Demy’s musicals
Darren Waldron

’s exhibition. May 1968 is recalled as the strikers throw cobbles and burn cars. The dockyard workers become revolutionary vanguards, cast in the dyes of epochchanging uprisings, with François instated as ultimate martyr. By setting its story of doomed love against a narrative of social unrest, Une chambre en ville complies with the melodrama genre. Consonant with melodramas, social contestation unfolds on the doorstep of the privileged domestic space and is literally brought into the bourgeois interior by the proletarian figure of François. The majority of the action occurs

in Jacques Demy
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Martin O’Shaughnessy

, the fake investments, the counterfeit goods, the aimless wandering, the carefully documented fictional life. But thereafter, the resemblance ceases. The murders and suicide attempt remain only as unrealised possibilities. Despite his affinity with melodrama, Cantet was not interested in the more macabre or exceptional elements of the Romand affair. Instead, he moved the story towards the ordinary and used it to explore the relationship between an individual 60  Laurent Cantet and the world of work. Ultimately, it was this de-dramatisation that allowed the film to

in Laurent Cantet
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Emergent feminist thought and resurgent video cameras
Ben Lamb

film-studies criticism refers to as the ‘rhetoric’ of melodrama, as Detective Chief Inspector Maggie Forbes’s (Jill Gascoigne) feelings are repeatedly foregrounded to guide viewers through each narrative (Gledhill 1987 : 13). Frequently events are witnessed independently from Forbes’s knowledge, including the murder of her husband, her son’s shoplifting, and her colleagues

in You’re nicked
Steve Chibnall

Comfort from the 1940s when his habitus – his talent and disposition for making melodramas – was fashionable enough to allow him almost a privileged position in the field of cultural production to the 1960s when his ability to accumulate economic and symbolic capital had been severely compromised by his occupation of a subordinate position within the field. Problems with attracting both critical cachet (symbolic capital) and

in J. Lee Thompson

Introducing contingency and that which did not happen as necessary and revealing conditions both of Romanticism itself and of our critical relationship with it, Counterfactual Romanticism explores the affordances of counterfactualism as a heuristic and as an imaginative tool. Innovatively extending counterfactual thought experiments from history and the social sciences to literary historiography and literary criticism and theory, the volume reveals the ways in which the shapes of Romanticism are conditioned by that which did not come to pass. Exploring – and creatively performing – various modalities of counterfactual speculation and inquiry across a range of Romantic-period authors, genres and concerns, and identifying the Romantic credentials of counterfactual thought, the introduction and eleven chapters in this collection offer a radical new purchase on literary history, on the relationship between history and fiction, on our historicist methods to date – and thus on the Romanticisms we (think we) have inherited. Counterfactual Romanticism provides a ground-breaking method of re-reading literary pasts and our own reading presents; in the process, literary production, texts and reading practices are unfossilised and defamiliarised. To emancipate the counterfactual imagination and embrace the counterfactual turn and its provocations is to reveal the literary multiverse and quantum field within which our far-from-inevitable literary inheritance is located.

Christophe Wall-Romana

4 Brittany, the edge of the modern world A sudden shift that has never been fully explained took place in Epstein’s œuvre in late 1927. Turning his back on melodramas that had been his mainstay since 1923, whether through social themes or critiques of heterosexual mores or both, Epstein discovered in himself a sudden and overwhelming passion for Brittany.1 This passion came with the refocusing of his filmmaking on a minor and semidocumentary genre, the so-called Breton film, thereby amplifying the documentary tendency present in his work since his 1922

in Jean Epstein
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Maria M. Delgado

.O.S. (2009). The films chosen for study encompass major developments in the artistic and industrial processes of late twentieth- and early twenty-first-century cinema and have secured distribution outside Spain at major international festivals including Cannes, San Sebastián, Venice, Toronto and Berlin. They encompass different genres (horror, thriller, melodrama, documentary), both popular (Almodóvar, Allen, Amenábar) and more

in Spanish cinema 1973–2010
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Feature films and imperialism in the 1930s
Jeffrey Richards

and that imagery was romantic, adventurous and exotic. By the 1930s, the image of Empire was already established, hallowed by the popular imperial melodramas of the Victorian theatre, by the paintings of Lady Butler and the heroic engravings of the war artists, examined elsewhere in this volume by John Springhall. As these media of expression were overtaken in popularity by the cinema, so the

in Imperialism and Popular Culture
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John M. Mackenzie

theatrical presentations and in melodrama. 12 But it was not until the second half of the nineteenth century that the army and its personnel rose in the public’s esteem. Regiments became a source of local and civic pride, a vital part of national and local ceremonial and pageantry, particularly after the great expansion in the number of army bands took place. The new respect for the army was

in Propaganda and Empire
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Bruce Woodcock

J ACK Maggs begins in the best traditions of Victorian melodrama: The immediate attention to details – ‘the red waistcoat’, ‘to be precise’ – is notable, as is the style of narrative delivery. The narrator’s manner is inflected with phrasings which are slightly colloquialised (‘It was a Saturday night’, ‘looked out the window’) and antiquated (‘six of the clock’). After experimenting with a more deliberately antique narrative voice, adapted from accounts in eighteenth- and nineteenth

in Peter Carey