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Evolution of movie genres
Exploring genre in film
Exploring genre in film
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In the Bedroom, A Modern Bourgeois Melodrama
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Studies in melodrama usually hover around the works of a few significant directors, all of whom were at the top of their craft in Hollywood during the 1950s. Douglas Sirk, Vincente Minnelli, and Nicholas Ray were just a few of the directors who worked at that time, and all helped to shape the conventions of melodrama to which audiences and critics alike have become so accustomed. However, recent melodramas have been unable to reach the popularity that the films of the 1950s achieved, and most current audiences would dismiss the na•ve and artificial world that those films presented as rather trite. But Thomas Schatz raises an interesting point in his article "The Family Melodrama." He claims that "those who look more closely at [the films of the 50s] may see through the facile naiveté to an altogether bleaker reflection" (152). And, even though melodramas are not as widely seen as they were in the past, the ones that are still strive to portray the "[paradoxical] view of America, at once celebrating and severely questioning the basic values and attitudes of the mass audience" (Schatz 150).
Todd Field's 2001 film, In the Bedroom, is a perfect example of such a film. It is a bourgeois melodrama that reflects the sensibilities of melodramas of the 1950s, but also one that refashions the aesthetics of the genre to accommodate the interests of modern audiences. The film tells the story of a middle-aged couple, Ruth and Matt Fowler (Sissy Spacek and Tom Wilkinson), as they try to cope with the murder of their adolescent son, Frank (Nick Stahl). When the film opens, Frank is romantically involved with Natalie Strout (Marisa Tomei), a divorced mother. The Fowlers do not approve of this relationship, but allow it because of the happiness it brings Frank. When Natalie's ex- husband, Richard Strout (William Mapother), kills Frank in a fit of jealousy, the Fowlers must find a way to continue on with their lives in the wake of this catastrophe. Field, who also co-wrote the screenplay, creates an intriguing modern-day melodrama that both reflects the narrative principles of the films that preceded it and adapts the genre to meet the aesthetic expectations of contemporary audiences. Narrative choices in melodramas have become so commonplace that, like any genre, they have grown into a part of the genre's language.
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
Sunset Boulevard directed by Billy Wilder in 1950 is based on how Norma Desmond, a huge Hollywood star, deals with her fall from fame. The film explores the fantasy world in which Norma is living in and the complex relationship between her and small time writer Joe Gillis, which leads to his death. Sunset Boulevard is seen as lifting the ‘face’ of the Hollywood Studio System to reveal the truth behind the organisation. During the time the film was released in the 1950s and 60s, audiences started to see the demise of Hollywood as cinema going began to decline and the fierce competition of television almost proved too much for the well established system. Throughout this essay I will discuss how Sunset Boulevard represents the Hollywood Studio System, as well as exploring post war literature giving reasons as to why the system began to crumble.
... out of a 1950s woman's film. The melodramatic influences of the film continue to manifest themselves in the newer release, just as Apocalypse Now continues to influence the epic movies of contemporary filmmakers. The unison of operatic spectacle and personal conflict spawned an original genre in the 1970s that remains an effective method of addressing social concerns. As we enter another period of political unrest and social change, it is likely that a new wave of melodramatic films is beginning to form on the horizon; there are certainly parallels between a government that declares war on terrorism and the U.S. army in Vietnam, who "knew everything about military tactics, but nothing about where they were or who the enemy was" (Cowie 143). From Conrad to Coppola, nuclear family to nuclear terrorism; never get off the boat, unless you're willing to go all the way.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
In The Pathos of Failure, Thomas Elsaesser explains the emergence of a new ideology within American filmmaking, which reflects a “fading confidence in being able to tell a story” (280) and the dissolution of psychologically relatable, goal-oriented characters. He elaborates that these unmotivated characters impede the “the affirmative-consequential model of narrative [which] is gradually being replaced by another, whose precise shape is yet to crystallize” (281). Christian Keathley outlined this shape in more detail in Trapped in the Affection Image, where he argued that shifting cultural attitudes resulted in skepticism of the usefulness of action (Keathley). In Robert Altman’s McCabe & Mrs. Miller and Roman Polanski’s Chinatown, this crisis of action is a key element of the main characters’ failure, because it stifles the execution of classical narrative and stylistic genre conventions.
Kuhns, William. “The Movie Columnists.” Movies in America. London: The Tantivy Press, 1975. 142-73. Print.
Jacobs, Diane. Hollywood Renaissance: The New Generation of Filmmakers and their works. 1977. New York. Dell Publishing.
Walt Disney was born December 5, 1901 Hermosa, Chicago,Illinois by parents Elias Disney and Flora Call Disney. Living with four other siblings, Walt Disney grew up knowing selflessness and the power of togetherness that he used latter on in his many lines of work. Known for being a entrepreneur, cartoonist, animator, voice actor, and film producer, Walt Disney has been successful in bring joy and happiness to everyone of all ages.Disney has made large stepping stones for the animated industry along with creating beautiful long lasting entertainment for all and teaching us that with hard work and dedication we can do anything we dream of.From his humble beginnings in an old garage to building his own empire, Walt Disney has proven to be one of the most influential people even today with his many accomplishments.Some of these many accomplishments include creating something that everyone of every age can enjoy, improving the quality of animation along with creating the first full length animated movie, and opening the doors for the next generation of Disney Co. workers.
The social identity theory is a person’s sense of who they are based on their social
There has always been violence in the country. Starting with the Civil War, which in fact has a violent past. “It is difficult for us to imagine El Salvador without violence. As if violence was part of its story, of its identity.” (npr 2015) In the month of August there were 911 homicides, which is nearly 30 deaths in a day. From January to August there were 4,246 homicides. That alone is the highest homicide rate since the 12-year civil war. In Central American approximately 12% of women report having ever been forced to have sex by a male. Sexual violence is also happening often. Not only did the violence rate increase but also the poverty
The term melodrama has come to be applied to any play with romantic plot in which an author manipulates events to act on the emotions of the audience without regard for character development or logic (Microsoft Encarta). In order to classify as a Victorian melodrama, several key techniques must be used, including proximity and familiarity to the audience, deceit rather than vindictive malice, lack of character development and especially the role of social status.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
Tajifel, H. a. (1986). The social identity theory of inter-group behavior. Psychology of Intergroup Relations. Retrieved from http://www.jstor.org/stable/258189
Throughout society there are a lot of identities one might categorize themselves within; based on knowledge and opinions and fundamentally a way of life. The Social Identity theory, proposed by Henry Tajfel in the 1970’s is designed to explain and help aid in the understanding of how it is one might develop a connection and belonging to particular groups within society; but more importantly providing an understanding as to how the mechanics of discrimination regarding other groups work.