Comparative Melodrama (ACLA 2011, Vancouver, B.C., Mar. 31-Apr. 3)
Cultural criticism and film history once approached melodrama as a failed and lowbrow form of tragedy characterized by excessive rhetoric, one-dimensional characterizations, and schematized moral polarizations. Subsequently, feminist studies re-framed debates about melodrama by studying it as a genre addressed to and about women. Moving from a focus on domestic and family dramas, scholarship of the last few decades now exhibits a newfound interest in melodrama as a mode representative of socio-cultural conditions, particularly in transcolonial and transnational contexts.