Domestic Melodrama as Genre (2010 Discussion) - Revision history

ScreenAdmin: 16 revisions imported

2019-08-14T21:31:04Z

16 revisions imported

Jeremy Butler: added abortion issue

2014-03-31T14:58:02Z

added abortion issue

Jeremy Butler: removed section that had been blended in

2014-01-13T16:11:00Z

removed section that had been blended in

Jeremy Butler: moved Juno up

2013-04-01T14:55:59Z

moved Juno up

Jeremy Butler at 14:46, 9 April 2012

2012-04-09T14:46:54Z

Jeremy Butler: /* Bibliography */ added elsaesser

2012-04-09T14:46:16Z

Bibliography: added elsaesser

Jeremy Butler: REmoved merge explanation (moved to discussion)

2012-04-09T14:43:19Z

REmoved merge explanation (moved to discussion)

Jeremy Butler: added photo and Elsaesser

2012-04-09T14:42:13Z

added photo and Elsaesser

Jeremy Butler at 16:01, 28 April 2010

2010-04-28T16:01:17Z

Jeremy Butler at 15:43, 5 April 2010

2010-04-05T15:43:39Z

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-'''Molly Haskell'''
+'''Pre-War vs. Post-War Melodrama'''
 '''''Juno'' (directed by Jason Reitman, written by Diablo Cody, 2007)'''
-#Compare/contrast ''Juno'' with ''Imitation of Life''? How does ''Juno'' use (or not) themes from 1930s melodrama? How does it compare/contrast with ''Ordinary People''?
+#Compare/contrast ''Juno'' with ''Imitation of Life''. How does ''Juno'' use (or not) themes from 1930s melodrama? How does it compare/contrast with ''Ordinary People''?
-#*'''Group 4:''' How are mothers represented?
+#*'''Group 4:''' How are mothers represented? Specifically, how would you characterize the relationship between mothers and their children? Abortion was a taboo subject under the Production Code and thus forbidden in pre-War melodrama. How does ''Juno'' 's handling of abortion fit into themes of mothers and children?
 #*'''Group 1:''' How is the theme of sacrifice represented?
 #*'''Group 2:''' How is the conflict between domestic love and romantic love represented?
-#*'''Group 3:''' How is the iconography of the middle-class (or UPPER middle class) home represented? What does it mean?
+#*'''Group 3:''' How is the iconography of the middle-class (or UPPER middle class) home represented? What does this iconography mean?
 {{Gallery

← Older revision		Revision as of 16:11, 13 January 2014
Line 1:		Line 1:
	'''Molly Haskell'''		'''Molly Haskell'''
−
−	~~#'''Group 3:''' What three types of women does Haskell find in the woman's film? Who would be a recent example of each type?~~
−	~~#What are the woman's film's four main themes? Do you see them operating in the first two melodramas we've viewed: ''Ordinary People'' ('''Group 4''') and ''Imitation of Life'' (1934--'''Group 1''')?~~
−	~~#*How about in a recent American film?~~
−	~~#'''Group 2:''' How is ''hostility'' toward children expressed in the woman's film? Have you seen it in a recent American film?~~
−	~~#'''All Groups:''' What impact does the issue of race have on the woman's film? Compare/contrast the white and black mothers (Bea and Delilah, respectively) in ''Imitation of Life''.~~
−	~~#'''All Groups:''' What theme does Haskell see that entwines the domestic and the romantic?~~

	'''''Juno'' (directed by Jason Reitman, written by Diablo Cody, 2007)'''		'''''Juno'' (directed by Jason Reitman, written by Diablo Cody, 2007)'''

@@ Line 2: / Line 2: @@
 #'''Group 3:''' What three types of women does Haskell find in the woman's film?  Who would be a recent example of each type?
-#What are the woman's film's four main themes? Do you see them operating in the two melodramas we've viewed: ''Ordinary People'' ('''Group 4:''') and ''Imitation of Life'' (1934--'''Group 1:''')?
+#What are the woman's film's four main themes? Do you see them operating in the first two melodramas we've viewed: ''Ordinary People'' ('''Group 4''') and ''Imitation of Life'' (1934--'''Group 1''')?
 #*How about in a recent American film?
 #'''Group 2:''' How is ''hostility'' toward children expressed in the woman's film? Have you seen it in a recent American film?
 #'''All Groups:''' What impact does the issue of race have on the woman's film? Compare/contrast the white and black mothers (Bea and Delilah, respectively) in ''Imitation of Life''.
 #'''All Groups:''' What theme does Haskell see that entwines the domestic and the romantic?
 '''''Juno'' (directed by Jason Reitman, written by Diablo Cody, 2007)'''
@@ Line 29: / Line 22: @@
 |File:Junoqq00 27 37qq22444.jpg|alt1=Frame grab of the Lorings' house.|The Lorings' house.
 }}
 '''Thomas Elsaesser'''

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 '''Thomas Elsaesser'''
 Pronounced "ell-SASS-sir".
 #Elsaesser's article has two goals:
 ##Tracing the "melodramatic imagination".
 ##Searching for "some structural and stylistic constants" in the melodrama, 1940-1963.
-#'''Group 2:''' Considering #2 above: What does Elsaesser mean by melodrama's "expressive code" (p. 51)? In particular, what does he mean when he says that melodrama contains "a sublimation of dramatic conflict into decor, colour, gesture and composition of frame" (p. 52)?
+#Considering #2 above: What does Elsaesser mean by melodrama's "expressive code" (p. 51)? In particular, what does he mean when he says that melodrama contains "a sublimation of dramatic conflict into decor, colour, gesture and composition of frame" (p. 52)?
 #*The melodramas we've seen so far (''Ordinary People'', ''Imitation of Life'', and ''Juno'') mostly do ''not'' illustrate his point.  Can you explain why they do not?  We will have to wait until the Sirk version of ''Imitation of Life'' to see this sublimation in action in the melodrama, but how might this same point be made about film noir?
-#'''All Groups:''' Elsaesser uses numerous Freudian concepts in this article, especially in the section titled, "Where Freud left his Marx in the American home" (p. 58-). Can you define any of these and can you explain how Elsasser is applying these concepts to melodrama?
+#Elsaesser uses numerous Freudian concepts in this article, especially in the section titled, "Where Freud left his Marx in the American home" (p. 58-). Can you define any of these and can you explain how Elsasser is applying these concepts to melodrama?
 #*''Fehlhandlungen'', or Freudian slips (from ''Psychopathology of Everyday Life'')
 #*Displacement

@@ Line 50: / Line 50: @@
 #Molly Haskell, "The Woman's Film," in ''From Reverence to Rape: The Treatment of Women in the Movies'' (New York: Penguin, 1974; revised edition 1987) 153-188.
 #Christine Gledhill, "The Melodrama Field: An Investigation," ''Home is Where the Heart Is: Studies in Melodrama and Woman's Film'', ed. Christine Gledhill (London: British Film Institute, 1987) 5-39.
 [[Category:TCF440/540 Discussion]]

← Older revision	Revision as of 21:31, 14 August 2019
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 #*'''Group 3:''' How is the iconography of the middle-class (or UPPER middle class) home represented? What does it mean?
-http://www.tcf.ua.edu/Classes/Jbutler/T440/JunoPix/images/Junoqq00_27_37qq22444.jpg
+{{Gallery
 ==External links==