Melodrama and Asian CinemaWimal Dissanayake Cambridge University Press, 1993 M05 28 - 281 pages Cinema is a dominant force in the lives of many people living in Asia, a continent that has a number of distinguished national film industries. A concept central to much of Asian film production is melodrama. This path-breaking study examines the importance of melodrama in the film traditions of Japan, India, China, Indonesia, the Philippines, and Australia. Exploring the various ways that melodrama operates with theoretical sophistication, the various essays contained in this volume shed light on the different traditions of Asian cinema, as well as on the wider cultural discourse in which they participate. |
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... Actor's Revenge 127 Scott Nygren VIII Insides and outsides : Cross - cultural criticism and Japanese film melodrama 143 Catherine Russell IX Psyches , ideologies , and melodrama : The United States and Japan 155 Maureen Turim X ...
... Actor's Revenge 127 Scott Nygren VIII Insides and outsides : Cross - cultural criticism and Japanese film melodrama 143 Catherine Russell IX Psyches , ideologies , and melodrama : The United States and Japan 155 Maureen Turim X ...
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Contents
Western | 9 |
Reflections on melodrama East and West | 59 |
The making | 73 |
Melodrama postmodernism and Japanese cinema | 101 |
The melodramatization | 127 |
Crosscultural criticism | 143 |
The United States | 155 |
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Actor's Revenge Ajeng Aleksic American melodrama Andaz Asian cinema audience Awaara becomes Blonde Venus Brooks camera Cavell characters China Chinese cinema Chinese films classical communist conflict construction context cultural desire discourse dominant Donald Richie drama essay evil family melodrama father female feminist film Filipino film melodramas film study film's filmmakers flashback gaze genre Gledhill Goddess heroine Hollywood household human ideology Indian Indonesian Indonesian cinema Innocence Unprotected Japan Japanese cinema Japanese film Kabuki Kismet kokugaku Makavejev male melo melodrama mode modern moral mother narrative nihonjinron non-West Ozu's patriarchal Peter Brooks play political position postmodern postwar Qiangying realism relations relationship representation represented role Ruan Lingyu Sato scene screen sequence sexual Shimpa Sholay shot significant society specific structure struggle study in America symbolic theater theatrical Theory thinking tion Tokyo traditional University Press village Western melodrama wife woman Woman's Film women