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Resumo(s)
Esta dissertação analisa os desdobramentos e as variações do melodrama no cinema
norte-americano, buscando refletir sobre sua perpetuação, revisitação e atualização. Para
tanto, a pesquisa consiste em traçar um panorama histórico e estético do gênero, com o
intuito de compreender sua origem, formação, características e elementos, além de analisar
os procedimentos e implicações do efeito moralizante e da imaginação melodramática, para
assim, verificar como o melodrama é utilizado pelos cineastas estudados. A investigação
pretende identificar o estilo de encenação melodramática nos realizadores D. W. Griffith,
Frank Borzage, King Vidor, John M. Stalh, Max Ophuls, Nicholas Ray, Vincente Minnellli,
Douglas Sirk, Clint Eastwood, James Gray e Tood Haynes, artistas que contribuíram
significativamente para a cristalização do gênero durante boa parte da história do cinema
norte-americano.
This dissertation analyzes the deployments and variations of the melodrama in American cinema, searching to reflect the perpetuation, revisiting and updating. Therefore, the research consists in drawing a historical and esthetical panorama of the genre, in order to understand its origin, formation, characteristics and elements, besides analyzing the procedures and implications of the moralizing effect and the melodramatic imagination, in order to verify how Melodrama is used by searched filmmakers. The research intends to identify the style of melodramatic play-acting in directors D. W. Griffith, Frank Borzage, King Vidor, John M. Stalh, Max Ophuls, Nicholas Ray, Vincent Minnellli, Douglas Sirk, Clint Eastwood, James Gray and Tood Haynes, artists who significantly contributed to the crystallization of the genre during much of American film history.
This dissertation analyzes the deployments and variations of the melodrama in American cinema, searching to reflect the perpetuation, revisiting and updating. Therefore, the research consists in drawing a historical and esthetical panorama of the genre, in order to understand its origin, formation, characteristics and elements, besides analyzing the procedures and implications of the moralizing effect and the melodramatic imagination, in order to verify how Melodrama is used by searched filmmakers. The research intends to identify the style of melodramatic play-acting in directors D. W. Griffith, Frank Borzage, King Vidor, John M. Stalh, Max Ophuls, Nicholas Ray, Vincent Minnellli, Douglas Sirk, Clint Eastwood, James Gray and Tood Haynes, artists who significantly contributed to the crystallization of the genre during much of American film history.
Descrição
Palavras-chave
Cinema Norte-Americano Imaginação Melodramática Melodrama