Monday, January 27, 2014
Williams mentions how popular culture has become fascinated with "murder narratives," and pain and suffering in general, so readers can immerse themselves in the "excitement and horror" of the violence. What role does violence currently have in modern-day melodrama? Is it a necessary element?
According to Playing the Race Card, Williams quotes Ann Douglas, who claims that American melodrama, and film in general, succumb to the "cheaply sentimental feminization." However, these kinds of movies have become very popular in American culture. Does a melodrama need to incorporate the "feminine qualities of piety, virtue, and passive suffering" to be successful?
The Titanic showed that people around the world were thrilled when Jack was "too late" in saving his own life, but still able to save Rose's. However, did this movie foster a boom of "chick-flicks" where the guy or girl is, in some cases unrealistically, able to save the day at the very last moment and win over his or her true love?