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Dolores Tierney

/brothel melodrama) genre. In films like Salón México and Distinto amanecer (A different dawn, Julio Bracho 1944) which proliferated during the late 1940s, women are the breadwinners forced by growing economic hardship to work as prostitutes. These films deal with this apparent crisis in patriarchy (and in the ideals of the Revolution) by forwarding an ideology of family orthodoxy and national unity, recuperating the other

in Emilio Fernández
Proscenium theatre and technologies of illusionism
Niharika Dinkar

’. While Ravi Varma’s paintings run the gamut from explicitly staged historical narrative to iconic imagery, the Pauranik paintings make explicit reference to the world of theatre. Ravi Varma directly appealed to strategies invoked by Parsi theatre to stage his Pauranik paintings, both in his adoption of the technological apparatus of oil painting and its simulation of the real and by embracing prevalent aesthetic modes like melodrama in Parsi theatre to appeal to viewers. As theatrical scenery with its extravagant screen drops, wings and stage props embraced pictorial

in Empires of light
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Dolores Tierney

suggest readings beyond and above the narrative. For example, Fernández is often read in relation to the melodrama from a position which considers melodrama to be a totalizing force imposing moral certainties in a disrupted (post-Revolutionary) moral universe (Monsiváis, 1995 a: 147). Taking into consideration feminist and poststructuralist reevaluations of the Hollywood melodrama, which suggest that the genre implies its own contradictions, this

in Emilio Fernández
Dolores Tierney

– how then can we interpret its discourse on gender in relation to the Revolution? Genre, gender and the Revolution How do melodrama and action work in relation to the idea of gender in the film? The use of the terms femininity and masculinity does not in this case signal biological sexual categories – i.e., male or female – but points to gender attributes established by the text in terms of genrebased

in Emilio Fernández
The history of classical Mexican cinema and its scholarship
Dolores Tierney

titled ‘Santa,’ played an important part in establishing the film’s urban milieu and also in suggesting a modern sensibility. In this experimental preindustrial period when Mexican filmmakers sought ways of defining their films against a foreign product, Santa was extremely influential. As a brothel melodrama (and based on one of Mexico’s foundational fictions) 7 it grew into a recognizable national form which gave rise

in Emilio Fernández
The Vorticist critique of Futurism, 1914–1919
Jonathan Black

Maupassant – so closely connected with the intellectual milieu that had given birth to Impressionism. In the section entitled ‘Melodrama of Modernity’ Lewis dismissively wrote ‘Futurism, as preached by Marinetti, is largely Impressionism up-to-date’ (Lewis 2002: 143). In the ‘Bless England’ section of Blast, Lewis (2002: 23–4) proceeded to trumpet the country as the cradle of the Industrial Revolution and Adamowicz and Storchi, Back to the Furutists.indd 165 01/11/2013 10:58:48 166 Jonathan Black 10.3  Edward Wadsworth, Fustian Town / Hebden Bridge, 1914–15, woodcut

in Back to the Futurists
Anna Dezeuze

everyone who comes to it into an elusive, changeable configuration’.130 Such precariousness suggests an ‘existential commitment’, argued Kaprow, which takes the form of a truly ‘American’ melodrama for today’s artist. American melodrama for Kaprow ranged from ‘the saga of the Pioneer’ to Charlie Chaplin and the ‘organization man’: one lonely individual’s struggle to affirm himself in a hostile environment, to succeed in finding his way against the odds.131 Kaprow concluded that ‘artists who make Happenings are living out the purest melodrama’ for two reasons. Firstly

in Almost nothing
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John Mundy and Glyn White

misunderstands the nature of much silent film comedy but fails to account for the enduring popularity of slapstick well into the 1920s and beyond. While narrative cinema was developing in genres such as melodrama and the western, slapstick comedy gags were intended, as Donald Crafton argues, ‘as a calculated rupture’ ( 1995 : 107), as moments of excess that disrupted and forestalled narrative. Though the ideological function that gags were

in Laughing matters
Amy Bryzgel

and the other artists discussed above are worried about forgetting their history, the Romanian collective Bureau of Melodramatic Research has other concerns: What to do when that history is already erased, or, perhaps worse, inaccessible? While still master’s students in painting and photography at the Academy of Arts in Bucharest, the two artists, Irina Gheorghe (b. 1981) and Alina Popa (b. 1982), who founded the Bureau of Melodramatic Research in 2009, wished to research the history of melodrama in Romanian cinema; however, obtaining access to the film archives

in Performance art in Eastern Europe since 1960
Dolores Tierney

Fernández as a (tortured) individual artist who wallows in misfortune and unhappy endings as if these were a personal preference, rather than the result of historically determined plots. Borde does not take into account the particular aesthetic traditions nor indeed the history that produced Fernández, nor the generic norms of the cabareteras (cabaret/brothel melodrama) nor indeed the team of talented individuals

in Emilio Fernández