Offering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility. Focused on the notion of what Douglas Sirk termed the "impossible situation" in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk's prompt. His analysis hones in on melodrama's original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven's opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making it resistant to normative forms of value and a powerful tool for creating new potentials.
The book identifies three distinct but connected concepts through which it is possible to make sense of melodrama; either as a genre, originating in European theatre of the 18th and 19th century, as a specific cinematic style, epitomised by ...
Drawing on new scholarship in transnational theatrical, film, and cultural histories, this collection demonstrates that melodrama is a transgeneric mode that has long spoken to fundamental aspects of modern life and feeling.
Melodrama
Gerould goes a long way toward 'revisioning' the genre.--Nineteenth-Century Theatre Research
For example , it allows Williams to locate melodrama in a wider range of cultural texts , including things like television ... The meaning of the term melodrama is so ambiguous because there have been so many different historical ...
George Harris was the noble upwardly mobile hero suddenly confronted with a dastardly plot against the woman he loved and prevented by his situation from going to her aid until it was almost too late . Uncle Tom himself embodied the ...
A lively and accessible account of the most popular form of nineteenth-century English theatre, and its continuing influence today.
Arguing that the central concern of melodrama is not morality but suffering, this book offers an alternative conception of melodrama as an apparatus that shapes suffering and redistributes its visibility.
Sands. of. Dee. by Charles Kingsley “O Mary, go and call the cattle home, And call the cattle home, And call the cattle home, Across the sands of Dee.” The western wind was wild and dank withfoam, And all alone went she.
12 13 14 A History of the American Theatre from Its Origins to 1832. Urbana: University of Illinois Press, 2005 [1832], 201. By 1827 there were sixty American plays, although exactly how many of these were melodramas is unknown.