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Melodramas, Identidades y Modernidades Latinoamericanas en el Cine Actual: de Amores Perros a Sábado
Salinas Mu?oz,Claudio;
Aisthesis , 2010, DOI: 10.4067/S0718-71812010000200007
Abstract: this paper aims to develop heterogeneously narratives of today's latin-american cinema by using concepts such as ?melodrama? and ?melodramatic?; terms that can be found in some films that belong to this part of the world. the essay will try to organize and update the concepts and cultural matrix of the melodramatic concept in three latin american films: ?amores perros? (méxico, 2000), ?whisky? (uruguay, 2004) and ?sábado? (chile, 2002). in some way, these three films can be conceived as three different strategies to describe the modern experience.
Gender, Corporeality and Space in Alejandro Gonzalez I arritu’s Amores Perros  [PDF]
M?d?lina Piersec?
Journal for Communication and Culture , 2011,
Abstract: Amores Perros, Alejandro Gonzalez I aritu's box office hit immerses the spectator in a series of uncomfortable images of bodies. The corporeal stance colonizes the screen with visceral force. The nodal scene of the picture features a car crash which reunites the three narrative lines and at the same time displays with swift and intense force the damage inflicted upon the characters' bodies by the accident. This is one of the first clues suggesting I arritu's emphasis on the body as privileged medium of conveying meaning in Amores Perros. The cinematic language pertains to a persistent viscerality and identitary fragmentation which is conveyed with the help of specific artistic means and through a unique corporeal aesthetics. The object of the present endeavour is to ascertain whether Amores Perros preserves stereotypical approaches in its depiction of bodies. Using the analytical tools provided by film studies, French feminism, gender studies and psychoanalysis, the present inquiry places the corporeal instance in relation with space and gender issues.
The Significance Of The Queer And The Dog In Alejandro González I árritu’s Amores Perros (2000): A Masculinity At War  [cached]
Orla Juliette Borreye
Wide Screen , 2009,
Abstract: The Mexican New Wave film Amores perros (2000) directed by Alejandro González I árritu was an international commercial success and was highly acclaimed by critics. Even though it has been extensively studied, certain aspects of the film have been neglected, in particular the existence of a queer undercurrent. In this essay I argue that Amores perros offers a portrayal of masculinity as both a gender performance and a return to animal instinct. The latter is emphasised through the canine allegory which is constantly present in the film. Masculinity is shown more in terms of hypermasculinity as it is characterized by aggression, violence, rivalry, sexual promiscuity and demonstrations of pugnacity. Not only are men at war against each other, but they also appear to be at war with themselves and this is all the more evident in the context of queer masculinity. Indeed, men struggle to maintain their (hyper)masculine image, yet certain inconsistencies in some of the male characters’ behaviour or appearance reveal their queerness and thus lack of compliance with the ideals of machismo. In short, this essay highlights the extent to which gender roles and in this particular case the machista role, imprison individuals and lead to a vicious circle of violence and death allegorised by the dog fighting in the film; alternative manifestations of masculinity must be repressed for survival and thus are often hidden behind an exaggerated version of mainstream masculinity. This repression however is just another symptom of a gender order in crisis.
Re-narrating Globalization: Hybridity and Resistance in Amores Perros, Santitos and El Jardín del Edén  [PDF]
Brent Smith
Rupkatha Journal on Interdisciplinary Studies in Humanities , 2010,
Abstract: This paper explores the articulation of resistance to neoliberal globalization in AlejandroGonzález I árritu’s Amores Perros, Alejandro Springall’s Santitos and Maria Novaro’s ElJardín del Edén. I argue that this resistance is enunciated within what Homi Bhabha terms‘Third Space’, the in-between space of cultural translation and negotiation where notions of anessential national identity are destroyed and a contingent and indeterminate hybrid identity isconstructed. Speaking from this hybrid space, these films employ Western cinematicconventions to construct narratives of the disjunctive experience of postcolonial time andspace that disrupt the dominant temporality and imaginative geography of Western grandnarratives of historical progress and global economic development, while at the same timedeterritorializing the space and time of national imagining.
THE MYTH OF THE AMERICAN IDENTITY IN AMERICAN MELODRAMA  [cached]
Ribut Basuki
K@ta : a Biannual Publication on the Study of Language and Literature , 2004,
Abstract: Melodrama reflects and constructs ideology. In American melodrama, the dominant social group imposed its ideology by constructing the standard American identity and its opposite through the heroes and villains. In the four plays discussed, the standard is pictured through the heroes in terms of their ability to get financial success, their acceptance of the Protestant moral codes, and their being white. Thus, in the world of melodrama people of color as well as financially deprived people are marginalized.
Perros callejeros  [PDF]
Kaczorkiewicz, Andrés J.
REDVET , 2008,
Abstract: Hace mucho tiempo que busco una explicación estadística confiable sobre el dramático problema de los perros callejeros. Todo lo que pude obtener son relatos de algún municipio que durante un período determinado armó cierto programa de control canino. Nunca un análisis de sobreida (lo que se conoce un antes y después), medido por análisis multivariado, expuesta su base de datos a la comunidad científica y tecnológica (es decir publicado en medios indexados) y validado por medio de instrumentos tecnológicos objetivos.
A JOURNEY ACROSS THE ATLANTIC: THE HISTORY OF MELODRAMA IN WESTERN LANDSCAPE  [cached]
Ribut Basuki
K@ta : a Biannual Publication on the Study of Language and Literature , 2003,
Abstract: Melodrama has long been considered as a genre with no artistic value by theatre/drama historians. It is there to cater the tastes of the lower class or the popular society; thus, it is not a genre worthy of literary scholars. Through New Historicism lens, however, such a consideration is given by people with elitist point of view. As it is discussed in the following paper, melodrama has a lot to offer. It has been a genre with a lot of values attached to it since it's "birth" in France, its development in England, and maturation in the United States. Unlike the other genres, which are not free from values and biases, melodrama is more frank in delivering its messages.
Tragédia e Melodrama em Dan ando no Escuro  [cached]
DUMARESQ, Daniela,CARVALHO, Maria Lina Carneiro de
Contemporanea : Revista de Comunica??o e Cultura , 2009,
Abstract: Lars Von Trier's movie, Dancing in the Darkness (2000), shows us elements to ponder over the dialogue between melodrama and tragedy. Studying the movie you are mainly benefited from the examination of the narrative and the trajectory of main character, Selma. Theoretical indication is determined by Raymond William's consideration (2002) and the possibility of thinking a modern tragedy, of the melodrama systematization led by Ivete Huppes (2000) and by Alvin Lesky's study of tragedy (1971). We understand that Selma's personality and actions are the synthesis of melodrama and tragedy bringing the tragic stile up to date.
Turned Back: Mad Men as Intermedial Melodrama  [cached]
Monique Rooney
Cultural Studies Review , 2012,
Abstract: This essay draws on definitions of gesture (Giorgio Agamben and Peter Brooks) and catachresis (Peter Brooks, Jacques Derrida) to examine the primacy of non-verbal signifiers as communicators of meaning in AMC’s Mad Men. Beginning with an analysis of Mad Men’s credit sequence, it draws attention to Mad Men’s use of gesture and catachresis in relation to melodrama’s privileging of non-verbal and naturalistic expression and its persistence as an intermedial mode that has moved back and forth between various media (theatre, novel, cinema, television and now digital formats). It argues that Mad Men’s melodramatic aesthetic is one that obliquely, and via a gestural and rhetorical ‘turned back’, communicates its relation to the past and the present.
Violencia y melodrama en la novela colombiana contemporánea Melodrama and violence in the contemporary Colombian novel  [cached]
Camila SEGURA
América Latina Hoy , 2009,
Abstract: RESUMEN: El artículo plantea las maneras en que algunas novelas colombianas contemporáneas de violencia utilizan diferentes elementos del modo melodramático para darle sentido a la violencia social y política colombiana. El contexto histórico del melodrama clásico se emparenta con el de la Colombia contemporánea en tanto que ambos períodos comparten un sentimiento generalizado de inestabilidad, inseguridad y ambigüedades morales. Así, el modo melodramático se presenta como un espacio en donde se intentan resolver las ansiedades que contagian a estos contextos al invocar legibilidad moral en un mundo en donde el mal se presenta como una fuerza real, irreducible y siempre amenazante. En narrativas sobre las diferentes facetas de la violencia colombiana, esta búsqueda de moralidad servirá para legitimar todo el ejercicio literario. ABSTRACT: The article describes the ways in which some contemporary Colombian novels use different elements of the melodramatic mode to make sense of the country’s social and political turmoil. The historical context of the classic melodrama is comparable to that of contemporary Colombia in that both periods share a generalized feeling of instability, insecurity, and moral ambiguity. The melodramatic mode constitutes a space that strives to resolve the anxieties plaguing these contexts by invoking moral legibility in a world where evil is a real, ineluctable force. In narratives that deal with the various facets of Colombian violence, this moral quest serves to legitimize the entire literary enterprise. The article describes the ways in which some contemporary Colombian novels use different elements of the melodramatic mode to make sense of the country’s social and political turmoil. The historical context of the classic melodrama is comparable to that of contemporary Colombia in that both periods share a generalized feeling of instability, insecurity, and moral ambiguity. The melodramatic mode constitutes a space that strives to resolve the anxieties plaguing these contexts by invoking moral legibility in a world where evil is a real, ineluctable force. In narratives that deal with the various facets of Colombian violence, this moral quest serves to legitimize the entire literary enterprise.
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