Melodrama

MELODRAMA Fashion Culture Essay Paola Andrea Elli BA Fashion Marketing & Communication Level 6 | 2016-2017 Fashion Culture 3 | CW2 Fashion in Cinema & Music Maya McCarthy

index 1. Introduction to the genre and the origin

PAGE 5 2. Introduction to key values and aesthetic, main characteristics, icons, sign & semiotics of the genre

PAGE 8 3. Understanding meaning of the gender and evolution through the decades

PAGE 14 4. Research evidence of the socio-cultural references of the first decade of the 20th century when it manifested

PAGE 16 5. Analysis the evolution of the genre throughout the decades (reference the socio-cultural, economical and political factors involved) until present time

PAGE 18 6. Analysis of the repercussion from a cinematographic point of view

PAGE 24 7. Evidence of repercussion in present time through fashion communication

PAGE 27 8. Personal conclusion

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The term melodrama comes from the early 19th century it is composed by the Greek words melos which indicates music and drama which identifies action The movie genre melodrama dates its roots back to the late 18th and primary 19th century theatrical form which had the same nomination. Melodrama, back then was the evolution of the romantic literary period. In fact, 1800 was characterised by amorous, exotic and supernatural stories; later on in the 1820 the setting as well as the characters became more familiar; and the 1830s it was elevated to the “gentlemanly” melodrama that told stories which took set in the well-mannered society.

The characteristic of the late18th theatrical genre are few but highly distinctive.

In the play music was used to increase emotions or signify some characters.

1. INTRODUCTION TO THE GENRE AND THE ORIGIN

The word melodrama is also related to “music-drama” The plots were extremely simplified, the morality was battled between good and evil usually personified by stock characters. The story was always characterised by standard key happenings such as the villain poses a threat, the hero or the heroine overcame it and it generally ended with an happy handing.

In the 19th the influence of the European opera led to an increasing use of music as incidental tool in many plays. For the first time in La Traviata written

by Verdi the music played by the orchestra did not matched with the lyric intoned by the female protagonist. In fact, it was just serving as supporting background to emphasise the emotional moment of the lover recapitulating the moments of its first love.

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In the book Home is Where Heart Is (1897) Christine Gledhil underlines the importance of the bound between the melodrama and the bourgeois revolutions of the late 18th century. The centre of Europe, especially Britain and France, saw the rise of a new social class which did not fit in the old standard and ideals of the aristocratic elite. Consequently, the establishment of new values and the rise of the emerging middle class and working class brought to the creation of folkloristic and popular forms of entertainments.

These forms of banned theatre’s plays were characterised by three main features: spectacle, performance and music, they were lively shows without a real meaning.

However, by the start of the 19th century, melodrama was accounted as a specific genre of salon entertainment defined mise en scène which literally means “put things into a scene”. It was characterised by rhythmically spoken plays with a dramatic structure plot emphasised by background music.

The plot structure was articulated in: > exposition, part of the stories in which is introduced the background to inform the audience about the setting, previous events, characters’ past, etc.; > rising action that is composed by a series of relevant events in succession till the climax; > climax is the turning point, the main switch in the plot where the characters’ fate changes; > falling action is the part in which the protagonist and the antagonist battle for something; > resolution when the conflicts are positively or negatively resolved and the characters have to face the result of the falling actions.

The mise en scène was the popular entertainment form which developed after the industrial revolution and the growth of urban centres.

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During the Victorian stage era, the genre melodrama seen the creation of six stock characters.

For stock characters it is meant stereotyped figures that act accordingly to the norm of the society of their time and they were: the hero, the villain, the heroine, an aged parent, a sidekick and an assistant.

The plot, commonly to the previous stage of the melodrama treated themes of love and murder. The English melodrama saw the influence of the European evolution of romanticism. In fact, in the first English play defined as “melodrame” entitled A Tale Of Mystery by Thomas Holcroft 1802, critics has noticed how the weight of the Italian Commedia dell’Arte, the German Sturm und Drang and the Parisian melodrama post-revolutionary period, changed the plot from traditional and populist to mysterious and morally involved.

Lately, with the turbulent changes happening in the late 19th century, melodrama developed in distinctive branches accordingly to different influences such as: - gothic fiction - from the mid 18th century it focused on stories showing the contraposition of good and evil, exaggerating the conflicts in order to better engage the public. The genre was revived later in the 19th with novels as the one by Bram Stroker’s Dracula, usually enriched by theatrical climates of emotions.

- economic and social changes - in the 19th century started the transhumance of families from the countryside to the new urbanised cities. Women started to work in factories, people traveled and it broke the closed traditional mindset.

In addition, the new colonies offered the possibility of emigration, escaping, adventures and experiences.

- change in family’s conception - with the raise of the working-class, married women belonging to the middle-class starts to gain independency and new roles within the society. The public morality accepted the fall of the standards constructed in the Victorian age and novels such as the ones by Charles Dickens or Wilkie Collins narrate the structural changes in the British society, changes which also affected the rest of Europe.

- the rise of picture motion - with the advent of the technologies brought by the industrial revolution, during the late 19th century, people started to get more and more interested in all form of picturing reality. Not only with paintings then exposed in public art galleries but also with the new photography and lantern slides which result in the possibility of capturing reality instantly.

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With the advent of the 20th century the big theatrical companies which stages became every time more complex and sophisticated, introduced new features that years later develop into cinema’s characteristics. First, the complex systems of lifts and rolling scenery props which combined with a skilled team of technicians allowed the realisation of stunning chaotic or moving scenes on set such as crashes, horse races, etc. Then, the creation of stock companies of actors, meaning a selected set of actors who appeared in each show playing always the same type of character so that the public would easily recognise them. The idea was later followed in the movie industry. An example is the American John Ford Stock Company, composed by a large collection of actors who repeatedly play the same or similar roles in the movie directed by John Ford. Among them the most famous is John Wayne who starred in twenty-four films and three television episodes. Or Orson Welles with the Mercy Theatre Group in the 1940s and actors as Harvey Keitel, Michael Madsen and Steve Buscemi among others.

2. INTRODUCTION TO KEY VALUES AND AESTHETIC MAIN CHARACTERISTICS ICONS, SIGN & SEMIOTICS OF THE GENRE

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Melodrama, due to the fact that it is the result of the evolution of the theatrical genre which, in its turn, has roots in the romanticism art movement, expresses emotions and embraces imagination, individuality as source of spirituality and intuition. With the introduction of screenplays plots became more and more complex characterised by the opposition of good and evil but enriched with moments of pure pathos and emotional climax caused by tragical events such as train crashes, races, earthquakes and other, natural or less, disasters.

Therefore, melodrama movies are tales which narrate t he eternal battle between good and bad where the good usually triumph bringing morality and justice in the society.

The characters of the melodrama are not real but they are stereotypes, meaning fixed characters based on a set of personalities and attitudes that make them distinctive and easily recognisable. Typically a melodrama include a cast with: - the hero, usually handsome, with solid moral values and manly. He acts on intuitions, he believes in justice but he does not always follow the traditional rules of society - the heroine, she has as well high morality. She is, of course, innocent and beautiful. Although she is extraordinarily courageous she is still in need of help and support in difficult situations - the villain, who plays the evil part. He usually is dishonest, greedy, vengeful and corrupt - the villain’s accomplice, better when has the “right arm”. In some movies he plays the part of the comic character as relief - faithful servant, the character that helps the hero in discover information regarding the villain and his evilness plan. He can also be a relief but still under a positive and benign light - maidservant, usually flirty, fun and truly loyal to the heroine.

It is possible to notice how the character are highly stereotyped on the base of the contraposition between good and bad, in addition they are decidedly influenced by the old stock characters previously mentioned in the description of the theatrical melodrama form.

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Similarly to the past, the modern melodramatic movies have a well structured and clear plot composed by: > provocation: that can be identified as the cause for which the villain in looking for revenge and act in such evil way > pangs: the villain is put into practice he’s maleficent plan. Consequently the hero, the heroine and other good characters find themselves in difficult and painful situations > penalty: when the villain is punished for he behaviour and he gets the treatments he deserves.

Usually this structure is combined with the dramatic narrative evolution explained previously which is composed by exposition - similar to an establishing shot, rising actions - the camera is narrowing the focus on the main characters and events with the use of occasional close ups, climax - extreme close ups which do not allow the spectator escaping from the moment, falling action the camera zooms out the worst part has gone, now a series of fightings and battles between good and evil will bring to the resolution - establishing shot about the final result, happy ending or not.

As an example the video-explanation by study.com reports Robin Hood (1973).

Stunningly, the animated motion picture has all the typical characteristics of a melodrama. Robin hood is the admired and handsome hero who with the help of the funny and goofy Little John try to rescue the Nottingham village that, after the departure of King Righard, falls into the clutches of the avid Prince John. The village and all its poor habitants are threatened by the heavy taxation. Maid Marian the heroine is truly indignant and with the help of Lady Kluck supports Robin Hood from the inside of the castle giving him the possibility to sneak in the castle and rob the rich Prince John to donate the money to the poor.

The story is told by Alan-a-Dale, the narrator, who introduces the situation and the characters. Robin Hood and Little John live in the forest and as said before they rob the rich to donate to poor. The Sheriff of Nottingham and his soldiers are always trying to capture him but they fail every time. In the meantime, Prince John govern Nottingham, but he is childish, whining and he always sucks his thumb calling for his mum. When Robin and Little John try to rob the Prince (provocation) he decides to put a reward on Robin’s head and increase the taxes (pangs). After some further events including the romantic story between Robin and Marion, Prince John ideates a trick to attire Robin at the castle and capture him. In the last, spanning exciting scene with battles and fire, Robin seems to be dead in a pond but, the hero emerges safe and winner. In conclusion the happy ending with the return of King Richard and the marriage between hero and heroine closes the cartoon.

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After the present analysis of the plot and characters, peculiar of the melodrama, is it impossible not to notice the similarities between the film genre and the traditional tales, told to children to teach them moral lessons. As previously mention the fight between good and evil is key as well as the psychological and personal characteristic of the stereotyped characters.

In the case of Robin Hood the creators chose anthropomorphic animals according to the beliefs connecting to them. The fox is now to be smart, elegant and charming as Robin and Maid Marian,the heroine, is equally a vixen. The two funny assistants Little John and Lady Kluck are respectively a bear and a chicken. King Richard couldn’t be anything rather than a Lion and Prince John although, he also is a lion he appears to younger and mangy. The viscid counsellor of the Prince is a snake and finally the narrator is a shrill rooster. In traditional tales, usually there is the presence of a magic object which helps the hero or heroine in overtaking the difficulties. In the case of melodrama, the mentioned object is more related to the romantic story involved in the plot and the encounter between the hero and the heroine. In Robin Hood, it is the bow which allow Rombin to win the kiss from Maid Marian.

Similarly, in Titanic, it is the rare shaped necklace called the Heart of The Ocean and the draw that caged the young love, to bond the old protagonist to her hero Jack who saved her, apart from drown, from a indolent and confined life. In the more recent Dear John (2010) the bag falling into the water is key to the meeting between Selena and John and then the letters they use to keep their love as the first time. The colour blue in Blue is the Warmest Colour and the paintings with which Emma portraits her love for Adèle. In The Great Gatbsy the green light at the end of the dock of Daisy’s mansion and the fabulous parties that Gatsby organises in his Villa hoping that his beloved participate to one of them.

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In the melodrama movies personally analysed for the project, there is real evidence of the concept of sex as the culminating element for true love and real trust. It is a sweet, delicate, involving and emotional act, usually filmed with close ups that give the idea of deep intimacy and engagement.

Though, this aspect can be related only to modern screenplays due to the strict censorship’ codes of conduct and the directors’ interest towards other thematics of the past, in melodrama there is always a highly counterpoised element that balanced the positive presence of love. It is loss and painful situations, here the recurring good and evil equilibrium. Deaths are always tragic and characterised by the presence of the dark colours as it is possible to see by the pictures used for reference.

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During the research a really interesting characteristic of the melodramatic movies has been noticed. In fact, by searching on the Internet, the website page always shows the original poster of the motion picture and in little times, it is possible to come across the conclusion that the typical melodramatic film’s poster features the female and the male principal characters of the story who probably are involved in any sort of romantic plot.

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Melodrama is defined by a clear set of criteria and consequently there are few movies that can be defined as “pure” melodramas. This movie genre since its starts has always been connected with the “popular culture”. It appealed the widest audience possible because it was a representation of reality exaggerated with sentiment and feelings which people used to suppress.

Especially in the times of World Wars I and II and the new society of the economic boom, people were not allowed to be what they wanted to be.

Women were all perfect housewives, fathers were the flawless sporty middleclass workers and their kids totally correspond to the quote “like father, like son” meaning that they would likely follow the steps of their parents. Therefore, melodrama movies were playing twisted characters with strong, irreverent and dangerous personalities which success showed how much people loved to take a break from their perfect life to live a dramatic adventures.

3.UNDERSTANDING MEANING OF THE GENDER AND EVOLUTION THROUGH THE DECADES

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During the late 20th century with the development of mass media, the industry wishes to have more and more public in order to gain profits and acknowledgment. Consequently, melodrama falls into the banal whining soap-operas and drama series so popular on television. However, the big screen maintained its integrity thanks to the balanced structure and the stock characters typical of the genre as it is possible to see in Remains Of the Day (1993) by James Ivory or My Life (1993) Bruce Joel Rubin and Ghost (1990)

by Jerry Zucker. Similarly, contemporary melodrama among which Blue Is The Warmest Colour (2013), A Single Man (2009) and The Good Heart (2010), where the traditional narrative and characters’ structures persist however, they are dilute in favour of the reinforcing the key moral and emotional meaning of the movies.

Therefore, the quote by Hitchcock in 1936 which still is accurate and it perfectly summarises what is melodrama: “melodramatic is the way to achieve naturalism and realism, while keeping in mind the entertainment demands of the screen”.

the Good Heart

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In 1905 the only theatre showing just moving pictures was only “The Nickelodeon” in Pittsburgh and only by 1910 actors started to have screen credits.

4. RESEARCH EVIDENCE OF THE SOCIO-CULTURAL REFERENCES OF THE FIRST DECADE OF THE 20TH CENTURY WHEN IT MANIFESTED

In this period America had the largest market share of the Australian and European motion pictures industry with the exception of France where the film was born thank to the Lumière brothers.

During the First World War happened a great turning point for the industry.

In fact, cinemas stared to enlarge their exhibition venues and higher the entrance’s prices. with the introduction of the smooth transitions from one shot to the other, the 1914 was the period of continuity commercial cinema.

By the 20s Hollywood became the central focus and the place-to-be for any passionate about movies. This fact combined with the rise of Hitler’s regime encourage many European directors and technician to emigrate to the USA. That is why melodrama was born there thanks to the great influence of artistic movements coming from the post-romantic and disillusion moment in Europe.

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Sunset Boulevard, ready for my close up

When sound was invented the industry thought it wasn’t meant to last long however, with the advent of the Great Depression sounds and music became a sort of relief for people which therefore go to the cinema to forgot their misadventures.

In the post World War II, American cinema as threatened by television which could cause the theatres bankrupt. But, the demise of the traditional order of the world brought to the self-critique melodramatic movies such as Sunset Boulevard (1950) and The Bad and the Beautiful (1952) which treated cultural and historical themes turning into significant aesthetic moving pictures.

The fright of mass media communication as television and radio turns in to a race for having the biggest screens. In fact the bigger it was the better the audience could see the motion picture and therefore appreciate and enjoy the movie instead of watching it form the small, black and white tv.

The social revolutions of the 1960 was used by Hollywood to engage the new generation of youngsters. They appreciated the innovative movies which reflected the social changes and that were a sort of narrative documentaries of the new evolution. Some example, although they cannot be considered completely melodramas are The Graduate (1967) and Bonnie and Clyde (1967).

With the 1970s, the code of censorship where dismissed and the movie industry saw the rise of “adult’s cinemas” where were played phonographic films that became a cultural phenomenon in the popular mindset.

As the world re-gained control, wealthy and balance after the wars and conflicts which characterised the 18th century, starting from the early 2000, cinema was no more a way to take distances from reality or a tool for social condemnation, but just a form of ludic entertainment inspired by art which stories aims to thrill, move, amuse or scare to death the spectator.

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Bad and Beautiful

plays in the early 20th century. It is accounted to be an American invention however, Hollywood due its success to many European innovative directors and skilled techniques who during 1920s and 1930s escape the terrible threat of the horrible regime of Hitler finding refuge in the “land of opportunity”.

5.ANALYSIS THE EVOLUTION OF THE GENRE THROUGHOUT THE DECADES UNTIL PRESENT TIME Melodrama was the prominent movie genre at the time of the first big screen

Birth Of A Nation by D.W. Griffith (1915) could be considered as the first narrative movie, meaning that the plot and story gain more importance respect to the pictures and visual effects.

By analysing the plot. The film sets in the late 1800 during the American civil war and it tells the circumstances which involve two counterpose families: the abolitionist, US representative, Stoneman family and the other southern Camerons.

After several tragedies, stories of noncorresponded loves, betrayals and violence the movie culminates with a double happy ending for both the family and a peaceful situation.

Although critics would define the Birth Of A Nation as a melodramatic film, it is difficult to perfectly establish the role of good and bad and the characters’ role because the happenings are really concatenated between them and the result is a real complex and intricate narration.

Despite the controversy that the movie caused when it was released in the American society, the play signed the turning point in the cinematographic technique.

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Before Brith Of A Nation, movies were realised only with static or panning cameras and characterised by overlaps (overlapping of two scenes with different narrative times) and a narrator was necessary to understand the logic consequence of the story. Griffith introduced a system based on short shots that allowed the change of point of view while narrating. The key element of the success of the Birth Of A Nation was the analytical editing. With this technique, for the sequences shot were place one after the other according to criteria such as logic and continuity, so that it was possible to create a more natural narration and the events’ success resulted more clear and easy to follow. In the Birth Of A Nation, Griffith introduced some of the shots and camera moments which are common and characteristic of the modern melodrama such as the eye-line match meaning that the camera move from a medium shot/close-up of the character to what he/her is looking at; the focus form an full / establishing shot to an extreme close up to emphasise the importance; and the movement axial cut for which the camera “jumps� following the movements of the character without panning but maintaining a neutral eye-level point of view.

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During 1930s Melodrama was focused on male characters. The protagonists were charged of heavily masculine characteristics, they acted within a narrative which followed the concept of Freud’s sub-consciousness. But, due to the emotional nature peculiar of the genre, many directors in the late 30s and starting 40s started to enhance the woman’s figure as the protagonist of the melodramatic stories.

In an interview, Susan Hayward, a famous American actress during the 40s and 50s, mentioned that producers started to be more interested in women as main character because they correctly thought that a female audience would be much more interested in stories of relationships, love, marriage and extraordinary events.

In fact, women used cinemas to escape their own problems and social conditions related to the post-war economic boom.

1940s was the era of the perfect housewife, the perfect family with the perfect home and lifestyle integrated in the socio-cultural and economical environment of the mass consumerism flourishing.

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The perfect example is Gone With The Wind by Fleming 1939 the epic, historical, romantic and tragic movie which set the record for the Academy Award’s wins and nomination at its 12th edition. In fact, the film’s narration is centred on the female heroine Scarlett O’Hara who with infinite courage, incredible stubbornness and extreme passion, overtake all the difficulties generated by the American Civil war during 1860s. Differently form the previously analysed With Of A Nation, in Gone With The Wind it is possible to find the characteristic elements of the melodramatic movie. Of course Scarlett O’Hara who is the beautiful, smart, charing and strong heroine; the hero coulee be represented

by Rhett Butler the charming and mysterious gentleman who rescues Scarlett in many occasions; the villain is generally represented by the war and all the misfortunes Scarlett has to face but in particular it is interesting the evolution between her character and Melanie Hamilton, the wife of her first love Ashley Wilkes; the maidservant is naturally Mammy the black matron and house servant. The story developed in two chapters. The first in which the public see the evolution and maturity from the spoiled aristocratic girl to the full-grown, independent and strong woman who survives the war and reconquers Tara, the family land. In the second part, Scarlett built her own economic empire facing the society that back then was not favourable towards such powerful and ruling female figures. In addition, she constantly suffers from the childish love she feels for Ashley and this causes tremendous consequences in her bond with Rhett.

As a true melodrama, the end is a constant succession of rising actions form the death of her child, the death of the beloved Melanie and the too late realisation of the love she really feel for Rhett who at the end leaves her. After a desperate and truly emotional culminating moment, the movie end with a sort of happy ending showing a triumphant heroine after all the difficulties.

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Written in the Wind

After World War II, in the 1950s with the introduction of CinemaScope and the use of Technicolor great directors such as Douglas Sirk, Otto Preminger or Billy Wilder where able to produce colourful melodrama masterpieces.

For example Written on the Wind by Sirk in 1956. The movie has an intriguing plot showing the results of how the economic boom of the American post-war caused on society, creating rivalries and scandals. The story, based on a real event, was about two wealthy inherited yet psychologically damaged siblings Marylee, self-destructive, alcoholic and nymphomaniac and Kyle, insecure, playboy and alcoholic as well. The two children of the oil baron Jasper Hadley were used to have everything they wanted in their life, therefore they grew up with no moral values. Opposite are the two good characters: Lucy Moore, the secretary who becomes wife of Kyle and Mitch Wayne, secret love of Marylee and right arm of the company’s owner and absent father of Marylee and Kyle.

The plot evolve as a perfect melodrama with the intensity pick in the moment in which Kyle discover the betrayal of Lucy. Then, the characters evolve from the repercussion of the aggression and the resulting situation is Lucy running away with Mitch and Kyle looking for revenge. The final scene is thrilled by suspense while Kyle is trying to deadly shot Mitch but Marylee motivated by her love and rescue, try to stop the brother. Unfortunately she ends up killing him and tearfully admitting her sins in front of the court.

Even though in the early 1970s Hollywood experienced financial and artistic depression, the decade turns into a decisive moment for the melodrama movie genre. The counter-culture exploding in that period pushed the film industry in be freer and take more risks in experimenting not only under technical innovation. In Alice Doesn’t Live Here Anymore by Scorsese (1974), the director was frightened to fall in the risk of create the additional, odd and predictable, whining soap opera. Therefore, he decide to cast the actors on their ability of improvising and found the whole narrative on this new innovative way of acting. According to Turner Classic Movie, the cast was chosen according to their improvising ability. In fact, the two main characters, Alfred Lutter in Tommy and Ellen Burstyn as Alice, during the cast together where the only able to impress Scortese who said “Usually, when we were improvising with the kids, they would either freeze and look down or go right back to the script. But this kid, you couldn’t shut him up”.

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Later on, with the advent and increasing popularity of mass communication media and increasing, melodrama has seen the influence of other movie genres such as comedy, pure romance, criminal, etc. The stiff rules which had dictated for years the structures of melodramas were already fading away in the late 1960s due to the sexual revolution, the introduction of theme such as freedom and equality against the traditional society’s rules.

Therefore, the modern offspring of melodrama range from disaster or tragedy centred movies such as the colossal Titanic (1997) and the stunningly contemporary revisitation of Romeo + Juliet (2006), to identity’s issues and taboos film such as Blue Is The Warmest Colour (2013) revealing the life a French teenager who discovers her sexuality for the first time with a really close and intimate point of view of the camera or A Single Man (2009) directed

by Tom Ford and telling the daily life a an English professor, one year after he suddenly lost his truly loved boyfriend and unable to fit again in the calm, static and traditional society of Los Angeles in the early 60s.

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A single man

Melodrama in cinematography brought the intimate point of view, the personal look as the viewer was the real protagonist of the dramatic moment. This was possible thank to the introduction of different angles and points of view.

The preferred ones in the melodrama genre are the close-ups and extreme close-ups in order to intensifying the characters’ feelings and emotions; over the shoulder shot because they give emphasis to one peculiar character or the other. In addition, certain technical innovations brought to the creation of melodramas as they are known today.

6.ANALYSIS OF THE REPERCUSSION FROM A CINEMATOGRAPHIC POINT OF VIEW

A single man - eye level shot

The Great Gatsby - extreme close up

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Casablanca - close up

Birth of A Nation - axial cut

First of all the introduction of the logical sequence editing, meaning that the story follows a clear chronological order to emphasis the subsequence of the events. Moreover, with Griffith (as previously mentioned in the evolution of the genre throughout the decades) brought cinematographic techniques such as - the eye-line match meaning that the camera move from a medium shot/ close-up of the character to what he/her is looking at - the focus form an full / establishing shot to an extreme close up to emphasise the importance - the movement axial cut for which the camera “jumps” following the movements of the character without panning but maintaining a neutral eye-level point of view.

By 1950s was also introduced the CinemaScope which is an anamorphic lens used to shoot widescreen scene such as the catastrophes that always occur in the typical melodramas. In the same time period the movie industry has seen the rise of the technicolor meaning the application of colours to the motion picture process. Since then there is no way back to the black and white cinema part from some exceptions such as The Artist (2011).

Today in melodrama are applied cinematographic techniques which can be dated back to the first attempts of innovation of the early years of the wide screen’s industry. For example, the backlighting a lighting deign techniques for which only the silhouette of the subject remain clear, it really enhance the dramatic aspect of the character. The bridging shot used to cover discontinuity in scenes with high content of actions such as the disruptive happening. It has been used in Titanic for the scene of the people running on the deck of the ship.

The cross-cutting which is the most emblematic technique of melodrama. In fact, it builds suspense and suggest an emotional one between two different sets of actions. But also continuity editing, which preserves the illusion of undisrupted time and space across shots which in reality are taken separately.

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Birth of A Nation - eyeline match

Birth of A Nation - focus on detail

It is relevant also to mention the influence of melodrama masterpieces also coming from the theatrical background on the evolution of certain attitudes towards cinema in general which are kept in the contemporary industry. Since 1973 movies decide that Friday was the right day for major openings respect to mid-week days because the weekend audience maximise audiences.

March 1974 was the first year in which People Magazine appeared as weekly magazine with Mia Farrow on the cover. It represented a turning point in the celebrity culture and the promotion of the movie industry. People is still today the bible in terms of VIP and famous figures, it takes benefit form social media such as Instagram and Snapchat but the content is still composed by the best updates and news of the movie and artistic environment.

The brith of the trailer date back to when Hollywood discovered that profits could be increased by advertising the new releases on TV, throughout a massive marketing campaign. Later in 1976, it also realised the power of broadcast film on television. The first was Gone With the Wind which reached an audience of 34million people and since then TC became one of the most used media to transmit movies and replicas.

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7.EVIDENCE OF REPERCUSSION IN PRESENT TIME THROUGH FASHION COMMUNICATION

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THE TALE OF THOMAS BURBERRY In the short movie used for the Christmas celebration campaing on the British fashion house it is possible to underline certain elements which recall the melodrama movie genre.

The presence of the dramatic romance: the protagonist find himself divided by the love for two different women.

The type of shots. Close ups alternated with wide angles and bird-eye give an interesting balance between establishing shot and intimte, emotoinal scenes.

This image recalls the films’ posters previously analysed with the presence of the hero and the supposed heroine.

over the shoulder

wide shot - low angle

close up

extreme close up

close up - low angle

The tale tells the story of the hero, Thomas Burberry, behind the creation of the water resistent fabric needed to face the horrible conditions of war.

The result is a viral campaign and customers that are asking for a real movie about the story.

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EMPORIO ARMANI SS CAMPAIGN 2016 The advertising campign of the Italian fashion house is an intersting mixture of close up, medium and full body shots.

Althought, the pictures all have a eye-level point of view the facial expression of the models and gestures recall mistery and complicity in the couple.

PRADA SS 2009 HEDI SLIMANE The advertsing campign created by Slimane per Prada in 2009 has a touch of Noir given by the balck and white use and the introvert character.

However, the emphasis on the expressions of the protagonist, especially in the first top left, the justapposition of to male characters and the use of close up, make it a subject of correlation with melodrama.

The order of the pictures can also be a element of similiraty because it seems supposing the presence of certain kind of chronological narration and happenings between the two characters.

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AQUASCUTUM BY TIM WALKER 2013 As in the Prada one, the use of black and white can raise doubts.

Although, the shots are in clear chronological order and in addition, there is the presence of a hypothetical object - in this case the dove - which could be the “magic object� of this romantic story.

Morevore, the dull body shots are done prom a lower point of vien and the medium close up on the girl, capture her beauty masquerade behidn a veil of inscurity.

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MSGM FW 2014 If the previous two campaings fro Prada and Aquascutum in black and white recalled the old times past, this photo campaign for Massimo Giorgetti is related to the most contemporary issue: the gender equality. The pictures even though have a neutral point of view are able to suscitate contrasting emotions towards their beauty and moral importance.

8.PERSONAL CONCLUSION After the development of the present research hopefully the wish of getting nearer to the melodrama movie genre has been attenuated. Melodrama is a clear form of art and expression which relays of firm structures in therms of plot and characters evolutions. However, melodrama was always submerged in a complex surrounding which, depending on the epoch, was defined by social, economical and political elements that turn out influencing the thematics treated by the movie industry. Therefore, melodrama can be defined as a chameleonic genre which can be used to understand the true reality of a moment hidden behind the theatrical exaggerated act built with the purpose of entertainment the public. Even though, it is difficult to find obvious references and influences, the melodrama has a wide impact on the contemporary culture.

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