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Love in MotionErotic Relationships in Film$
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Print publication date: 2013

Print ISBN-13: 9780231167338

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231167338.001.0001

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PRINTED FROM COLUMBIA SCHOLARSHIP ONLINE (www.columbia.universitypressscholarship.com). (c) Copyright University of Minnesota Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CUPSO for personal use.date: 13 June 2021

Ego Love and Melodrama

Ego Love and Melodrama

Chapter:
(p.9) Ego Love and Melodrama
Source:
Love in Motion
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Reidar Due

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231167338.003.0001

This chapter discusses love in film melodrama. Ivete Huppes—a Brazilian historian of melodrama in film—suggests that melodramatic films are concerned either with the undoing of past injustice or with amorous self-realization. Melodrama is a combination of past and present, where the past constitutes a burden to which the present compensates with love to fill the “void” caused by past suffering, thereby opening up a new future, which is not the future of the subject's past but the future of its transformative present. Therefore, in film melodrama, love is typically an arena for the subject's redemption. An example of films with melodramatic redemption is Jean Renoir's Woman on the Beach, which depicts a man battling with a war trauma that isolates him from the company of others.

Keywords:   love, film melodrama, Ivete Huppes, melodramatic redemption, Jean Renoir, Woman on the Beach

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