Transformation of Melodrama in Turkish Cinema from Yeşilçam to the Present: The Films Innocence and Destiny by Kemal Çelik

Subjects: “…melodrama…”
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Eco (des) re–integrado. O vengo a decirle adiós a los muchachos by Manuel Bernardo Rojas López

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Passée la porte, il n’y a rien que du vent : Southern et Western, du désenchantement au crépuscule by Christian Viviani

Subjects: “…melodrama…”
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De bois e outros bichos: nuances do novo Realismo brasileiro by Tânia Pellegrini

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Homecomings: Black Women’s Mobility in Early African American Fiction by Anna Pochmara

Subjects: “…melodrama…”
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La Donna del Lago de Rossini : première entrée en scène de Walter Scott dans l’opéra italien by Liliane Lascoux

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El niño y lo melodramático. Tres hipótesis aplicadas al cine argentino de la postdictadura by Sophie Dufays

Subjects: “…Melodrama…”
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The French Actor on the London Stage: Charles Fechter by Catherine Quirk

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Saving Private Ryan (Spielberg, 1998) as a Post-Vietnam War Film in Search of Moral Legibility by Mehdi Achouche

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AIDS, Caregiving and Kinship: The Queer “Family” in Bill Sherwood’s Parting Glances by Nikola Stepić

Subjects: “…melodrama…”
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Contemporary Hollywood Crime Film and the New Individualism by Luis M. García-Mainar

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(Il)lisibilité du mélodrame américain au xixe siècle : The Gladiator (1831) de Robert Montgomery Bird et Jack Cade (1841) de Robert Conrad by Ronan Ludot-Vlasak

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Aelita (Iakov Protazanov, 1924) : la science-fiction à l’écran en question by Raphaëlle Costa de Beauregard

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Canine Actors and Melodramatic Effects: The Dog of Montargis Arrives on the English Stage by Claudia Alonso Recarte

Subjects: “…canine melodrama…”
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Le succès du crime sur scène avec Robert Macaire : modernité théâtrale et protestation sociale au xixe siècle by Noémi Carrique

“…In the traditional  French melodrama, the traitor was always an unsympathetic character, which prepared the audience for a moralizing outcome of the play, with either remorse from or punishment of the "villain". …”
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Le tribunal figural de la fiction expressionniste by Sylvain Louet

“…On the other hand, the genre of melodrama is renewed because the hero is judged through the figural secretion of evil and the motif of disfiguration.…”
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L’UMANA IMMANITÀ: FONTI E FORTUNA DEL FERO ARGANTE. by Gianni Antonio Palumbo

“…The last section quickly considers Argante’s story and fortune, with brief reference to his presence in melodrama (Händel’s Rinaldo) and to his possible influence on Leopardi’s patterns.…”
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The Power of Parody: Went With the Wind (1976), a Film Classic Revisited by The Carol Burnett Show (CBS, 1967-1978) by Taïna Tuhkunen

“…Rather than downplaying the over-romanticized Southern melodrama, the sketch proceeds through further exaggerations and distortions, seeking to shatter the cult text by spoofing, mocking, while paying a humorous homage to the evergreen background text. …”
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‘A Part of Some Other’s Experience’: <em>Dark Victory</em>, Interdependence, and the Limits of ‘Normalcy’ in the 1930s by Anna Debinski

“…This article argues that a culturally specific understanding of disability in the 1930s sheds new light on the superficially problematic disability representation in popular 1939 Hollywood melodrama, Dark Victory. While Bette Davis’ disabled heroine dies, perpetuating eugenic understandings of disabled people as unworthy of life, she also fosters a vision of disability as a valuable embodiment of interdependence. …”
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Brumes, brouillards et incertitudes dans John Marchmont’s Legacy (1863) de Mary Elizabeth Braddon by Marion Charret-Del Bove

“…Besides, fog is also a textual device used by the author to symbolize the blurring literary process at the heart of sensational fiction that aimed at shattering the traditional barriers between types of narratives (gothic tales, melodrama...). Eventually, one has to look at Braddon’s use of mist and fog as an attempt at visualizing a part of the Victorian mid-century world with its share of hidden social uncertainties, particularly regarding women’s restricted lives and lack of opportunities.…”
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