routledge, 2000. N. pag. Print.
Stella Dallas. Dir. King Vidor. Perf. Barbara Stanwyck. Metro-Goldwyn-Mayer,
1937. DVD.
Williams, Linda. "Melodrama Revised." Refiguring American Film Genres:
History and Theory. By Nick Browne. Berkeley: U of California, 1998. N. pag.
Print.