Sam Rohdie

Italian spectacle films, the Christ story to films of the Passion, the story of the seventeenth century St Bartholomew’s massacre to French Films d’Art, the modern story to the melodramas that Griffith had perfected. If the narrative elements of which Intolerance is composed were already familiar, Griffith’s ordering of these was unique. Each story was a story of intolerance through the ages. Rather than

in Montage
Music for imperial films
Jeffrey Richards

The imperial melodramas which were a staple of the Victorian and the Edwardian stage were transferred largely intact to the silent cinema. The stage melodrama had orchestral accompaniment, with music signalling the entrance of characters, providing interludes and emphasizing dramatic climaxes. In the absence of dialogue, silent films were provided with continuous musical

in Imperialism and music
Open Access (free)
The Australian and New Zealand repertoires and fortunes of North American performers Margaret Anglin, Katherine Grey and Muriel Starr
Veronica Kelly

she attracted an unusual amount of favourable coverage in the Australian Catholic press.3 The stage life of Montreal-born Muriel McIver (1888– 1950), who took the stage name Muriel Starr, commenced in childhood. Although she was also professionally identified with American experience, in her case provincial touring in melodrama and musical comedy, in Australia Starr was also pointedly hailed as Canadian. No such ambiguities were applied to the San Francisco-born actor Katherine Grey (1873–1950), born Katherine Best, whose American origin and training was used in

in Stage women, 1900–50
Richard Farmer

concentrating on the non-filmic elements of a night at the pictures, it has not been my intention to marginalise the central role that films played in constructing ideas of the cinema. It was specific films that were promoted on each of those progressively smaller and scarcer posters, it was particular programmes that were projected by male and female operators, it was a western or comedy or a melodrama that people travelled through the blackout to see, it was the individual star that patrons walked over threadbare carpets and sat on inadequately patched-up seats to watch

in Cinemas and cinemagoing in wartime Britain, 1939–45
Brian Mcfarlane

him less well than a more careful staking out of the line of territory in which he did his best work – the moody, atmospheric melodrama – but at least it revealed him to be a more than competent craftsman, able to turn his hand to a range of genres, as he would continue to do throughout the rest of his career. Three of Comfort’s wartime films – Those Kids from Town, Squadron Leader X and Escape to Danger-are simply

in Lance Comfort
Susan Hayward

tripartite investigation. Genre and gender construction Let us first of all consider the genres that Besson’s films exemplify. It is noteworthy that in the main his films are hybrid genres. Thus Subway is a musical and a thriller. Léon is a thriller and a melodrama. Nikita is a film noir and a futurist fantasy. Only Le Dernier Combat and Le Grand Bleu appear to be single generic types. The former is

in Luc Besson
Jeffrey Richards

landscape, ghosts, moonlight and fair colleens. This image was reproduced on stage in the work of scene-painters who provided an evocative background to Irish melodramas, directly reflecting the interest embodied in the rash of books of engravings of Irish scenes in the 1830s and 1840s. 8 A celebration of the Romantic Irish landscape was to become one of the enduring features of Irish films

in ‘An Irish Empire’?
Gladstone, the National Theatre and contested didactics of the stage
Anselm Heinrich

offered the possibility of appreciating great works of art. In the face of the destructive character of the Industrial Revolution, such a repertoire represented ‘the solution exclusively as a return to the contemplation of beauty and, by emphatic implication, to those amateurs already at leisure to appreciate it’.19 The canonical repertoire required by no means reflected the popular taste for melodrama, burlesque and spectacle. Effingham Wilson, one of the first commentators to call for a national playhouse, in 1848 envisaged that such an institution would educate the

in Politics, performance and popular culture
Brad Beaven

and consistent fusion of imperialism and amusement between 1890 and 1914; and third a less aggressive but revitalised narrative of empire from 1914 to 1939. Theatre and music hall entertainment: the 'imperial spectacular', 1870-90 Between 1870 and 1890, comic drama, melodrama and music were the most staged forms of entertainment. These figures indicate that, in all three

in Visions of empire
Abstract only
Martin O’Shaughnessy

dynamics and thresholds, notably those between the domestic and the public, childhood and adulthood, and the everyday and the exceptional. The way Early applications  31 that all three focus on moments when the underlying tensions of relationships are driven to the surface underscore how much the director’s affinity with melodrama was there at the outset. Finally, all three bring out the dual nature of his films, the way they are built around a basic dramatic frame that tends towards the universal and existential (the person seeking their place in the world, the

in Laurent Cantet