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Le mélodrame filmique revisité / Revisiting Film Melodrama

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Edited By 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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Trauma, Melodrama and the Production of Historical Affect. Indian Cinema and the Figuration of The Partition and the Contemporary Communal Riot (Ira Bhaskar)

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← 338 | 339 → Trauma, Melodrama and the Production of Historical Affect

Indian Cinema and the Figuration of The Partition and the Contemporary Communal Riot

Ira BHASKAR

Jawaharlal Nehru University

“[…] ‘holocaustal’ events […] cannot be simply forgotten and put out of mind, but neither can they be adequately remembered; which is to say, clearly and unambiguously identified as to their meaning and contextualised in the group memory in such a way as to reduce the shadow they cast over the group’s capacities to go into its present and envision a future free of their debilitating effects.”

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