Melodrama, as Singer states, is a “class conflict”, and “to consider melodrama’s relation to the social context of modern capitalism, the degree to which melodrama grew out of and persisted to accentuate, cultural divisions basic to the capitalist structure of class stratification must be pointed out.(143)” Manifesto, however, emphasizes that class distinction should disappear. The proletarians ought to be the ruling class and eliminate private property.
To me, an aspect that pertains to both Singer and Marx addresses the psychologically ameliorative effect of melodrama. Singer notes that “making forces of nature and fate the agents of moral retribution served a psychological need. It reassured audiences that, ultimately, they were not transcendentally homeless, after all. (137)” Marx also reaches out to proletarians saying that if they unite together and utilize their strength, they can become the main key to the entire society’s happiness. This will be a great encouragement to the working class men. Moreover, Singer also advocates the cooperation and collaboration of people, rather than the isolation of individuals. Marx also stresses that as a result of workers’ competition with one another weakens workers’ powers.