(Un)Frozen expressions: Melodramatic moment, affective interval, and the transformative powers of experimental cinema

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F19%3A10406695" target="_blank" >RIV/00216208:11210/19:10406695 - isvavai.cz</a>

Výsledek na webu

<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=aDiNhO3hd6" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=aDiNhO3hd6</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

(Un)Frozen expressions: Melodramatic moment, affective interval, and the transformative powers of experimental cinema

Popis výsledku v původním jazyce

The study examines the double temporality of melodrama and the ways in which it can be further developed or transformed. Typical melodramatic moments draw attention to the tension between static, seemingly frozen tableaus and utopian, supposedly endless expression. Certain experimental films (e.g. Werner Schroeter&apos;s Der Tod der Maria Malibran) radicalise this tension, making way for all the affective operations that emerge when the two temporalities are played out against each other. At the same time, while these affective operations make the melodramatic moments appear in a different light, they still leave them recognisable as melodramatic. This paper aims to show how this two-way movement between melodrama and experimental cinema, or melodramatic moment and affective interval respectively, works and the new insights it can bring for affect studies and their application in film theory.

Název v anglickém jazyce

(Un)Frozen expressions: Melodramatic moment, affective interval, and the transformative powers of experimental cinema

Popis výsledku anglicky

The study examines the double temporality of melodrama and the ways in which it can be further developed or transformed. Typical melodramatic moments draw attention to the tension between static, seemingly frozen tableaus and utopian, supposedly endless expression. Certain experimental films (e.g. Werner Schroeter&apos;s Der Tod der Maria Malibran) radicalise this tension, making way for all the affective operations that emerge when the two temporalities are played out against each other. At the same time, while these affective operations make the melodramatic moments appear in a different light, they still leave them recognisable as melodramatic. This paper aims to show how this two-way movement between melodrama and experimental cinema, or melodramatic moment and affective interval respectively, works and the new insights it can bring for affect studies and their application in film theory.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

NECSUS: European Journal for Media Studies

ISSN

2213-0217

e-ISSN

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Svazek periodika

8

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

NL - Nizozemsko

Počet stran výsledku

23

Strana od-do

25-47

Kód UT WoS článku

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EID výsledku v databázi Scopus

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