alida ba
fashion
marketing
and
communication
level
6, 2014/2015
fashion c w k 2,
fashion
husby
cinema
culture
and
music
mied
612
brief cwk2- fashion culture essay fashion in cinema and music (30%) summary of project content: the module focuses on the connections between image and how to communicate a message, be it commercial or artistic or both, through the analysis of the evolution of fashion styles and trends, contemporary culture, society and art. the module structure is divided into parts, including macro trends, fashion in cinema and music and fashion photography, thus evaluating both the implications of social culture in fashion and the multiple relationships between the fashion industry, other fields of creativity and popular culture. the module strongly relies upon semiotics and sociology in order to analyze, interpret and critically approach all the subjects involved. this module is made up of three classes: fashion and photography, fashion in cinema & music and macro consumer trends. project aims: - to enable students to critically analyze the relationship between fashion and other creative industries. - develop an ability to build creatively an atlas of present and future trends. project brief: students will write minimum 3, 500 words, (Coursework 2) that is the result of personal research and analysis of their chosen topic (here: the genre of melodrama). this will test students’ ability to demonstrate their point of views in relation to fashion, cinema and music. students will have to chose only one of the cinematographic genders: - melodrama - comedy - film noir - western this is in order to showcase in their project. they will have to research and
analyze the sign and meaning. the roles and values, of the chosen gender present in the film industry and the socio-economic aspects and political occurrences in the beginning of the genders tracing the evolution until present day through fashion cultural influences and communication within fashion. explanation / information for project structure: - introduction to the gender and the socio-cultural references of the decade - research evidence - schematise the socio-cultural/economical-political references throughout the decades - analysis of the repercussion from a cinematographic point of view - analytical approach of sign, meaning, aesthetic and role of the style and value it portrays. - understanding meaning of the gender and evolution through the decades - evidence of repercussion in present time through fashion communication - personal conclusion
work to be handed for assessment: typed project: - font size 12 - 3,500 words - hard-copy: printed A4, bound (spiral or other)
- soft-copy: pdf format (A4 page size), on cd/dvd (in a plastic pocket, glued in the back of the project) - include references to all sources in Harvard referencing system - 26 images minimum - alphabetically organized bibliography
assessment criteria: assessed work will be expected to show: - that the learning outcome requirements (1, 2 and 4) have been met. - a critical evaluation of cultural and social concepts with evidence of a range of sources and its context related to a business strategy. - proper piece of writing that shows an analytical approach for determining and achieving personal and/or group outcomes.
learning outcomes: by the end of the module, successful students will be able to: 1. analyze and interpret the system of signs in fashion culture, image and communication. 2. combine a creative and sophisticated approach to develop the concept of a project, researching all visual, photography and cultural inputs. 4. show a high level of appreciation of cultural influences, including cinema & music, within fashion. (mccarthy, 2014)
index
5
introduction & definitions
8
main films and other resources used
10
ov e rv i e w
13
v i s ua l e s s e n c e m o o d b oa r d
14
time-line
16
c ontemp orary mel odrama
17
s t ru c t u re a n d c o m p o n e n t s
18
mise-en-scène
20
red, green, bl ack and white
28
objects of symbolic meaning
29
semiotic elements
30
fa s h i o n
32
music and other references
33
advertising
34
fa s h i o n e d i t o r i a l s
38
conclusion
39
key-word c oncep t summary
40
image references
43
bibliography
introduction throughout this research project the focus will be directed towards the area of drama, in specific the evolution of melodrama as an iconic movie genera that inspires and influences other creative fields such as music and fashion, through it’s unique concepts and visual aesthetics.
emotional identification within the narrative and plot. thus, the melodramatic work will create connections between the story, situations and main characters with the viewers, therefore opening up for greater emotional response. this is perhaps how melodrama, became known as tearjerkers and womens-film, where it was not unusual for women to enjoy the genera over men, thus feel and cry with the characters. “melodrama as a movie genera mainly considered attractive to women, due to the various thematics presented like love affairs, infidelity, family crises, unrequited love or marital separation” (hayward, 2000).
the project is designed to highlight & show how melodrama as a genera has developed and become a source of inspiration, where encoded messages create meaning through signs and semiotics. in addition will this project generate first hand knowledge about the genre and style through using skills and knowledge obtained in fashion & cinematic theory class, literature, semiotics, rhetorics, linguistics and art history. the components of melodrama are uncovered to show the primary elements of what makes the genre. the various fields of studies mentioned above combined with desk research and independent thought will when merged give insights to the foundation of melodrama, yet also suggest a continuous red thread that is present in most melodramas, for example visual elements, characters, plot and storyline.
the use of both visual and content related examples obtained through primary source research will showcase and support the theoretical statements made by me or other researchers that have conducted primary resources, such as susan hayward, elasesser and kaplan. from a personal point of view, in order to describe the profound interest placed within this project, my goal is to investigate in depth the visual style and language of melodrama and its network of meanings and signs. thus preparing and obtaining a new skill that allows recognition of other works that directly or indirectly relates to the genre and through its relation adds various meanings. however another element that from a personal point of view will be a foundation element focused on, is the complexity of the unfixed genre to be able to justify, explain and transmit the socio-economical, political and historical impact and alteration (evolutionary speaking) on the melodramatic transformation through time.
the most significant objective sat for this research essay is “to find and obtain primary and secondary research with theoretical and case knowledge that trace and argument hypothesis and strategic planning.” (mccarthy,2014) the origin of melodrama can be traced back to the medieval times & late 18th century in france where the romantic literary period was blooming. it was first seen used to develop literature works and theater plays. the traditional melodramatic works, expressed emotion through art, imagination, individuality, nature as a source of spirituality and pure intuition (hayward, 2000).
a traditional melodrama plot consists of three main elements that the storyline and events will surround. the provocation, the pangs and the penalty. provocation: the initial cause for setting the action in motion: jealousy or greed of a wicked character. pangs: the pangs are the sufferings of the good and innocent characters who are in conflict with evil. penalty: the penalty is that suffered by the wicked character for his evil ways in a last-minute reversal of fortune.
the merger of musical elements and the spoken word was and continues to be a key element in the melodrama genre, where it emphasizes emotional response of the audience to character stories and events within the movie. musical accompaniment focused on guiding the atmosphere of the morality tale, in specific it highlighted and focused on the underlining of good and evil (hayward, 2000). melodrama is recognized for appealing to its audience through rhetorical pathos, where it draws on the audience
(hayward, 2000) (Schmidt, 2005) (mccarthy,2014) (zarzosa, 2013)
5
“a work characterized by extravagant theatricality and by the predominance of plot and physical action over characterization” (merriam-webster.com, 2015) “sensational dramatic piece with exaggerated characters and exciting events intended to appeal to the emotions” (oxforddictionaries.com, 2015) “melodrama’ refer to an ‘open’ category of films that might include a large number of what persons refer to as ‘dramas’, ‘romances’, ‘thrillers’ etc. the genre is both porous and fluid – accepting elements from other genres and itself overflowing into them. this open quality is problematic for academical purposes and most audiences. it is also a problem that definitions of melodrama within the film industry have changed over time so that in some ways, melodrama now means the opposite to what it once meant. in the hollywood of the 1930s, melodrama could be used to describe action films, but now it usually refers to ‘relationship films’.” (stafford, 2008)
6
definitions “melodrama originated as a written and theatrical form within the medieval times and victorian theatrical tradition. melodrama evolved to a concept applicable to a wider range of areas, where with it’s own visual essence, conceptual components, structure and tools could enhance and encode messages related to the melodramatic style. the victorian plot, which focus was directed towards moral tales (good and evil) has evolved into a rather unfixed conceptual genre, where an unfixed set of components and structures decide its relation to the melodrama genera. today the genre is considered a classical hollywood cinematic genre, mothered by the wast genre of drama. the melodrama genre seen in films of different decades expresses the social, economical, technological and political situation of the time it was produced, however also whichever time it was historically set in. one of the key components of melodrama is the presence of the larger-than-life stereotypical characters: the heroine, the hero, the villain, villain’s accom2plice, faithful servant, hero-sidekick, comical character and maidservant. (husby, 2015)
the origin of the word melodrama stems from the modification of the french word, mélodrame. the greek word melos (meaning song) & french drame (meaning drama) combined show a direct link with the genera of drama, origin and thus creates a direct link to the over emphasized and exaggerated elements of acting, emotional characters and musical elements. hence creating strong associations to classical and modern movies, such as gone with the wind and water for elephants. (mccarthy, 2014) (oxforddictionaries. com, 2015) with a placed historical point of view, melodrama is regarded as a sensational and romantic written work or stage play that originated within the victorian theatre, where interspersed musical elements and orchestral accompaniment became a key recognition. (hayward, 2000) (Schmidt, 2005). with a contemporary and modernistic point of view applied, melodrama is recognized as a work, a play, a performance or a film. melodrama can take many shapes and forms, where exaggeration, tragedy, society based conflicts, romance and stereotypical characters like the hero and villain lead the show. concerned with the visual essence, melodrama, tends to exhibit and express over-the-top-acting, strong facial expressions & gestures and emotion to create encode crystal clear messages, that are easily decoded by a large audience varying in class, education and experience. (zarzosa, 2013) my personalized definition obtained and created through primary and secondary research resulted in a definition that encompass the melodrama of the past, yet the contemporary essence it has in todays society. this definition therefore is what is mainly applied and stands for the further selections, research and information presented within this project.
7
films
and
other
resources
the selection of films and resources shown below are some of the ones which have been carefully chosen to complement the material and theory obtained through class lectures, hence laying a foundation in order to develop this project with a comprehensive overview of the genera & the visual components, however also to see the evolution of elements, which have changed over time. the selection of movies vary in style and components, to be able to find the true parameters and structure of the melodramatic movie genera.
gone with the wind
t i ta n i c
wat e r f o r e l e p h a n t s
au s t r a l i a
the notebook
sereana
romeo and juliet
moulin rouge
les miserables
twilight
pride and prejudice
wuthering heights
8
wizard of oz
beyond the ro cks
robin hood
casablanca
t h e pa r e n t t r a p
r e b e l w i t h o u t a c au s e
9
r at at o u i l l e
a little princess
va n i t y f a i r
b l a c k s wa n
cinema studies
s t o ry s t ru c t u r e architect
a
brief
overview
(hayward, 2000) (schmidt, 2005)
female vs. male melodrama melodrama as a cinematic genre can be divided into two main categories; 1. female 2. masculine
the male melodrama consists of various science fiction, mob and western stories that revolve around family and male conflicts. the male melodrama moves towards a reconciled end, however the male character must search for a compromised solution between his family life and his alternative life outside the domestic sphere of the home (hayward, 2000).
1. the female melodrama and woman’s film share similarities in codes, conventions and structures due to the overlap of plot structure and acting style, however the female melodrama is mainly centered on moral tales of tragedy where good and evil are shown as clear contrasts. themes often seen in the female melodrama genera surround concepts such as family relationship, love and social class difference. the female melodrama is often set with the locations and scenes inside the home sphere. generally speaking these types of female melodrama films are more likely to end with a more open-interpretation and unresolved ending, compared to the male melodramas. the unique style of the cinematic genera focuses on over-the-top gestures and emotional expressions, therefore facilitating the ability for all audiences of different social class and intelligence to decode and obtain main signs, associations, messages and meaning. (mccarthy, 2014) (hayward, 2000).
the focus is placed on the family relationships and internal struggles, as exhibited in female melodrama as well. male melodramas were however in the beginning more liberal regarding the location and where the scenes take place. whether it was outside and in other spheres than the home, this signifies the stronger liberated role men had and partially still have in our society, where their authority allows them to be and do what they want. the mail character is often split between the responsibilities, demands and expectations from the family and the outside world of temptation and lusts (hayward, 2000) (schmidt, 2005). storyline structure the original style of melodrama whether in a play, film or literature work has a clear sense of a three-act division; the beginning, the middle and the end (schmidt, 2005).
tragedies are often combined with one or more victims, whom are desperate, to be saved from an evil character, often portrayed as the arch villain. within the sub-section here of the melodrama films, men are often placed within the restricted female domestic space, where they are forced to learn the value domestic life. the characters personalities and behavior, alongside the events within the narrative become the highlight of the film and brings pleasure to the audience (hayward, 2000) (Schmidt, 2005). (mccarthy, 2014) (zarzosa, 2013).
the female melodrama as mentioned above, tends to have an open ending or a final minor obstacle introduced towards the overlap of the second and third act. a clear example of this is seen in the movie titanic, which is based on real life events with creative liberty. throughout the storyline various obstacles are introduced and overcome. for example rose freeing herself from her strict fiancĂŠe who treats her like property and the sinking of the ship. however towards the beginning of the third act, a final minor obstacle is introduced. both jack dawson (played by leonardo dicaprio) and rose hewitt (played by kate winslet) have found each other and survived the fall of the ship, however through the freezing temperature in the water and the lack of space on floating wood a final element of obstacle is introduced to the storyline. jack dawson dies and rose needs to decide whether or not to fight and thereafter find the will to survive after the true love of her life will never come back. she must first find the will to
patriarchal* culture as a rule has no place outside the regular female role and the domestic sphere within a female melodrama. however, as an exception to the rule, contemporary and modern writers, step away from the expected tragic ending for the female character, which underlines the fact that melodrama evolves parallel to the development and changes seen in society over time and today exhibits an unfixed set of contributory factors. *the social system is aligned with old traditional norms and behavior, the male character has primary power in predominate roles of politics, moral, authority and so ownership (families, fathers and father figures are considered to have greater power and authority than women and children)
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be saved. the viewers of a female melodrama is left knowing the story will continue, but with a different outcome than perhaps hoped for by the audience. both female and male melodrama are primarily driven by the concrete, clear and stereotypical character personalities and their emotions, decisions and dreams, which thence due to importance is introduced in the introduction part of the cinematic work. (hayward, 2000).
act iii the final act tops the story line component graph of excitement and within a female melodrama introduces a last obstacle with stagnation, whilst in a male melodrama drives the story to a climax and a resolution. it does not necessarily mean it has to have a happy ending, it could be tragic, but there is a feeling of the main story being resolved for the main character. the final act is also filled with psychological elements, and involves family and other close relationships (Schmidt, 2005).
act i the first act, also considered the introduction to the story, sets up the premises for the atmosphere and mood of the film. the internal problem or goal experienced by the hero or heroine is introduced within the first act, alongside the villain, all main characters. towards the end of first act there is a turning point, also know as a cliffhanger to the second act. in order to understand this i will continue with the example of titanic. as many other melodramas titanic evolves around family and relationships, but it also focuses on the changing world and social class differences. this plot provokes and engages the viewer. in titanic rose is the heroine, jack is the hero, the villain is cal which is roses finance, mr. lovejoy is his sidekick, whilst molly brown is the heroins helper in therms of social acceptance. the villain can also be the main character of a film in melodrama, within the first act it becomes obvious as she or he makes one bad choice after another, usually not learning from mistakes (however this is not the case for titanic) (Schmidt, 2005) (Zarzosa, 2013).
time lapse nostalgia & looking back to a glorious time of happiness or tragedy, for example seen in the movies titanic, the notebook, water for elephants & moulin rouge (the notebook, 2004) (titanic, 1997) (water for elephants, 2011) (moulin rouge, 2001). in these four movies and other within the genre of melodrama the narrator tells a story from a personal point of view, it triggers both emotion and tension. another element that underlines the fact that melodramatic movies are tearjerkers and weepers. as seen in the movie titanic (1997). the main character rose, describes the situation and events from the current time, through looking back to a specific event. the emotion becomes intensified as the audience ejects their own memories and experiences with the story-line also therefore turning to crying (hayward, 2000) (Zarzosa, 2013). music music was and still is a key element to the melodramatic genre. the music was added to emphasize the mood and guide the emotional reaction of the audience. when a villain executes an evil actions it is often accompanied with dramatic dark music, whilst when the hero frees the heroine and they finally embrace each-other romantic slow orchestra music is played. during the start of the cinematic industry and the silent film era, music and melodrama was over exaggerated thus everyone would obtain the real meaning and messages. melodramatic musical elements create a foundational base within the movie. rapid quickly phased music with increasing volume, is associated with the build up and peak of an event. a high frequency of musical accompaniment within a melodramatic picture creates an utopic / dystopic space and alternate reality, seen in for example the wizard of oz & the black swan (The Wizard of Oz, 1939) (Black Swan, 2010). (Schmidt, 2005) (hayward, 2000).
act ii in the second act problems evolve and intensifies. in titanic the realization that the ship has been hit by an iceberg and there are not enough lifeboats is reviled. there might be a temporary triumph, such as jack escaping from confinement with roses help, after falsely accused of stealing, but it is short lived when they need to return down floors of the ship to escape the iron grip and social standing authority cal and his sidekick hold. the second act often plays on the psychological tragedies and intensifies the emotional bond developed between the viewer and the story. the situation in the example of titanic worsen the situation in the second act, where jack’s friend is shot, there is no lifeboats left, and the ship is sinking fast. the turning point, reliving the viewer from tension is short lived, and is heavy with angst and longing in the post realization (schmidt, 2005). (zarzosa, 2013)
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although the two dominant categories of melodrama as described in the previous section as masculine and feminine have clear differences, they both consist of set codes and systems, within the rarely unfixed genre. therefore elements of melodrama can be seen in the gothic thrillers by hitchcock.
within males based melodramas the plot is often given complexity and character depth through a triangle set-up structure. a man is drawn in two directions, one pulls him toward his family and home sphere, whilst the other tempts him towards a less socially accepted choice, such as a mistress.
hitchcock stated; “if i admit i prefer to make films that may be so classified i must first define it. try to define it for yourself and see how difficult it is. one man’s drama is another man’s melodrama. in the victorian theatre there were only two divisions of entertainment - the melodrama and the comedy. then snobbery asserted itself. what you saw at drury lane was drama. at the lyceum it was melodrama. the only difference was the price of the seat. “melodrama” came to be applied by sophisticates to the more naive type of play or story, in which every situation was overdrawn and every emotion underlined. but still the definition is not universal. the “melodrama” of the west-end may be taken as drama in the provinces. to some extent “melodrama” seems to be in the eye - and mind - of the beholder. in real life, to be called “melodramatic” is to be criticized. the term suggests behavior which is hysterical and exaggerated. a woman may receive the news of her husband’s death by throwing up her arms and screaming, or she may sit quite still and say nothing. the first is melodramatic. but it may well happen in real life. in the cinema a melodramatic film is one based on a series of sensational incidents. so melodrama, you must admit, has been and is the backbone and lifeblood of the cinema. i use melodrama because i have a tremendous desire for understatement in film-making. understatement in a dramatic situation powerful enough to be called melodramatic is, i think, the way to achieve naturalism and realism, while keeping in mind the entertainment demands of the screen, the first of these being for colorful action.” (1936).
alongside the focus put upon morality and the role of the victim, psychology (in specific the psychoanalysis and freud) plays an important role. melodrama often use the tool of nostalgia, which takes the viewer on a journey back in time to reminisce what is considered an ideal time of respectability. however, as a rule majority of melodramas are considered masochistic. the platform of melodrama functions as a field of expressing... 1. forbidden longings, as seen in titanic and water for elephants 2. symptomatic illness, as seen in moulin rouge 3. renunciation, as seen in the notebook, parent trap and in mildred pierce (mccarthy, 2015) there is no one singular clear and definitive meaning or reason related to the group of films categorized as melodramas. the reality is more complicated and layered, thus one can perhaps suggest that films known as melodrama operate in a vast and variable network of meanings, based on the discourses within the film, amongst scholars, critics and the audiences. the book cinema studies state that “it is necessary to look beyond the generic boundaries to discuss melodrama and suggest that it is more useful to consider melodrama as a “modality” or an “expressive code” (hayward, 2000).
the genre is not restricted to a limited geographical area, thus considered as an international phenomenon. however within different geographical areas, both cultural and sociological aspects vary and impact. a melodramatic film, which set in asia follows other rules of cultural understanding, tradition and encoding/decoding of meaning, than that of the western society. a clear example for this is the use of color in relation to sorrow and mourning. in asia the appropriate color to wear is white, while in the western society the use of black is the only appropriate color for the same purpose. (mccarthy, 2015)
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visual
essence
13
moodboard
1 2 3
19
19
5 6 7 8
14 9
co nt em
&
ry
ea rl y
po ra
h
70 s
20 t
60 s &
50 s
40 s
30 s
la te
19
4
19
ce nt u
t
21 s
ry
or m igin ed 18 t iev h a ce l t nt im ur e/ y vi ct 18 t or h ia & n 19 t ti h m ce e nt ur si y le nt fi lm er a be ne for w e1 ru 93 le 4 s
timeline
1
2
3
4
5
however it lost importance prior years. the code directed what was acceptable and unacceptable content for motion pictures. hence, some of the films before 1934 were bolder and more content direct regarding the genera of melodrama. hollywood released multiple direct and shocking of the time melodramas where the focus was towards, naughty, fallen and sinful women, as the gold-diggers and divorcées. some of them were in the motion pictures brought to justice for there indiscretions and ruthlessness, by what in todays society could be thought as karma (rejection, drug-addiction, death, or anonymity.) (hayward, 2000) (schmidt, 2005) (mccarthy, 2014). (filmsite.org, 2015).
the origin of melodrama has its earliest traces rooted in medieval morality plays and oral tradition. therefore with the tradition found it renewed the french romantic drama of the eighteenth and nineteenth centuries. these particular dramas and novels based in codes of morality and good conscience were about family relations, thwarted love and forced marriages. parallel to the rise of modernism, melodrama can be seen as a reaction to the french revolution, the industrial revolution and societies modernization (hayward, 2000) (prezi.com, 2015) (no.wikipedia.org, 2015). during the 18th and 19th century and bourgeois emerged as a proportioned class. hence the 6 ethical imperative replaces the tragic vision starting in this period. (hayward, 2000) the genera evolves and begins to focus on family and moral values towards the end, rather than the dynastic and mythic deities. class conflicts was exhibited through sexual misconduct, manifesting itself via exploitation or rape. “melodrama developed parallel to the nineteenth century capitalism, which gave rise to the need of the family to protect, through the inheritance system, the bourgeoisies newly acquired possessions.” (hayward, 2000). with the industrial revolution came a new everyday and society, where different pressures were put on families, the industrial revolution moved the work from the home sphere to factories, where consequently the working class women and children entered. the middle class women withdrew completely from the labour market. the industrial revolution transformed society, thus increasing urbanization. not only positive outcome came from the industrial revolution, the mob is an example of how new organizations of crime became powerful. in europe social classes became increasingly polarized as opposed to hierarchic as they had formerly been. as the nineteenth century came to an end, it marks the beginning of what today is well known as a consumer culture (hayward, 2000). the first cinemas appeared in the early 19 hundreds, and with the growing consumer culture, on of the venues for the cinema was hidden within various department stores. (hayward, 2000). the screenings would showcase stories for audiences, but with a hidden intention and goal to intrigue and attract new customers (hayward, 2000) (schmidt, 2005) 7 (mccarthy, 2014) (zarzosa, 2013). the silent film era plays a key role in the development of melodrama, in specific related to the aspect of music accompaniment, over exaggerated acting and facial expressions. at the hight of silent films in the cinema industry, it was not possible to record voices and musical elements were added in post production. this lead to that the actors and actresses had to express their emotions very clearly through their gestures and body language, this was necessarily for the audience to fully understand the situation without the element of oral dialogue and voice elements. physical comedy and melodrama due to this style became increasingly popular at this time. the art of acting and plots were both over-the-top, in order to draw out as much emotion as possible. (filmsite.org, 2015) (wikipedia, 2015) (mccarthy, 2014). 8 during 1930s and before 1934 male melodrama focused on the protagonists unwillingness or inability to fulfill the narrative structure of oedipal trajectory derived from freud’s version of the heavily masculinist and concept of subconsciousness. this is seen particularly in the french melodramas of the 30s (hayward, 2000). during the 1930s the discovery of lacking strong male characters within the genre, lead to the idea that melodramas were only for women. “producers thought women would be more interested than men in relationships, love, and marriage, thereby escaping from their own problems, and empathizing with the on-screen sufferings of strong female protagonists” (filmsite.org, 2015). the motion picture production code was applied to most united states of america motion pictures that were released, however it was not strictly enforced before 1934. the strict set of rules and censorship codes were given in the hays code. the motion picture production code, better known as the hays code was in practice to the end of 1968,
the 1940s is often considered to be the time of the perfect housewife, family, home and the time where consumerism blossomed. these socio-economical and political elements merged with melodrama had an important impact on the genre that transformed with its psychological aspect in this decade. masochism was shown through inner violence, internal voice conversation with oneself. this was seen in roles like the sacrificing mother and wife (mildred pierce). male melodramas played less with the element of masochism and exhibited less sexual gratification from emotional and physical abuse (with the exclusion of a few gangster based plots that were indirectly related with the noir film style). the 40s was the decade of the tragedies where mortar and pity infused characters stood strong. the audience could sympathize and empathize with the roles, such as mildred pierce, the mother figure that would do anything for her family, but doing so strains her relationship with her eldest daughter, veda. in the mini series named mildred pierce, kate winslet plays the main character, who tries her best to support and hold together the family. however the children (mainly veda) cruelly neglect her maternal character and she is scorned. the mother-children relationship scenario was a popular theme of the 1940s melodramas. the maternal role would often be the heroine in the story, sacrificing themselves on behalf of their children and families. the audience, containing mothers of the 40s, found the characters intriguing and possible frightening as they could easily identify with personal or related experiences to the story (hayward, 2000) (schmidt, 2005) (mccarthy, 2014) (filmsite.org, 2015) (mildred pierce (mini tv series), 2012) (zarzosa, 2013). the 1650s & post war era films of the melodrama genre focused on the increasing unwillingness to fulfill societies expectations of male adulthood (in male melodramas). the hight of melodramatic cinema with sound, is considered to be from the 1920s to 1960s. after wwii ended, the reading material written by sigmund freud, with focus on psychology, subconsciousness and urges climbed in popularity. the work of freud on psychoanalysis and the mind pushed the melodrama genre further up in awareness and it therefore regained popularity and importance. during the 50s the male melodramas and roles went through an alteration from where the character’s conflicts and obstacles surrounded the pillar of family relationship, to where the male roles were forced to succumb to social pressure, thus defeated lost self respect and the pride of masculinity (hayward, 2000) (mccarthy, 2014) (filmsite.org, 2015) (prezi.com, 2015). in the 1960s & 1970s the perhaps most recognized melodrama is the film west side story from 1962. the film is a melodramatic musical full of energy, roughly inspired and built on shakespeare’s tragedy play about romeo and juliet and their archenemy families. there are some modernization to the film, it is moved to the upper west side of manhatten, situated in the late 1950s, and rival street gangs substitute the families of the original stories (filmsite.org, 2015). the early 70s mark an exciting point for the melodramatic genre, where it was as a first recognized in terms of cultural history by itself, therefore the importance and academic focus on the style rose. melodrama was investigated and researched more in depth, including through applied psychoanalytical and marxist knowledge (mccarthy, 2014) (filmsite.org, 2015) (hayward, 2000) (filmsite.org, 2015). late 20th century and early 21st century opened the melodrama genera concept & rules up even further, hence movies like titanic, twilight & the notebook were created and are today known as some of the most iconic contemporary melodramas (mccarthy, 2014) (filmsite.org, 2015).
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15
contemporary
melodrama
(mccarthy, 2015)
contemporary melodrama is rooted in the original foundation, where stereotypical characters, concept of good and evil and the use of over exaggerated emotional triggers are key components. however contemporary melodrama is not as limited in ways as it may have been during the medieval and victorian times. the evolution that has taken place over time since the birth of melodrama has transformed and adapted the genre to the constantly changing society and norms.
the public perception of what is ideal and stereotypical perceptional ideas of body, faces, morality and ethics work as engaging parameters for the audience.
the classical hollywood cinematic genre is currently considered a central source in regards to media structures, the genre plays a crucial role in understanding and expressing modernity. the modern society merged with the cinematic style opens up for flexibility in the contemporary interpretations of melodrama, thus it makes melodrama stand out as an enduring, feasible and adaptive genre (mccarthy, 2015).
the liberty of modern cinematic acceptance allows creatives to step away from the set structure and rules of melodrama, amongst other allowing the hero to succeed and promoting natural and realistic acting. (mantel et al., 2010). in contemporary melodrama films other elements can be used to encode and add the same meanings that will create emotional attachment and identification. contemporary melodramatic movies utilize the tool of music in greater depth than the traditional classic melodrama, hence musical components expresses more than ever before.
melodrama is today considered one of the classical categories of iconic hollywood cinema, aligning its importance to the genres of comedy, film noir and western.
film and television today has an evident influence from the melodramatic theatre, and the sub genera; chick flick has also derived from the source. chick flick films are recognized as lighter versions with less tragedy, although staying true to the essence of melodrama. the unpreventable constant change and development within the field of technology impacts and alters medias, for this reason also the production and end result of films. demands for new and inspiring solutions, for example in the cinematic experience, 3d and 4d are recent ways of intensifying the experience and thus the connection between the audience, characters and storyline (hayward, 2000) (mccarthy, 2015).
some melodramas of recent production have added comic relief to lighten the atmosphere, but also adapting the films towards a younger audience. ratatouille and the parent trap are prime examples of this executional style. the mood of the movie is brighter for younger viewers, yet they keep the purpose of moral and justice which is centered . (zarzosa, 2013) (stafford, 2008) (mccarthy, 2015)
significant changes can be seen in the post-classical forms of the melodramatic plot and storyline, narrative execution and realism. they alter and change the final modern and artistic outcome. melodrama continues to add meaning to trauma through pathos, memory and historical re-visioning and home sphere (schmidt, 2005) (hayward, 2000). in recent times gender and queer relations, psychic identities and modern taboos are relevant topics for a contemporary creation of story-lines. the use of current social and political events engage a possible audience and can provoke as well as create real debate, forcing opinions into the public. (cinephile.ca, 2015)
16
structure
and
components
the essence and core elements of melodrama can be sectioned into two larger main areas:
drastically from film to film. hence the variable components push the development of new smaller sub-categories below the melodrama genre. the architectural description can be visually described, drawing a parallel to the human body. imagine the structural elements as the foundation, the bones and knuckles that together create the skeleton and base. the variable components add the flesh and skin of the human body. therefore it’s primary function is to alter and personalize the generic style, idea, cultural and sociological aspects, as well as the main characteristic of roles within the storyline to suit the plot and directors vision (mccarthy, 2015)
1. structural elements 2. variable components the structural group consists of the narrative, storyline, general & stereotypical characters, whilst the variable components may vary more drama melodrama
genera sub
structural narrative storyline emotional
elements
characters story
-genera
example of parallel-leveled categories: horror, action, comedy, documentary, thriller, crime + example of sub-genera related to drama: action-drama, period drama, teen drama, chick flick drama +
elements
va r i a b l e
the classical and traditional elements are often “heightened emotion, female protagonist role, personal sacrifice and exercise of systemic social issues, problems and pressured that attempts to find resolution to a complex systematic injustice” (film school rejects, 2012).
mise
atmosphere personality main
stereo
characters
building
components
traits
of
-en-scène
set
design
lighting space composition
the narrative as a gathering of moral sequential events deals with how the events are told and merge them into the tragedy plot, which is the consumable format. melodrama is divided into three acts, with good vs. evil a rising tension/excitement towards the the structural components are climax of the story (situated in the as described the main elements beginning of the third act). (Schmidt, 2005) that must be present for it to be (hayward, 2000). a melodramatic film.
costume
and
acting film
stock
aspect
17
ratio
makeup
mise
-en-scène
mise-en-scène is the french term denoting the aesthetically aspects applied in the cinematic industry in order to create various settings and a desired look (mccarthy, 2015). also known as the visual theme or language of the film. withing the theatrical plays the mise-en-scène is seen through the staging (stafford, 2008)mise-en-scène consists of various smaller groups as described below. an equally important aspect to take into consideration when analyzing the mise-en-scène aspects is the time period of production, technological development, as well as the set time of the story. as seen in moulin rouge the introduction is edited to have a old looking effect with increased grain and noise to the film, however this is to emphasis the time which the story is set, and does show the production quality or technological restraints of the time (moulin rouge, 2001). the aspect ratio in general has evolved from academy standard to anamorphic scope (aka. square - 4x3 to panavision wide-screen). this provides a more intense and concentrated view into the world of the film, whilst the film-stock and use of grain in general has been extinct with quality and resolution optimization known as high-definition. the elements are shown through visual examples and the mise-en-scène consist of: camera shots frame (angle-view) lighting composition costume makeup and hairstyle acting film-stock aspect ratio
camera shots & composition
the camera shots are usually used to emphasize the moment, scene or event. it is fast phased to intensify the stress, whilst long and slow shots are used to focus on emphasizing a specific event, connect it with emotion and draw the viewers in and make them emotionally commit.
close up
close-ups are used to intensify the way characters are feeling and experiencing a situation. close up is more intense and you come closer to the character, whilst a wider shot shows the surroundings and atmosphere, often early in a scene to give an medium close up overview. the use of free hand shooting adds an element of personalization, but also human element of something that seems real. as can be seen the various shots and angels within cinematic production is used to strengthen the skeleton of the movie (mccarthy, 2015).
extreme close up
medium
over the shoulder
frame, filming & cutting extreme wide shot
18
bird’s eye view
lighting
this angle and shot focuses on the... - victims powerlessness - lack of control - viewer as an onlooker from the outside, unable to help - the bird’s eye view can be said to express looking down on the victim from the villains pleasurable standing point of power
following the tradition use of lighting, mellow light, candle light etc. cold light with blue (cold, sadness, melancholy) warm light with yellow or orange (trust, comfortable, intimate, close, safe) and white light (clinical, different world, dream setting, prediction) melodramatic movies intensify through light and color tone. light vs. dark shines a light and hints towards which characters in the morality tale stands on the good/evil side. candle light vs. synthetic light give two very different look, one natural and traditional, whilst the other more modern, contemporary and clinical.
the high view focuses on the... - overview - less dramatic and intimidating look that what the bird’s eye provides - insight and look to another world, where time and place becomes distant in relation to current society and reality.
high view the natural view is the standard setting of most cinematic works. it focuses on - showing the event and story in a neutral and objective way.
acting
mainly over emphasized, over exaggerated, hysterical, over the top & to the point. using facial expression and making clear and consist movements and acting to show all the audience, their true intention as a character. traditional vs. now
neutral view - full shot the low view gives and focuses on - the power of the evil - their size increases alongside the intimidation for them. - makes the viewer feel insignificant and small.
low view
worm’s eye view
set design, costume, makeup & hair
see next section of color explanation, including images that show clear examples of the set design, costume, makeup and hair that is common in melodramas.
other
the worm’s eye view intensifies the focus of the low view criteria and aspects - the viewer embraces an even more insignificant feeling with barely nothing to say against the other side. seen here in ratatouille. - shows size contrast - shows how the world is big and has great opportunity wherever one may come from.
the mise-en-scène is like style signature of the director. (mccarthy, 2015) (Schmidt, 2005) (hayward, 2000).
19
red the color red is perhaps the shade that is used in most melodramas to signify specific meanings and create deeper emotional reaction from the audience. red can be associated with words linked with strong emotions connotations, such as passion, drama, power, prostitution and horror. on the other hand red as a color can also create associations to words that obtain positive lined connotations, such as ruby, unique, roses, poppy flowers, oriental and love. the associations created with the use of color, in specific the color red depends on the contextual sphere it is observed in. as can be seen below, red in any film, for example the black swan where it adds elements of hor-
ror, despair and evil, differs greatly form the red used in the wizard of oz in Dorothy’s ruby red slippers, that become an icon of magic and uniqueness. below red is also seen used to create a red thread between a character that is exhibited in different stages of life, jumping time and ages (the notebook, with allie and noah, second row, the two photos to the right). colors in general is often used by main characters to create contrast and draw focus towards their roles, however it is also signify a social standing class due to the fact that people of the medium upper classes could afford clothes that where colored, whilst others not. (mykland, 2009) (rowe, 2012)
20
21
green green consists of a broad specter of varieties and shades, however in this respect green is the darker forest inspired colder color, as seen below. green can connote freshness, earth, nature, pureness and honesty, nausea, jealously, extravagant and tomboy, down to earth. the green shades seen throughout the various melodrama are of a darker nature and more natural, than for example neon green and pastel green. (rowe, 2012) the color green is not only used in costume, but also in locations and styling. the various shades of green encode meaning to the characters, roles and atmospheres. as seen on the right hand side is a shot from the in movie “a little princess”. sarah is wearing a green velvet dress, a green bow is tied in her hair and she is in a green hallway. this creates a harmony in the frame and draws the attention to sarah’s emotional face and the doll. the warm/cold and complemen-
tary contrast between the doll who is orange-red and the majority of the frame which is green emphasizes the role and relationship importance between the girl and her trusted silent confidant friend. in the melodrama “a little princess”, sarah is left behind at a girls boarding school, whilst her father travels to fight the war. when the devastating news of his passing reaches the boarding school, sarah is ripped away from all her daily routines and set to work next to a black child under the evil rule of the headmistress. the black child becomes her friend and they use their lively imagination to create an alternative situation, to cope with the horrors, poor conditions and demands of the headmistress (she can also be seen wearing a green dress, looking proper and elegant, but merged with the context and stereotypical characteristic the green suggest an untruthful and egoistical character) (mykland, 2009).
22
23
black black, not considered and defined as a color by all major color theorist, however in the case of this research project we will follow the idea that black is a color, otherwise what do you see? black is often considered to express darkness and is often associated with evil, tragic and bad. therefore within the melodrama genre the villain and the accomplish are linked with black elements (big or small). although not only the characters whom express the evil side of the morality tale use black. black is also known as a color of sophistication, elegance, power, entrapment, authority and seduction. as seen in moulin rouge (image on current page far right in the bottom
row) and gone with the wind (image on current page far right top row) the black in the costumes as seen, signifies entrapment, suffixation and sorrow. the movie “ratatouille� falling under the contemporary understanding of melodrama, where there are two villains, egon starts out wearing black, however when he changes his outlook on life and character he transforms his use of color towards brighter and lighter colors. morning death in the traditional and classic interpretation melodramas are often expressed through black use of color. (mykland, 2009) (mccarthy, 2015) (rowe, 2012)
24
25
white the primary association connected with the use of color white is purity and innocence, this can also be applied to the other light pastel colors. within melodramas both traditional and contemporary white colors are sparsely used and often aligned with the good characters in the story. looking towards the added element of western culture white is also used in weddings and balls. it draws attention, when contrast is present and lets the characters expressions and gestures outshine the costumes.
as seen on these two pages there are various examples from the seen films to underline and support the argument. femininity is another meaning that can be embedded with the use of white color. (mykland, 2009) (mccarthy, 2015) (rowe, 2012).
white in dresses on young women mark their status as innocent and often combined with the coming of age, such as wedding and balls like in twilight and pride and prejudice.
26
27
objects
of
symbolic
meaning
(mccarthy, 2015) (rowe, 2012)
the heart of the ocean & butterfly hair-pin the necklace is an heavy object, weighing down rose and her freedom. the heart is blue representing the ocean, but also the sadness and loneliness. the heaviness can be seen as a mental weight on rose and towards the end when she throws this necklace in the ocean the story comes full circle and she is free from the memories of restraints she once had. the financial value and extravagance shows the social class of the periodic time to show off their wealth and drive a wedge between classes. the butterfly hairpin also belonging to rose can signify her recent coming of age and thus entry to the real adult world of responsibility. her lust for adventure and longing to fly away, the beauty and strength, but also the evolution of her character can be enhanced by the symbolic meaning of the butterfly.
doll seen in a little princess the doll seen in a little princess possesses the ability to be both an index and icon. an icon as the doll which has a the physical resemblance towards a real human and index because it has a direct correlation in space and time. the doll functions as sara’s best confidant and friend. the doll has a symbolic passing to help the other girls in the orphanage when Sara is taken home. the written letters - the notebook letters are objects of great symbolic meaning showing that noah never gave up on allie, that he declared his love for her over and over again. the letters as a tangible object is the black on white proof that they were meant to be and were never actually over.
28
semiotic
elements
[icon,
ruby red slippers the sparkling red slippers have become an international icon signifying magic, playfulness and determination for the good side to win. although not a must the complementation of yellow brick road and ruby red slippers creates a clear associations to the film, the wizard of oz, and the far away land in an alternative reality.
weight watchers - treat yourself better advertisement in this advertisement the lips are linked to the ruby red slippers visually, whilst the squared french fries are linked to the yellow brick road. seen from a melodramatic point of view the struggle in this advertising is the loosing of weight. the increase in obesity world wide makes this advertisement relevant for the contemporary day society. contrast and over exaggeration is also visible in this campaign.
index
& symbol
]
(mccarthy, 2015) (rowe, 2012)
(roughness) mustaches and hair growth men with prominent ragged/ rough mustaches signifies a man, whom looks out for himself and his interests firstly. majority of men with prominent mustaches as such or characteristic hair growth becomes an index suggesting a character related to the evil side of the morality tale in a melodrama. this argument is supported by the visual references seen above in the left row. the right row shows the other variable of how mustaches that are dandy can be signifier showing relation to a specific periodic era, time and social class.
smoking smoking is another index that signifies a character as 1) rebel if with previous knowledge is good, and 2) shady, plotting and self-centered if previous knowledge supports the idea that the character belongs to the evil side.
29
cover design with man and woman (hero and heroine) as can be seen in the introduction to various films majority of classical melodramas have a cover image that signifies the essence of the film and genera visually before the audience knows anything about the storyline etc. the embrace between a man and a woman with an emotional connection is a typical example.
fashion
fashion show by ulyana sergeenko
showing a magical alternative world inspired by gone with the wind & wizard of oz the playfulness and over-dramatic elements are introduces. the use of red, green, black and white are used in the collection and stage decoration set. the collection is alongside the show something sends messages. the catwalk is shaped like a walkway path and it sparkles, the models come out of a hidden door in a book aka. they leave one world to enter another through magic. the fashion show makes the story of the two movies (originated in books) come alive through fashion in a contemporary and modern personal interpretation. (rowe, 2012)
30
fashion collections the russian fashion designer ulyana sergeenko is often inspired by the costumes, essence and styles found in various melodrama films, alongside tradition and heritage from her culture. as exhibited in the images, the high quality dresses draw lines between the arch-classic film gone with the wind, wuthering heights and the wizard of oz, which can also be described as melodramas with periodic and iconic elements. gone with the wind with it’s pre-colonial elements seen from the southerners perspective and wizard of oz with a childlike playfulness and female strength of goodness.
31
music
& other references
(rowe, 2012) (mccarthy, 2015) (mykland, 2009)
music video lindsay lohan with “father to daughter” https://www.youtube.com/watch?v=B1N7LVnmkH8 elements related to the melodramatic genre: - sadness and tragedy - telling a story focusing on the victim - domestic abuse and home sphere - conflict and disaster - builds tension towards a climax in the end
music video christina aguilera with “moulin rouge” https://www.youtube.com/watch?v=RQa7SvVCdZk
animation video “he was a sweet man” https://vimeo.com/58015626
directly related link to the film moulin rouge, use of color specific red (referencing to emotions of passion, seduction, love and strength). over exaggeration in acting. phase (cutting tempo and construction) of the music video is aligned with melodramatic visual style.
this animation video shows a black and white traditional drawing animation, with focus on contrast. simplicity of plot, and the storyline and tragedy that all her men turn to piles to sugar. use of various frame and angles to show the complexity of the story, even though it is just a simple drawn animation, alongside the musical element and close-ups reference directly to the film genre.
32
music video taylor swift with “love story” link to video: https://www.youtube.com/watch?v=8xg3vE8Ie_E content related directly to the film and story of romeo and juliet. use of colors and lighting in accordance with melodrama. framing and cutting is aligned with melodrama and the chase for the perfect love shows emotion in various close up shots.
advertising
(mccarthy, 2015) (mykland, 2009) (rowe, 2013) united colors of benetton
print advertisement originated form late 90s this double-page magazine advertisement is directly related to the genera of melodrama, through both concept and visuals. it creates associations through images and links to films of the melodramatic genera, such as the a little princess. the concept of contrast is clear and provocative. this is also a key element in all newer benetton advertisement, they want to shock the public with advertisement and campaigns that question the current state and norms of society. this particular image questions the stereotypical representation and perception of human races. the two girls are presented as contrasting roles of good and evil through the use of an angelic white girl and a dark skinned girl
with hair shaped as devils horns. benetton uses their influential power to create hype about social issues they feel are concerning, but the use of this kind of advertising also creates reactions and feelings within audiences. it adds emotion. the green label logo enforces both element of nature, also this color is one of four main colors used in melodramas other aspects that connect this advertisement to the melodramatic language: - mid-closeup frame - strong clear facial expression - high contrast - social issue focus - emotional and sensitive topic - stereotypical characteristics
licra advertising campaign this advertisement is for licra. it is created to increase focus around social justice and equality. it focuses on stereotypical characters and roles, where the color of the skin has a powerful effect on the possibilities in life for the individual. the advertising is over exaggerated, shows high contrasts, uses various shades of green, show contrast through dress and is shown from the bird’s eye view. these are all elements also seen in melodramatic films. the angle, frame and composition show that the content of the image from above, adding the aspect that the children are powerless, looked down on and can not do anything about the situation (as they are babies, and its the society who has the problem and power to change this).
dr. pepper auudiovisual tv commercial https://www.youtube.com/watch?v=84TwFWtRueQ
this image is a still shot of the commercial created and presented for dr.pepper, a soda company from the us. the audiovisual commercial from 1973 is a funny spoof on the melodramatic silent films, often associated with great actors like charlie chaplin. although it is a spoof, with a layer of humor, certain aspects still align the commercial to the melodramatic style. for example, the post added music, over exaggerated acting and facial expression, in addition to the kind of events seen in the storyline.
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print advertisement for scrabble this print advertisement focuses on the good vs. evil aspect, where justice is served to the villain (here: the fox). the red text of the logo is a direct link to the color often used in melodrama, hence the visual language. the over exaggerated size of the squirrel shows the point of the story, although the concept and idea is over the top and dramatic it is expressing what is not considered to be a day-to-day situation. good will triumph evil. the advertisement has a clear link to morality tales, where here becomes obvious to the viewer the importance and power of words and that all actions have consequences.
fashion
editorials
(rowe, 2012) (mccarthy, 2015) (mykland, 2009) (pedranti, 2014) fashion editorial: magazine: us vogue 2005 story: wizard of oz photographer: annie leibovitz
the worlds of fashion & cinema are closely related, where they both draw inspiration from each other and are both influenced by current societies situation with regards to social, economical, cultural, political and technological aspects. the fashion industry is constantly evolving and rapidly changing, therefore the need for a vast array of inspirational references is desired. cinema is one great pot of inspiration, where specific movies, concepts, way of dress, periodic elements and characters give ideas that growing seeds. fashion editorials tell stories mainly through images therefore visual references to movies are often clear in order for the audience to decode and have the intended associations.
the editorial seen below is inspired in the movie the wizard of oz, where the visual essence and concept of the film is used. the images refer to specific scenes in the film, to the main character dorothy, magical land and toto the dog. the combination of high quality resolution images, use of kiera nightly and adaption of fantasy characters into characters with same stereotypical radiance aspects as in the movie give the editorial a contemporary look and feel. the use of contrast, primary colors, and framing are underlines the visual language of melodramatic style. (mykland, 2009) (rowe, 2013)
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fashion editorial: magazine: fabric mag story: melodrama photographer: mohamed gaff stylist: rayan odyll this fashion editorial shows no direct link to a specific movie, however more towards the concept and visual style known and related to melodrama. it shows the strong characters, industrialized black man giving the editorial contrast and tension. the combination of location (the kitchen also known in melodrama as the home sphere), use of black and red and over exaggerated, clear acting expressions underline the relation and create a strong association to the melodramatic genre. (mccarthy, 2015) (mykland, 2009) (rowe, 2013)
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fashion editorial: vogue australia 2013 & april issue the sweetest thing photographer: will davidson styling: jillian davidsin
the fashion editorial for vogue australia draws inspiration from the cinematic film wuthering heights, however with a modern and contemporary approach and interpretation. the film is a periodic melodrama, hence the use of location draws a strong line between the editorial and inspiration source. the clothes, accessories and styling is the moder component of the visual story. the focus on the woman, frame and angle use focuses on same aspects as majority of melodramatic films. (mccarthy, 2015) (mykland, 2009) (rowe, 2013)
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fashion editorial: magazine: cr fashion book no.1 2012 & september issue lucho and juliet photographer: tom ford both the title and the visuals of this fashion editorial draws direct links to the melodrama film romeo and juliet. yet its modernized through the use of urban setting, contemporary acceptance of nudity and the provocative. new york is considered the fashion capital of the world and this editorial focuses on showing the intense relationship and boundaries between romeo and juliet in their short lived relationship. the use of high luxury fashion and high quality imaging gives the editorial a modern look, hence one can draw associations to the upper end society in manhatten, the complexity of social roles and longings, as well as social interference and pressure. in all images the woman is sound asleep/ passed out or dead, whilst the man has more freedom and creates strong emotion through facial expressions. the use of focus enhancing light, colors in dress and lighting, framing as well as image capturing angels show the same (mccarthy, 2015). (mykland, 2009) (rowe, 2013) (pedranti, 2014).
37
short
reflection
melodrama is more than a cinematic genre, its more than a restricted visual language and specific style. it is also different from the generalized terminology of “woman’s film” and “chick flicks”. melodrama is a wide genre that is vaguely restricted, with free parameters, that seem to grow with the evolution of society, cultures and the cinematic industry.
the social and political at the points where the psychic is triggered, is debatable. the survival of melodrama is situated beyond the rooting of its historical relation and context, melodrama is a strong genre audiences enjoy as they can connect with the personalities and characters and be allowed to feel with them, it sheds light on situations and relationship and social issues found difficult by viewers and therefore also appeals to their emotional cooping of their own situations through pathos. the suffering found in melodrama is seen as the voice of pain or the pathetic speech. melodrama remains in many ways a circular, backward- looking form, constantly used and applied to form and develop other creative projects crossing various fields, as seen in this project consists of music, advertising, fashion, animation and visual storytelling and promotion seen in fashion editorials. melodrama has countless elements and aspects which can be used to create associations to it, however the two main areas are the concept and content, and the other is the visual language referencing more the aesthetically look, style, feel and mise-en-scène components. although they can be used separately for inspiration and to create association or encode messages related to the melodramatic genre, the integration of both concept, content aspects and visual language will layer the connection and strengthen the association, hence decrease wrongly interpreted messages. (williams and gledhill, 2000)
sometimes the melodrama focuses on the character and life of a fallen women, an abandoned mother, an innocent orphan or the make head of a household. in respects to this project and any further investigation intended require the continuous integration of the fields psychology, rhetorics, art history, literature, cinema history, music theory, fashion and trends and social science. with the understanding that melodrama may encompass a wider range of films than first anticipated it opens up the possibility to look outside mainstream hollywood cinema, and one can look towards hinese cinema, hindi cinema and group-targeted films (for example the ones aimed at lesbians and gay people). (pedranti, 2014) in current times the focus in melodrama is often related to feminism. this can be seen in the achievements and arguments developed by linda williams and christine gledhill. they argue that their research on melodrama shows clearly through messages that there is strategic rhetorical tools used to connect with the audience. (williams and gledhill, 2000)
melodrama, stated by kaplan “is able now to more fully complicate time, place and identity; and push morality further toward a local and global ethics of living. these changes might mean that melodrama may be hyperbolic, pathological, clinical, socio- logical, poetic and human across films, in the same film, and even perhaps during one inspired, ambiguous and intense ‘expression event’ . the audiences decide and have an impact, yet so has time and society (stewart,2010).
the evolution of any creative field is dependent on the constantly changing and evolving society. melodrama is no exception. as a genre areas as politics, culture, finances, technology, and socio-economical impact the creative field and shapes it evolutionary path. melodrama, in association with the cinematic and media related industries, stems from the creation of medieval literature pieces and theater plays that focused on tragedy and over exaggerated happenings and emotions. the genre at the beginning incorporated all and adapted to firmly set outlines, however as discussed throughout this project melodrama in contemporary times is a more liberal and freely genre of outlines and rules (needham, 2010 (williams and gledhill, 2000)
“melodrama is one of the most stunning art forms. these are stories where emotions are big, the situations are big and the artists believe in the situation dramatically. there is no distance” (gray, 2015)
“queer theory has most fully and productively colonized academic work on film melodrama in recent years – joining with established feminist strands and combining with work on trauma, memory and post-colonialism”. (needham, 2010) in melodrama the feelings surrender to the usage of rhetoric pathos as a tool to create emotional connection between the story and the audience. it may be seen as pathetic, but as the melodramatic genre focuses on including various topics and stories (often updated to current social issues) it relieves some taboo associations and stigma attached to the topics, and provides a foundation where issues can be easier addressed. christine gledhill’s (1987) argument, that melodrama only touches
38
keyword
summary
melodrama visual
plot
language close
ups
intensify and
to
dramatic
event
(s)
characters
acting
storyline
villain
emotional
traditional
feeling
moments
related
purpose
fa m i ly good
vs
.
evil
hero
over
worm
view
view on
and
to
morality
hero
sidekick
exaggerated
focus
power
ignite
empathized
large
green and
,
black
white
desire
to
s e r va n t
and
mother
emphasized
contrasting
speech vocal
teenager parent
.
dynamics
justice
persuading
to
go
let out
revenge honesty
caught
teacher
b u l ly victim the examples
innocence
words the
point
)
held
example can
,
(sounded: crroooel)
heroine
or
by hero
: earthquake explosion or
view
descriptive adjectives
camera
are
emphasized
39
,
murder
m ay h e m
(bird/worm) hand
and s av e d
examples
cruel
/dark /good of
of
not
light evil
-
verses
corruption
examples
contrast edge
verses
by
and
punished
on
:
verses
dishonesty student
it
:
them
elements
(putting
on
situations
incorporate modern
accomplice
extreme
dramatic
through strong
reaction
movements
continue villain
:
audiences
focus sacrificing
acting
the
relationship
heroine faithful
,
facial
expression over
impor tance red
strong
of
melodrama
romantic birds
areas
emphasis
,
death
,
and
sensation and
tion
.
emo
-