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por Anthony Slide

Frank Lloyd: Master of Screen Melodrama is the first book-length study of one of the most prominent of studio directors from Hollywood's "golden age," whose career spanned the years from 1913 through 1955. Among the director's greatest works are Oliver Twist with Jackie Coogan, The Sea Hawk with Milton Sills, The Divine Lady with Corinne Grifffith, and two Academy Award winners for Best Picture, see more Cavalcade and Mutiny on the Bounty. They are all discussed in detail here, along with other prominent Frank Lloyd productions, including East Lynne, Berkeley Square, Wells Fargo, and The Howards of Virginia. Frank Lloyd himself won two Academy Awards, and yet he has failed up to now to receive the attention he deserves together with recognition of his masterly creation of screen melodrama. With his latest book, which includes a complete filmography and a sampling of writings by Frank Lloyd, award-winning historian Anthony Slide sets the record straight and honors one of Hollywood's best.
From the National Board of Review's April 2010 webpage -

The great and prolific film historian Anthony Slide’s Frank Lloyd: Master of Screen Melodrama pays long overdue tribute to the director of CAVALCADE (1933) and MUTINY ON THE BOUNTY (1935), both Oscar Best Picture winners, one of the top filmmakers of his day, and all but forgotten today. His career spanned from 1913 through 1955 and included one of the first versions of OLIVER TWIST (1922), the first THE SEA HAWK (1924), BERKELEY SQUARE (1933) with Leslie Howard, UNDER TWO FLAGS (1936) with Ronald Colman and Claudette Colbert, IF I WERE KING (1938) with Colman, and THE HOWARDS OF VIRGINIA (1940) with Cary Grant, all reflecting the filmmaker’s interest in the drama inherent in historical themes. In the first five years of the Academy Awards, Lloyd actually won two Best Director Oscars for THE DIVINE LADY and CAVALCADE, clearly a major talent, and extend gratitude to Tony Slide for commemorating his screen accomplishments.
 

por John Mercer

Melodrama: Genre, Style and Sensibility is designed as an accessible overview of one of the most popular genres at undergraduate Film Studies. 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 the work of Douglas Sirk or as a sensibility that emerges in the context of specific texts, speaking to and see more reflecting the desires, concerns and anxieties of audiences. Films discussed include All That Heaven Allows, Safe, Fear Eats the Soul, Black Narcissus, Suddenly Last Summer and Rebel Without a Cause. Each chapter includes overviews of key essays, analyses of significant and widely studied films and includes an annotated reading list.

por Jonathan Goldberg

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 see more 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.

por Carla Marcantonio

Global Melodrama is the first booklength work to investigate melodrama in a specifically twenty-first century setting across regional and national boundaries, analyzing film texts from a variety of national contexts in the wake of globalization.

por Laura Heins

Cultural productions in the Third Reich often served explicit propaganda functions of legitimating racism and glorifying war and militarism. Likewise, the proliferation of domestic and romance films in Nazi Germany also represented an ideological stance. Rather than reinforcing traditional gender role divisions and the status quo of the nuclear family, these films were much more permissive about desire and sexuality than previously assumed. Focusing on German romance films, domestic melodramas, see more and home front films from 1933 to 1945, Nazi Film Melodrama shows how melodramatic elements in Nazi cinema functioned as part of a project to move affect, body, and desire beyond the confines of bourgeois culture and participate in a curious modernization of sexuality engineered to advance the imperialist goals of the Third Reich. Offering a comparative analysis of Nazi productions with classical Hollywood films of the same era, Laura Heins argues that German fascist melodramas differed from their American counterparts in their negative views of domesticity and in their use of a more explicit antibourgeois rhetoric. Nazi melodramas, film writing, and popular media appealed to viewers by promoting liberation from conventional sexual morality and familial structures, presenting the Nazi state and the individual as dynamic and revolutionary. Some spectators objected to the eroticization and modernization of the public sphere under Nazism, however, pitting Joseph Goebbels' Ministry of Propaganda against more conservative film audiences in a war over the very status of domesticity and the shape of the family. Drawing on extensive archival research, this perceptive study highlights the seemingly contradictory aspects of gender representation and sexual morality in Nazi-era cinema.

por José B. Capino

Lino Brocka (1939–1991) was one of Asia and the Global South’s most celebrated filmmakers. A versatile talent, he was at once a bankable director of genre movies, an internationally acclaimed auteur of social films, a pioneer of queer cinema, and an outspoken critic of Ferdinand Marcos’s autocratic regime. José B. Capino examines the figuration of politics in the Filipino director’s movies, illuminating their historical contexts, allegorical tropes, and social critiques. Combining see more eye-opening archival research with fresh interpretations of over fifteen of Brocka’s major and minor works, Martial Law Melodrama does more than reveal the breadth of his political vision. It also offers a timely lesson about popular cinema’s vital role in the struggle for democracy.

por Guy Barefoot

In 1945, a year when American crime films were apparently moving out on to the streets of contemporary Los Angeles and New York, one reviewer noted the emergence of a 'cycle of mystery and horror pictures placed in the gaslight era of the turn of the century.' For another critic, it seemed that for Hollywood there was 'no world of today save the world of London by gaslight'.

In Gaslight Melodrama, Guy Barefoot examines the films that gave rise to such comments, and the see more pattern of discourse that gave rise to such films. The book's main focus is provided by 1940s Hollywood melodramas such as Gaslight, Dr. Jekyll and Mr. Hyde and Hangover Square. It also discusses a related cycle of British films that located murder and melodrama in Victorian or Edwardian settings, and then looks beyond cinema to the Gothic novels of the 18th century, 19th century discussions of gas lighting in street, home and theatre, and ambivalent 20th century responses to the Victorian era. Combining close analysis of particular film texts with attention to cinema's cultural context, Gaslight Melodrama provides an exploration of the ways in which the past has been the site of contested meaning, and an examination of the network of melodramatic narratives embedded within familiar and lesser-known examples of classical Hollywood cinema.

por Elena Lahr-Vivaz

In Mexican Melodrama, Elena Lahr-Vivaz explores the compelling ways that new-wave Mexican directors use the tropes and themes of Golden Age films to denounce the excesses of a nation characterized as a fragmented and fictitious construct. Analyzing big hits and quiet successes of both Golden Age and new-wave cinema, the author offers in each chapter a comparative reading of films from the two eras, considering, for instance, Amores perros (Love’s a Bitch, Alejandro González Iñárritu, 2000) see more alongside Nosotros los pobres (We the Poor, Ismael Rodríguez, 1947). Through such readings, Lahr-Vivaz examines how new-wave directors draw from a previous generation to produce meaning in the present.

Mexico’s Golden Age of film—the period from the 1930s to the 1950s—is considered “golden” due to both the prestige of the era’s stars and the critical and popular success of the films released. Golden Age directors often turned to the tropes of melodrama and allegory to offer spectators an image of an idealized Mexico and to spur the formation of a spectatorship united through shared tears and laughter. In contrast, Lahr-Vivaz demonstrates that new-wave directors of the 1990s and 2000s use the melodramatic mode to present a vision of fragmentation and to open a space for critical resistance. In so doing, new-wave directors highlight the limitations rather than the possibilities of a unified spectatorship, and point to the need for spectators to assume a critical stance in the face of the exigencies of the present.

Written in an accessible style, Mexican Melodrama offers a timely comparative analysis of critically acclaimed films that will serve as key referents in discussions of Mexican cinema for years to come.

por Scott Higgins

Long before Batman, Flash Gordon, or the Lone Ranger were the stars of their own TV shows, they had dedicated audiences watching their adventures each week. The difference was that this action took place on the big screen, in short adventure serials whose exciting cliffhangers compelled the young audience to return to the theater every seven days.
 
Matinee Melodrama is the first book about the adventure serial as a distinct artform, one that uniquely encouraged audience participation see more and imaginative play. Media scholar Scott Higgins proposes that the serial’s incoherent plotting and reliance on formula, far from being faults, should be understood as some of its most appealing attributes, helping to spawn an active fan culture. Further, he suggests these serials laid the groundwork not only for modern-day cinematic blockbusters like Star Wars and Raiders of the Lost Ark, but also for all kinds of interactive media that combine spectacle, storytelling, and play.
 
As it identifies key elements of the serial form—from stock characters to cliffhangers—Matinee Melodrama delves deeply into questions about the nature of suspense, the aesthetics of action, and the potentials of formulaic narrative. Yet it also provides readers with a loving look at everything from Zorro’s Fighting Legion to Daredevils of the Red Circle, conveying exactly why these films continue to thrill and enthrall their fans. 

por Louis Bayman

Italian cinemas after the war were filled by audiences who had come to watch domestically-produced films of passion and pathos. These highly emotional and consciously theatrical melodramas posed moral questions with stylish flair, redefining popular ways of feeling about romance, family, gender, class, Catholicism, Italy, and feeling itself. The Operatic and the Everyday in Postwar Italian Film Melodrama argues for the centrality of melodrama to Italian culture. It uncovers a wealth of films see more rarely discussed before including family melodramas, the crime stories of neorealismo popolare and opera films, and provides interpretive frameworks that position them in wider debates on aesthetics and society. The book also considers the well-established topics of realism and arthouse auteurism, and re-thinks film history by investigating the presence of melodrama in neorealism and post-war modernism. It places film within its broader cultural context to trace the connections of canonical melodramatists like Visconti and Matarazzo to traditions of opera, the musical theatre of the sceneggiata, visual arts, and magazines. In so doing it seeks to capture the artistry and emotional experiences found within a truly popular form.