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Le mélodrame filmique revisité / Revisiting Film Melodrama

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Dominique Nasta, Muriel Andrin and Anne Gailly

Dans une confrontation inédite des approches francophones et anglo-saxonnes signées par des experts internationalement reconnus aussi bien que par de jeunes chercheurs, Le mélodrame filmique revisité propose d’ouvrir le champ d’études vers de nouvelles perspectives historiques et esthétiques. En effet, le mélodrame souffre, depuis ses débuts cinématographiques, d’une exploitation péjorative qui restreint le « mode mélodramatique » à la manipulation des émotions du public et à une representation excessive sur le plan esthétique. Minimisé, expédié, ce genre mérite pourtant d’être enfin l’objet d’une revalorisation à travers des approaches innovantes et un corpus élargi à la télévision, l’animation et l’internet.
Revisiting Film Melodrama brings forth pioneering French and English-speaking approaches from internationally known experts as well as by young researchers, aiming to broaden the research area through new historical and aesthetic perspectives. Indeed, film melodrama has too often been under-estimated, most surveys having essentially focused on the audience’s emotions and on excessive representations, often neglecting the complexities of the «melodramatic mode». More than ever, melodrama as film genre requires a comprehensive, multi-layered re-appraisal which includes references to the genre at work on television, animation and the internet.
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National Melodrama: Melodrama, Revolution, Nation (Nevena Daković)

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← 266 | 267 → National Melodrama: Melodrama, Revolution, Nation

Nevena DAKOVIĆ

University of Belgrade

The concern of this paper is to analyse national melodrama as appropriated genre’s form in Serbian cinema. Particularly, it examines how melodramatic elements and mechanisms are deployed in the construction and representation of the national identity and past in differing historical moments.

Although the essay draws upon diverse theories, its basic premise is Linda Williams’ notion of melodrama as a mode which features “are to be found across wide range of genres”1 with its main characteristics of: beginning and ending located in the space of innocence; focus on the villain (destiny) and hero (nation) and eventual recognition of virtue; aesthetic of astonishment and prolongation of emotional effect (through an idea of metaphysical destiny); dialectic of pathos and action resolved in the end through their mutual reinforcement; and monopathic characters.2

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