Download e-book for kindle: Global Melodrama: Nation, Body, and History in Contemporary by Carla Marcantonio

By Carla Marcantonio

ISBN-10: 1137528192

ISBN-13: 9781137528193

ISBN-10: 1349561975

ISBN-13: 9781349561971

International Melodrama is the 1st booklength paintings to enquire melodrama in a particularly twenty-first century atmosphere throughout local and nationwide barriers, reading movie texts from a number of nationwide contexts within the wake of globalization.

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Extra resources for Global Melodrama: Nation, Body, and History in Contemporary Film

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One day, Benigno attends a dance performance at a theater (the film opens with this scene) where, by coincidence, he is sitting next to a man named Marco (Darío Grandinetti). Marco is affected by the performance on stage, and Benigno is subsequently affected by watching Marco’s emotional reaction. This is an anecdote, like many others, that he also later shares with Alicia. Once again, by coincidence, Marco ends up at the same hospital where Benigno cares for Alicia when his lover Lydia (Rosario Flores), a bullfighter, is gored during a corrida.

Yet, rather than move away from melodrama’s concerns, these are films that remain deeply invested in the project of rendering injustice both legible and palpable. Thus, Colossal Youth and The World provide a template for how to understand the ways in which melodramatic language is reoriented in the guise of a realist aesthetic. The role of suffering, but particularly the recognition of suffering, becomes central to the project of envisioning a just and moral (global) world. Something that distinguishes global neorealist films from the postwar films produced in Italy has to do with how the city and the people who are forced to live in them are represented as being out of phase with each other, as if the question were no longer about how to make cities livable again but, rather, about how to continue to live when the surrounding landscape has in effect become uninhabitable.

If melodrama once turned to the stage as a means to represent social reality, whereby the body was employed to dramatize ideological positions, then, in the case of this film, the body itself is revealed as the stage where identity and power intertwine. The overhead shot by which the mannequin in The Skin I Live In is introduced bears a clear stylistic resemblance to the way that Alicia’s body in Talk to Her is also shot from overhead. 20 The mannequin in The Skin I Live In, BIOPOLITICAL EMBODIMENTS 35 which presents compartmentalized segments, underlines Ledgard’s obsessive control (in a story about the abuses of power).

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Global Melodrama: Nation, Body, and History in Contemporary Film by Carla Marcantonio


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