Medienwissenschaft / Hamburg: Berichte und Papiere
69 / 2007: Melodrama.
Redaktion und Copyright dieser Ausgabe: Hans J. Wulff.
Letzte Änderung: 21. Januar 2007.
Das filmische Melodram. Eine Arbeitsbibliographie.
Zusammengestellt v. Hans J. Wulff.
Themenhefte
Wide Angle 4,2, 1980, pp. 451: Melodrama.
Five articles studying examples of the melodrama genre in the light of recent work in theory and feminism.
Movie, 29/30, 1982: Melodrama.
Journal of the University Film and Video Association 35,1, 1983: Melodrama.
Film Criticism 9,2, Winter19841985: Melodrama.
Screen 29,3, Summer 1988, pp. 2115: Melodrama and transgression.
Dedicated to the portrayal of heroines in melodramas.
EastWest Film Journal. 5,1, Jan.1991: Melodrama and Cinema.
Filmgeschichte,14, 2000, S.1950: Melodramen.
Bücher und Artikel
Allen, Michael: Telling stories: melodrama, narration and recognition. In: Family Secrets: the Feature Films of D.W. Griffith. London: British Film Institute 1999.
Andrew, Dudley: Broken Blossons: the art and the eros of a perverse text. In: Quarterly Review of Film Studies 6,1, 1981, pp. 8190.
Andrin, Muriel: Maléfiques. Le Mélodrame filmique américain et ses héroïnes (19401953). Frankfurt [...]: Peter Lang 2005.
Ang, Ien: Watching Dallas: Soap Opera and the Melodramatic Imagination. London: Methuen 1985.
Anon. (a cura di): Schermi d'Amore Festival del Cinema Sentimentale e Mélo. 4a edizione, Verona, 31 marzo 9 aprile 2000. Torino: Ed. Lindau 2000, 155 S.
Aspinall, Sue / Murphy, Robert (eds.): Gainsborough Melodrama. London: British Film Institute 1983.
Barefoot, Guy: Gaslight melodrama: from Victorian London to 1940s. New York: Continuum 2001, 212 pp.
Baron, Cynthia: Tales of sound and fury reconsidered: melodrama as a system of punctuation. In: Spectator 13,2, 1992, pp. 4659.
Basinger, Jane: A Woman's View: How Hollywood Spoke to Women 19301960. London: Chatto & Windus 1993.
Bisplinghoff, Gretchen: Mothers, madness and melodrama. In: Jump Cut, 37, July 1992, pp. 120126.
Examines concepts of gender in melodrama's dealing with psychoanalysis, esp. with the link of madness and motherhood.
Bobo, Jacqueline: The Color Purple: black women as cultural readers. In: Female Spectators. Ed. by E. Dreidre Pribram. London: Verso 1988, pp. 90109.
Booth, Michael: English Melodrama. London: Herbert Jenkins 1965.
Boozer, Jack, Jr.: Entrepreneurs and 'Family Values' in the Postwar Film. In: Authority and Transgression in Literature and Film. Ed. by Bonnie Braendlin and Hans Braendlin. Gainesville: University Press of Florida 1996, pp. 89102.
Bratton, Jacky / Cook, Jim / Gledhill, Christine /eds.): Melodrama: stage, picture, screen. London: British Film Institute 1994.
Brauerhoch, Annette: Zwischen Melodrama und Komodie: zu den 'lacherlichen' Versuchen Stella Dallas', 'mehr zu sein als eine Mutter'. In: Frauen und Film, 53, Dec. 1992, pp. 4054.
Feminist analysis of the lead roles and their comic effect, as well as the issue of motherhood in "Stella Dallas" (1937) and its 1990 remake "Stella".
Brauerhoch, Annette: Die gute und die böse Mutter. Kino zwischen Melodrama und Horror. Marburg 1996.
Brooks, Peter: The Melodramatic Imagination: Balzac, Henry James, Melodrama and the Mode of Excess. New Haven, CN: Yale University Press 1995.
Browne, Nick: Griffith's family discourse: Griffith and Freud. In: Quarterly Review of Film Studies 6,1, 1981, pp. 6780.
Reprinted in: Gledhill's Home Is Where the Heart Is.
Butler, A.: Women's Cinema: The Contested Screen. London: Wallflower Press 2002.
Butler, Jeremy G.: Style and the Domestic Melodrama. In: Jump Cut, 32, April 1986, pp. 2528.
Discusses a theory of style through a comparison of the 1934 and 1959 versions of "Imitation of Life".
Butler, Judith: Lana's 'Imitation': Melodramatic Repetition and the Gender Performative. In: Genders 9, Fall 1990, pp. 118.
Byars, Jackie: All that Hollywood allows: rereading gender in 1950s melodrama. Chapel Hill: University of North Carolina Press 1991 (Gender & American culture.).
Camper, F.: The films of Douglas Sirk. In: Screen 12,2, 1971, pp. 4462.
Caputi, J. / Vann, H.: Questions of Race and Place. In: Cineaste 15,4, 1987, pp. 1621.
Discusses racism in "Imitation of Life" and "Places in the Heart".
Cargnelli, Christian / Palm, Michael (Hg.): Und immer wieder geht die Sonne auf. Texte zum Melodramatischen im Film. Wien 1994
Carpender, Lynette: Guilty pleasures: women and the weepies. Ms. Magazine 1,6, MayJune 1991, pp. 74-76.
Melodramas reflect women's limited options and difficult choices.
Carroll, Noel: The Moral Ecology of Melodrama: The Family Plot and Magnificent Obsession. In: New York Literary Forum 7, 1980, pp. 197206.
Caughie, Pamela L.: Let It Pass: Changing the Subject, Once Again. In: PMLA: Publications of the Modern Language Association of America 112,1, Jan 1997, pp. 2639.
Cavell, Stanley: Psychoanalysis and Cinema: The Melodrama of the Unknown Woman. In: Joseph H. Smith, William Kerrigan (dir.), Images in Our Souls. Cavell, Psychoanalysis, and Cinema. Baltimore: Johns Hopkins University Press 1987.
Cavell, Stanley: Postscript (1989): To Whom It May Concern. In: Critical Inquiry 16,2, Winter 1990, pp. 248289.
Zu: Letter From an Unknown Woman.
Cavell, Stanley: Ugly Duckling, Funny Butterfly: Bette Davis and Now, Voyager. In: Critical Inquiry 16,2, Winter 1990, pp. 213289.
Cavell, Stanley: Contesting Tears: The Hollywood Melodrama of the Unknown Woman. Chicago/London: University of Chicago Press 1996.
Chandler, Karen M.: Agency and Stella Dallas: Audience, Melodramatic Directives, and Social Determinism in 1920s America. In: Arizona Quarterly 51,4, Winter 1995, pp. 2744.
Christensen, Inger: From Heroine to Harlequin: The Representation of Stella Dallas in Novel and Film. In: Livstegn: Journal of the Norwegian Association for Semiotic Studies 3, Jan 1987, pp. 4052.
Cohan, Steve: Masked Men: Masculinity and the movies in the Fifties. Bloonington: Indiana University Press 1997.
Connor, J. D.: Disappearing, Inc.: Hollywood Melodrama and the Perils of Criticism. In: Modern Language Notes 112,5, Dec. 1997, pp. 958970.
"Books such as 'The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman,' 'Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk,' 'Contesting Tears: The Holywood Melodrama of the Unknown Woman' and 'Max Ophuls in the Hollywood Studios' represent the significance of Hollywood melodramas. The genre provides a means for criticism which is important to social formations. These books brings to focus that as long as attention is given to Hollywood films, the genre will remain." [Expanded Academic Index]
Conroy, Marianne: 'No Sin in Lookin' Prosperous': Gender, Race, and the Class Formations of Middlebrow Taste in Douglas Sirk's Imitation of Life. In: The hidden foundation. Cinema and the question of class. Ed. by David E. James and Rick Berg. Minneapolis, Minn.: University of Minnesota Press 1996, pp. 114137.
Cook, Pam: Duplicity in Mildred Pierce. In: Women in Film Noir. Ed. by E. Ann Kaplan. Rev. ed. London: BFI Publishing 1980, pp: 6882.
Cook, Pam: Masculinity in Crisis? Ranging Bull. In: Screen 23,3/4, 1982, pp. 3946.
Cook, Pam: Melodramas and women's [sic] film. In: Aspinall, Sue / Murphy, Robert (eds.): Gainsborough Melodrama. London: British Film Institute 1983, pp. 1428.
Also in: Marcia Landy, ed, Imitations to Life.
Creed, Barbara: The position of women in Hollywood melodramas. In: Australian Journal of Screen Theory, 4, 1978, pp. 2731.
Cunningham, Stuart: The 'forcefield' of melodrama. In: Quarterly Review of Film Studies 6,4, Fall 1981, pp. 347364.
Develops a religiouspolitical framework for the understanding of melodrama and relates it to some contemporary examples of new Hollywood cinema.
De Cordova, Richard: A Case of Mistaken Legitimacy. Class and Generational Difference in Three Family Melodramas. In: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Christine Gledhill, ed. London: British Film Institute 1987, pp. 255267.
Decker, Christof: Hollywoods kritischer Blick. Das soziale Melodrama in der amerikanischen Kultur 1840-1950. Frankfurt/New York: Campus 2003, 516 pp. (Nordamerikastudie. 21.).
Desilet, Gregory: Our Faith in Evil. Melodrama and the Effects of Entertainment Violence. Jefferson/NC: McFarland 2005.
Dissanayake, Wima (ed.): Melodrama and Asian cinema. Cambridge/New York: Cambridge University Press, 1993. Cambridge studies in film.
Doane, Mary Anne: The 'woman's film': possession and address. In: REvision: Essays in Feminist Film Criticism. Ed. by Mary Ann Doane, Patricia Mellencamp and Linda Williams. LA: American Film Institute 1984, pp. 6782.
Reprinted in: Gledhill's Home is Where the Heart Is.
Doane, Mary Ann: Clinical eye : medical discourses in the "woman's film" of the 1940s. In: The Female body in western culture. Contemporary perspectives. Ed. by Susan Rubin Suleiman. Cambridge, Mass.: Harvard University Press 1986.
Doane, Mary Anne: Desire to Desire: The Woman's Film of the 1940s. Bloomington: Indiana University Press 1987.
Eckert, Charles: The anatomy of a proletarian film: Warners' Marked Woman. In: Movies and Methods. 2. Ed. by Bill Nichols. Berkeley: University of California Press 1985, pp. 407425.
Ellis, John: British Cinema as Performance Art: Brief Encounter, Radio Parade of 1935 and the Circumstances of Film Exhibition. In: The British cinema book. Ed. by Robert Murphy. 2nd ed. London : British Film Institute, 2001, pp. 95109.
Elsaesser, Thomas: "Tales of Sound and Fury: Observations on the Family Melodrama." In: Film genre reader. 2. Ed. by Barry Keith Grant. Austin: University of Texas Press 1995, pp. 50-80.
Also in: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 4369.
Fell, John L.: Melodrama, the Movies, and Genre. In: New York Literary Forum 7, 1980, pp. 187195.
Fell, John L.: Melogenre. In: North Dakota Quarterly 51,3, Summer 1983, pp. 100110.
Feuer, Jane: Melodrama, serial form and television today. In: Screen 25,1, 1984, pp. 416.
Fink, Janet / Holden, Katherine: Pictures from the Margins of Marriage: Representations of Spinsters and Single Mothers in the MidVictorian Novel, InterWar Hollywood Melodrama and British Film of the 1950s and 1960s. In: Gender & History 11,2, 1999, pp. 233255.
Fischer, Lucy (ed.): Imitation of life. Douglas Sirk, director. New Brunswick: Rutgers University Press 1991 (Rutgers Films in Print. 16.).
Fischer, Lucy: Lifestyles of the Rich and Famous: Imitation of Life. In: Post Script 9,2, Winter 1991, pp. 513.
The public image of US stars, esp. female, is contrasted with the reality of their private life; focuses on the example of Lana Turner and her role in "Imitation of life".
Fischer, Lucy: Cinematernity: film, motherhood, genre. Princeton, N.J.: Princeton University Press, c1996.
Fischer, Lucy: Sirk and the Figure of the Actress: All I Desire. In: Film Criticism, WinterSpring 1999, pp.136ff.
Douglas Sirk's film "All I Desire" portrays the duality of the female character. Situated at the turn of the century, the film follows a woman's desire to become an actress at the price of abandoning her husband and children. Although she is reunited with her family in the end, her absence has created intensified love or hatred in her children and meekness in her husband.
Fletcher, J.: Melodrama: An Introduction. In: Screen 29,3, 1988, pp. 212.
Fletcher, J.: Version of Masquerade. In: Screen 29,3, 1988, pp. 4370.
Fletcher, John: Primal scenes and the female gothic: Rebecca and Gaslight. In: Screen 36,4, Winter 1995, pp. 341370.
Psychoanalytic analysis of Rebecca and Gaslight as female Oedipal dramas
Flinn, Carol: The problem of femininity in theories of film music. In: Screen 27,6, NovDec 1986, pp. 5672.
Consideration of film music as the feminine, examining film music as a process of signification in its own right, and analysing the function of music in classic Hollywood melodramas.
Flinn, Caryl: Strains of Utopia: Gender Nostalgia and Hollywood Film Music. Princeton, NJ: Princeton University Press 1992.
FlittermanLewis, Sandy: Imitation(s) of Life: The Black Woman's Double Determination as Troubling 'Other'. In: Literature & Psychology 34,4, 1988, pp. 4457.
FlittermanLewis, Sandy: The Blossom and the Bole: Narrative and Visual Spectacle in Early Film Melodrama. In: Cinema Journal 33,3, Spring 1994, pp. 315.
Fron, Charles: Cinema and Sentiment. Chicago: University of Chicago Press 1982.
Fuqua, Joy Van: 'Can You Feel It, Joe?': Male Melodrama and the Feeling Man. In: The Velvet Light Trap 38, Fall 1996, pp. 2838.
Gaines, Jane: The scar of shame: skin color and caste in black silent melodrama. In: Cinema Journal 26,4, Summer 1987, pp. 321.
Discusses the use of melodrama to reach black audiences in the 1920's, esp. in "The scar of shame", and theorizes on the nature of the black audience (see also separate Oscar Micheaux bibliography)
Gaines, Jane: Fire and Desire: Race, Melodrama, and Oscar Micheaux. In: Black American Cinema. Ed. by Manthia Diawara. New York: Routledge 1993.
Also in: Melodrama: stage, picture, screen. Ed. by Jacky Bratton, Jim Cook, Christine Gledhill. London: British Film Institute 1994, pp. 231-245.
Gaines, Jane: The Melos in Marxist Theory. In: The Hidden Foundation: Cinema and the Question of Class. Ed. by David E. James and Rick Berg. Minneapolis : University of Minnesota Press 1996, pp. 5671.
Gaines, Jane / Herzog, Charlotte, eds.: Fabrications: Costume and the Female Body. New York: Routledge 1990.
Gallafent, Edward: Black satin: fantasy, murder and the couple in 'Gaslight' and 'Rebecca'. In: Screen 29,3, Summer 1988, pp. 84103.
Studies the similar fears of the newlywed brides in "Gaslight" and "Rebecca".
Gallagher, Tag: Tag Gallagher Responds to Tania Modleski's "Time and Desire in the Woman's Films“ ("Cinema Journal," Spring 1984) and Linda Williams's " 'Something Else besides a Mother": "Stella Dallas" and the Maternal Melodrama" ("Cinema Journal," Fall 1984). In: Cinema Journal 25,2, Winter 1986, pp. 6566.
Gallagher, Tag: White Melodrama: Douglas Sirk. In: Film Comment, Nov. 1998, p.16.
Filmmaker Douglas Sirk thought that movies should function for society, playing on the audience's emotions. Good and evil, lightness and darkness were accentuated with music. Motion and light were used to create the necessary melodramatic moments. Two major Sirk themes are characters who impose their will despite pain (white melodrama), and characters who are dominated by their will, giving in to lust (black melodrama).
Gallagher, Mark: I married Rambo. Spectacle and melodrama in the Hollywood action film. In: Mythologies of violence in postmodern media. Ed. by Christopher Sharrett. Detroit, MI: Wayne State University Press 1999 (Contemporary film and television series.).
Garrett, Greg: The Many Faces of Mildred Pierce: A Case Study of Adaptation and the Studio System. In: Literature/ Film Quarterly 23,4, 1995, pp. 287292.
Gerould, David C., ed.: American Melodrama. New York: Performing Arts Journal Publications 1992.
Gledhill, Christine: Melodrama. In: The Cinema Book. Ed. by Pam Cook. London: British Film Institute 1985; 2nd ed. 1994, pp. 7384.
Gledhill, Christine: Dialogue: Christine Gledhill on Stella Dallas and Feminist Film Theory; E. Ann Kaplan Replies. In: Cinema Journal 25,4, Summer 1986, pp. 4453.
Gledhill, Christine: Stella Dallas and Feminist Film Theory. In: Cinema Journal 25,4, 1986, pp. 4448.
Gledhill, Christine (ed.): Home is where the heart is: studies in melodrama and the woman's film. London: BFI Publishing 1987.
Gledhill, Christine: The Melodramatic Field: An Investigation. In: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 539.
Gledhill, Christine: Signs of Melodrama. In: In Stardom: Industry of Desire. Ed. by Christine Cledhill. New York: Routledge 1991.
Gledhill, Christine: Speculations on the relationship between soap opera and melodrama. In: Quarterly Review of Film and Video 14,12, July 1992, pp. 103124.
Explores similarities and differences between the genres, citing British/US examples past and present.
Gledhill, Christine: Between Melodrama and Realism: Anthony Asquith's Underground and King Vidor's The Crowd. In: Classical Hollywood Narrative: The Paradigm Wars. Ed. by Jane Gaines. Durham, NC: Duke University Press 1992, pp. 12967.
Gorbman, Claudia: The drama's melos: Max Steiner and Mildred Pierce. In: Velvet Light Trap, 19, 1982, pp. 3539.
Hake, Sabine: The melodramatic imagination of Detlef Sierck: Final Cord and its resonances. In: Screen 38,2, 1997, pp. 129148.
Halliday, Jon: Sirk on Sirk. London: BFI 1971.
Hammond, M.: The Historical and the Hysterical: Melodrama, War and Masculinity in Dead Poet's Society. In: You Tarzan: Masculinity, Movies and Men. Ed. by P. Kirkham. London: Lawrence & Wishart 1993.
Haralovich, Mary Beth: All that Heaven Allows: Color, Narrative Space, and Melodrama. In: Close viewings: an anthology of new film criticism. Ed. by Peter Lehman. Tallahassee: Florida State University Press 1990, pp. 5772.
Haralovich, Mary Beth: The proletarian woman's film of the 1930s: contending with censordhip and entertainment. In: Screen 31,2, 1990, pp. 171187.
Haralovich, Mary Beth: Too much guilt is never enough for working mothers: Joan Crawford, Mildred Pierce and Mommie Dearest. In: Velvet Light Trap, 29, 1992, pp. 4352.
Harris, Tina M. / Donmoyer, Deidra: Is Art Imitating Life? Communicating Gender and Racial Identity in Imitation of Life. In: Women's Studies in Communication 23,1, Winter 2000, pp. 91110.
Hays, Michael / Nikolopoulous, Anastasia, eds.: Melodrama: The Cultural Emergence of a Genre. New York: St. Martin's Press 1996.
Heilman, Robert: Tragedy and Melodrama: Versions of Experience. Seattle: University of Washington Press 1968.
Henke, R.: Imitation World of Vaudeville. In: Jump Cut, 39, June 1994, pp. 3139.
Examines the imprisonment and alienation of women in terms of race and gender in "Imitation of Life" with reference to the 'camp' sensibility evident in "Valley of the Dolls".
Heung, M.: 'What's the Matter with Sara Jane?': Daughters and Mothers in Douglas Sirk's Imitation of Life. In: Cinema Journal 26,3, Spring 1987, pp. 2143.
Analyses the film in terms of the intersection of issues of race, class and gender.
Higson, Andrew / Vincendeau, Ginette: Melodrama. In: Screen 27,6, NovDec. 1986, pp. 25.
Introduction to a series of articles on aspects of melodrama.
Hollinger, Karren: The female Oedipal drama of Rebecca: from novel to film. In: Quarterly Review of Film and Video 14,4, 1993, pp. 1730.
Hollywood reconsidered. In: Jump Cut, 32, April 1986, pp. 1532.
On women in the Hollywood film, incl. the representation of fantasy women in "The stepford wives", the simultaneous celebration and reduction of wartime heroines such as "Rosie the riveter" and an analysis of melodrama.
Huyssen, Andreas: Mass culture as woman: modernism's Other. In: The Great Divide. Bloomington: Indiana University Press 1986, pp. 4462.
Jacobs, Lea: The Woman's Picture and the Poetics of Melodrama. In: Camera Obscura 31, Jan.-May 1993, pp. 121147.
Considers definitions of melodrama and tragedy in relation to the pressure or assertive nature of the heroine in literature and in women's romantic Hollywood films of the 1930's and 1940's.
Jacobs, Lea: Now Voyager: Some Problems of Enunciation and Sexual Difference. In: Camera Obscura 7, 1981, pp. 89104.
Jacobs, Lea: The Wages of Sin: Censorship and the Fallen Woman Film, 19281942. Madison, WI: University of Wisconsin Press 1991.
Joyrich, Lynne: All that television allows: TV melodrama, postmodernism, and consumer culture. In: Camera Obscura, 16, Jan. 1988, pp. 128153.
Repr. in: Private screenings: television and the female consumer. Ed by Lynn Spigel and Denise Mann. Minneapolis: University of Minnesota Press 1992 (Camera Obscura Book.).
A postmodernist reading of US melodrama, tracing its shift from cinema, in the films of Douglas Sirk, to its current home, the tv soap opera.
Kaplan, E. Ann: Mothering, Feminism and Representation. The Maternal Melodrama and the Woman’s Film 191040. In: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 113137.
Kaplan, E. Ann: The Case of the Missing Mother: Maternal Issues in Vidor's Stella Dallas. In: Issues in feminist film criticism. Ed. by Patricia Erens. Bloomington : Indiana University Press 1990, pp. 126136.
Kaplan , E. Ann: Motherhood and Representation: The Mother in Popular Culture and Melodrama. New York: Routledge 1992.
Kaplan, E. Ann: Theories of Melodrama: A Feminist Perspective. In: Women & Performance: a Journal of Feminist Theory 1,1, Spring-Summer 1983, pp. 4048.
Kaplan, E. Ann: Classical Hollywood Film and Melodrama. In: The Oxford guide to film studies. Ed. by John Hill and Pamela Church Gibson; consultant editors, Richard Dyer, E. Ann Kaplan, Paul Willemen. Oxford. New York: Oxford University Press 1998, pp. 272282.
Kaplan, E. Ann: Classical Hollywood Film and Melodrama. In: American cinema and Hollywood. Critical approaches. Ed. by John Hill and Pamela Church Gibson. Oxford : Oxford University Press 2000.
Kaplan, E. Ann: Melodrama, cinema and trauma. In: Screen 42,2, Summer 2001, pp. 201205.
Kaplan, E. Ann: Melodrama, Cinema and Trauma. In: Screen 42,2, Summer 2001, pp. :201205.
Approaching the genre of melodrama from the perspective of 'trauma theory' highlights gaps in theorising about melodrama, previously articulated through Freudian psychoanalysis.
Kappelhoff, Hermann: Matrix der Gefühle. Das Kino, das Melodrama und das Theater der Empfindsamkeit. Berlin 2004.
Kathleen McHugh (Ed.): South Korean Golden Age Melodrama. Gender, Genre, and National Cinema. Detroit 2005.
Kauffmann, Stanley: Melodrama and Farce: A Note on a Fusion in Film. In: New York Literary Forum 7, 1980, pp. 169172.
Kauffmann, Stanley: Film: melodrama and popular culture: Melodrama and farce: a note on a fusion in film. In: Melodrama. Ed. by Daniel Gerould Martinsville, N.J.: Analecta Enterprises 1980 (New York Literary Forum. 7.).
Kennedy, Harlan: The melodramatists. In: American Film 17,1, Jan.Feb. 1992, pp. 54-56.
Über Douglas Sirk und Nicholas Ray.
Kim, Soyoung: "Questions of Woman's Film: The Maid, Madame Freedom, and Women." In: South Korean golden age melodrama. Gender, genre, and national cinema. Detroit: Wayne State University Press 2005, pp. 185200.
Kleinhans, Chuck: Notes on melodrama and the family under capitalism. In: Film Reader 3, 1978, pp. 4047.
Discusses the family under capitalism in order to better understand bourgeois domestic melodrama.
Klinger, Barbara: Much Ado about Excess: Genre, MiseenScene and the Woman in Written on the Wind. In: Wide Angle 11,4, Oct. 1989, pp. 422.
Klinger, Barbara: Melodrama and meaning. History, culture, and the films of Douglas Sirk. Bloomington: Indiana University Press 1994.
Koebner, Thomas: Musik zum Abschied. Zur Komposition von Melodramen. In: AugenBlick, 35, 2004, pp.4668.
Kuhn, Annette: Women's genres. In: Screen 25,1, JanFeb 1984, pp. 1828.
Developments in film and tv theory relating to critical work on film melodrama and tv soap opera, with particular reference to the audience for these genres, which is traditionally female.
Repr. in: Christine Gledhill (ed.): Home Is Where the Heart Is: Studies in Melodrama and the Woman's Film. London: British Film Institute 1987, pp. 339349.
Kuhn, Annette: Mandy and possibility. In: Screen 33,3, 1992, pp. 223243.
Kuhn, Annette: Women's pictures. Feminism and cinema. London/New York: Verso 1994.
Kuhn, Annette: Women's Genres: Melodrama, Soap Opera and Theory. In: Feminist film theory. A reader. Ed. by Sue Thornham. New York: New York University Press 1999, pp. 146156.
Landy, Marcia (ed.): Imitations of life: a reader on film & television melodrama. Detroit: Wayne State University Press 1991 (Contemporary Film and Television Series.).
Landy, Marcia: Melodrama and Femininity in Second World War British Cinema. In: The British cinema book. Ed. by Robert Murphy. 2nd ed. London : British Film Institute 2001, pp. 119126.
Lang, Robert: American film melodrama: Griffith, Vidor, Minnelli. Princeton, N.J.: Princeton University Press 1989.
Lang, Robert: Lucia Harper’s Crime: Family Melodrama and Film Noir in The Reckless Moment. In: Literature/Film Quarterly 17,4, 1989.
LaPlace, Maria: Producing and Consuming the Woman’s Film. Discursive Struggle in Now, Voyager. In: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 138166.
LaValley, Albert J., ed.: Mildred Pierce. Madison, WI: University of Wisconsin Press 1980.
Lawrence, Amy: Trapped in a Tomb of Their Own Making: Max Ophuls's The Reckless Moment and Douglas Sirk's There's Always Tomorrow. In: Film Criticism, WinterSpring 1999, pp. 150ff.
Filmmakers Max Ophuls and Douglas Sirk depict the gradual decay of the family unit in their films. Both focus on the rise of youth culture during the 1950s, coupled with the open floor plans of that era. Boundaries are therefore transgressed physically, mentally and emotionally, leading family members to seek means of escape and make irrational decisions.
Lehman, Peter, ed. Close Viewings: An Anthology of New Film Criticism. Tallahassee: Florida State University Press, 1990.
Lehman, Peter: Crying over the Melodramatic Penis: Melodrama and Male Nudity in Films of the '90s. In: Masculinity : bodies, movies, culture. Edited by Peter Lehman. New York : Routledge 2001 (AFI film readers.).
Leibman, Nina C.: Piercing the Truth: Mildred and Patriarchy. In: Literature in Performance 8,1, Nov. 1988, pp. 3952.
Zu: Mildred Pierce.
Leibowitz, Flo: Apt Feelings, or Why 'Women's Films' Aren't Trivial. In: Posttheory: reconstructing film studies. Ed. by David Bordwell and Noel Carroll. Madison: University of Wisconsin Press 1996 (Wisconsin Studies in Film.).
Lenning, Arthur: The Birth of Way Down East. In: Quarterly Review of Film Studies 6,1, 1981, pp. 8190.
Lipkin, Steven N.: Melodrama. In: Handbook of American Film Genres. Ed. by Wes D. Gehring. Westport, CN: Greenwood Press 1988, pp. 285302.
Lloyd, Justine / Johnson, Lesley: The Three Faces of Eve: The PostWar Housewife, Melodrama, and Home. In: Feminist Media Studies 3,1, 2003, pp. 725.
Lusted, David: Social Class and the Western as Male Melodrama. In: The book of westerns. Ed. by Ian Cameron and Douglas Pye. New York: Continuum 1996.
Lutz, Tom: Men's Tears and the Roles of Melodrama. In: Boys don't cry? Rethinking narratives of masculinity and emotion in the U.S.Ed. by Milette Shamir and Jennifer Travis. New York: Columbia University Press 2002, pp. 185204.
Luzon, Vicky: Raving about Things That Won't Solve: Marylee Hadley in Written on the Wind. In: Miscelanea. A Journal of English & American Studies 22, 2000, pp. 8399.
MacKinnon, Kenneth: The family in Hollywood melodrama: Actual or ideal? In: Journal of Gender Studies 13,1,, March 2004, pp. 2936.
Margolis, Harriet: Contemporary Women's Films: A Fictional Genre? In: Film Criticism 13,2, Winter 1989, pp. 4760.
Mason, Jeffrey D.: Melodrama and the Myth of America. Bloomington: Indiana University Press 1993.
Mayer, David / DayMayer, Helen: A 'Secondary Action' or Musical Highlight? Melodic Interludes in Early Film Melodrama Reconsidered. In: The sounds of early cinema. Ed. by Richard Abel and Rick Altman. Bloomington: Indiana University Press 2001, pp. 220231.
McElhaney, Joseph Edward: Qualities of imperfection: Melodrama and the decline of classical cinema. New York: New York University, Ph.D. 1999.
Abstract in: Dissertation Abstracts International A 60,2, Aug. 1999, p. 272A.
McHugh, Kathleen Anne: American Domesticity: From Howto Manual to Hollywood Melodrama. New York: Oxford University Press 1999.
McHugh, KathleenAnne: The labor of maternal melodramas: converting angels to icons. In ihrem: American domesticity: from howto manual to Hollywood melodrama. New York: Oxford University Press 1999, pp. 130149.
McNiven, R.D.: The middleclass American home of the fifties. In: Cinema Journal 22,4, Summer 1983, pp. 3857.
Medhurst, Andy: That Special Thrill: Brief Encounter, Homosexuality and Authorship. In: Screen 32,2, Summer 1991, pp. 197208.
Meisel, Martin: Scattered Chiaroscuro. Melodrama as a Matter of Seeing. In: Melodrama. Stage. Picture. Screen. Ed. by Jacky Bratton, Jim Cook, Christine Gledhill. London: British Film Institute 1994, pp. 6581.
Mendelsohn, Daniel: The Melodramatic Moment. In: The New York Times Magazine March 23, 2003, pp. 40, cols. 1-50.
Are current melodramas such as 'Far From Heaven' sincere, or manipulative?
Mercer, John / Shingler, Martin: Melodrama: Genre, Style, Sensibility. London/New York: Wallflower Press 2004.
Merritt, Russell: Melodrama: Postmortem for a Phantom Genre. In: Wide Angle 5,3, 1983, pp. 2431.
The body of work defined by the word 'melodrama' may constantly shift in line with shifting standards of realism.
Metz, Walter C.: Pomp(ous) Sirkumstance: intertextuality, adaptation, and all that heaven allows. In: Journal of Film and Video Winter 45,4, 1993, pp. 3-21.
An intertextual analysis of Douglas Sirk's 1955 film 'All That Heaven Allows,' an adaptation of Edna and Harry Lee's 'woman's novel,' helps understand the influence of auteurism on melodrama studies. Sirk's portrayal of American culture of the 1950s reflects his ability as a modernist creator of social critique. The archaeology of film studies criticism is significant to the understanding of film text interpretation.
Modleski, Tania: Loving With a Vengeance: Massproduced Fantasies for Women. London: Methuen 1983.
Modleski, Tania: Time and desire in the woman's film. In: Cinema Journal 23,3, Spring 1984, pp. 1930.
Using "Letter from an unknown woman" as its chief example, reviews the scholarship on melodrama and speculates on the reasons for the appeal of this genre to women.
Modleski, Tania: Studies in Entertainment: Critical Approaches to Mass Culture. Bloomington: Indiana University Press 1986.
Modleski, Tania: Time and Desire in the Woman’s Film. In: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 326338.
Modleski, Tania: The Women Who Knew Too Much: Hitchcock and Feminist Theory. New York: Methuen 1988.
Montgomery, Sarah: Women's Women's Films. In: Feminist Review, 18 [=Cultural Politics], Winter 1984, pp. 3848.
Morey, A.: A star has died: affect and stardom in a domestic melodrama. In: Quarterly Review of Film and Video 21,2, AprilJune 2004, pp. 89105.
The article compares Sirk's Imitation of Life (1959) to David O. Selznick and William Wellman's A Star is Born (1937) to explore a characteristically Sirkian narrative strategy the latter film does not amuse itself at its predecessor's expense so much as it inverts the message. A Star is Born conveys to its audience the idea that envying the glamorous life of the Hollywood star is inappropriate, inasmuch as the glamour has been fully paid for in suffering; arguably, what is lost is more valuable than the beauty, wealthy, fame, and indeed audience envy that is won. Imitation of Life, in contrast, suggests that envying the glamorous life of the Broadway star is inappropriate. Sirk's protagonist cannot trade suffering for glamour because she is not sufficiently real to suffer; literally, then, there is nothing to envy. Like other domestic melodramas of the day, Imitation of Life explores the possibilities of female rebellion and escape, variously offering its audience validation, socialization, and emotional release through tearsbut it accomplishes this task in a way that criticizes female aspirations and audience gullibility considerably less that it criticizes theatricality in general.
Morris, Gary: John M. Stahl: The man who understood women. In: Film Comment 13,3, MayJune 1977, pp. 2427.
Discussion of the themes and style of the melodramas of Stahl.
Morse, D.: Aspects of Melodrama In: Monogram, 4, 1972, pp. 1617.
Mulvey , Laura: Notes on Sirk and Melodrama. In: Movie, 25, Winter 1977/78, pp. 5356.
Repr. in: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 7579.
Mulvey, Laura: Melodrama In and Out of the Home. In: In High Theory/Low Culture: Analysing Popular Television and Film. Ed. by Colin MacCabe. Manchester: Manchester University Press 1986.
Mulvey, Laura: Visual and Other Pleasures. London: Macmillan 1989.
Mulvey, Laura: It will be a Magnificent Obsession. The Melodrama’s Role in the Development of Contemporary Film Theory. In: Melodrama. Stage. Picture. Screen. Ed. by Jacky Bratton, Jim Cook, Christine Gledhill. London: British Film Institute 1994, pp. 121133.
Mulvey, Laura / Halliday, Jon. Douglas Sirk. Edinburg: Edinburg Film Festival 1972.
Neale, , Steve: Melo Talk: On the Meaning and the Use of the Term 'Melodrama' in the American Trade Press. In: The Velvet Light Trap, Fall 1993, pp. 6689.
Neale, Steve: Melodrama and tears. In: Screen 27,6, NovDec 1986, pp. 622.
Reappraisal of the genre in terms of a series of relationships or tensions, exploring the genre as a processing of spectatorial pleasure, and explaining why we cry when we watch melodramas.
Neale, Steve: Melo talk: on the meaning and use of the term 'melodrama' in the American trade press. In: The Velvet Light Trap, 32, Fall 1993, pp. 6689.
On the use of the term 'melodrama' to describe Hollywood films of the period 193860. Concludes that contrary to popular belief the term was not derogatory, and was used more frequently to describe maleorientated action films than for films aimed at women.
Neumeyer, David: Melodrama as a compositional resource in early Hollywood sound cinema. In: Current Musicology, 57, Jan. 1995, pp. 61-95.
"Studio producers, directors, composers and sound technicians evolved the basic practices of film music in the late 1920s and early 1930s when cinema changed from silent movies to talkies. Max Steiner, Alfred Newman and Herbert Stothart were the pioneers in this field. Steiner drew from Wagner and Viennese melodrama while underscoring dialogue in a terse synchronized manner. The main contribution of the 1930s was the integration of the melodramatic with the operatic style. This is one of the preferred techniques even in the 1990s." [Expanded Academic Index]
Nochimson, Martha P.: Amnesia `R´ Us: The Retold Melodrama, Soap Opera, and the Representation of Reality. In: Film Quarterly 50,3, 1997, pp. 2738.
NowellSmith, Geoffrey: Minnelli and Melodrama. In: Screen 18,2, 1977, pp. 113118.
Repr. in: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed.- by Christine Gledhill. London: British Film Institute 1987, pp. 7074.
Repr. in: Movies and methods: an anthology. Ed. by Bill Nichols. Berkeley: University of California Press 1976.
Oroz, Silvia: Melodrama: o cinema de lagrimas da America Latina / Silvia Oroz. Rio de Janeiro, RJ : Rio Fundo Editora 1992.
Orr, Christopher: Written on the Wind and the Ideology of Adaptation. In: Film Criticism 10,3, Spring 2985, pp. 18.
Orr, Christopher: Closure and containment: Marylee Hadley in Written on the Wind. In: Wide Angle 4,2, 1980, pp. 2835.
Partington, Angela: Melodrama's Gendered Audience. In: Offcentre. Feminism and cultural studies. Ed. by Sarah Franklin, Celia Lury & Jackie Stacey. London /New York: Harper Collins Academic 1991, pp. 4968 (Cultural Studies Birmingham.).
Reimer, Robert C.: Comparison of Douglas Sirk's All That Heaven Allows and R. W. Fassbinder's Ali: Fear Eats the Soul. Or, How Hollywood's New England Dropouts Became Germany's Marginalized Other. In: LiteratureFilm Quarterly 24,3, 1996, pp. 281287.
Rainer Werner Fassbinder's 1973 film "Ali: Fear Eats the Soul" was influenced by Douglas Sirk's 1955 film "All That Heaven Allows" but was not a remake of the earlier film. "Ali: Fear Eats the Soul" represents Fassbinder's response to Sirk's work, paired with personal experiences that he was having around the time he made the film. "All That Heaven Allows" positioned the main characters as failing to fit into New England society. Fassbinder replaced them with economically and politically marginalized figures in Germany.
Renov, Michael: Advertising/Photojournalism/Cinema: the Shifting Rhetoric of Forties Female Representation. In: Quarterly Review of Film Studies 11,1, 1989, pp. 121.
Rivera, Adriana: The Ideological Function of Genres in Mildred Pierce. In: Imagenes 3,1, 1987, pp. 1618.
Robards, Brooks: Reel Art: Excursions into the Biopic, Mystery/Suspense, Melodrama and Movies in the Eighties. In: Beyond the stars. Vol 3: The material world in American popular film. Ed. by Paul Loukides and Linda K. Fuller. Bowling Green, Ohio: Bowling Green University Popular Press 1990, pp. 106120.
Roberts, Susan: Melodrama Performance Signs. In: Framework, 32/33, 1986, pp. 6875.
Rodowick, David N.: Madness, Authority and Ideology in the Domestic Melodrama of the 1950s. In: Velvet Light Trap, 19, 1982, pp. 4045.
Repr. in: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 268280.
Rowe, Kathleen: Comedy, Melodrama and Gender: Theorizing the Genres of Laughter. In: Classical Hollywood comedy. Ed. by Kristine Brunovska Karnick and Henry Jenkins. New York: Routledge 1995, pp. 3959.
Rowe, Kathleen: Melodrama and men in postclassical romantic comedy. In: Me Jane: masculinity, movies, and women. Ed. by Pat Kirkham and Janet Thumin. New York: St. Martin's Press 1995.
Russell, Catherine: 'Overcoming Modernity': Gender and the Pathos of History in Japanese Film Melodrama. In: Camera Obscura: A Journal of Feminism, Culture, and Media Studies 35, May 1995, pp. 13157.
SchulteSasse, Linda: Douglas Sirk's Schlussakkord and the Question of Aesthetic Resistance. In: The Germanic Review 73,1, 1988, pp. 231.
Seiter, Ellen: Men, money and sex in recent family melodrama. In: Journal of the University Film and Video Association 35,1, 1983, pp. 1727.
Selig, Michael: Hollywood Melodrama, Douglas Sirk, and the Repression of the Female Subject (Magnificent Obsession). In: Genders 9, Fall 1990, pp. 3548.
Selig, M.E.: Contradiction and Reading: Social Class and Sex Class in Imitation of Life. In: Wide Angle 10,4, 1988, pp. 1323.
Douglas Sirk's "Imitation of life" redefined in connection with film melodrama, via feminist and Marxist perspectives.
Sharratt, Bernard: The Politics of the Popular? From Melodrama to Television. In: Performance and politics in popular drama: aspects of popular entertainment in theatre, film, and television, 18001976. Ed. by David Bradby, Louis James, and Bernard Sharratt. Cambridge/New York: Cambridge University Press 1980, pp. 275295.
Shingler, Martin: Interpreting All About Eve: A Study in Historical Reception. In: Hollywood Spectatorship: Changing Perceptions Of Cinema Audiences. Ed. By Melvyn Stokes. London British Film Institute 2001, pp. 4662.
Silverman, Kaja: The Accoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press 1988.
Singer, Ben: "Female power in the serialqueen melodrama : the etiology of an anomaly." In: Singer, Ben: Female power in the serialqueen melodrama: the etiology of an anomaly. In: Camera Obscura, 22, Jan. 1990, pp. 90129.
Repr. in: Silent film. Ed., and with an introduction by Richard Abel. New Brunswick, N.J.: Rutgers University Press 1996 (Rutgers Depth of Field Series.).
Reappraisal of the US melodramatic film serials, pointing out the central position given to the heroine.
Singer, Ben: Melodrama and modernity: early sensational cinema and its contexts. New York: Columbia University Press 2001 (Film and Culture.).
Siomopoulos, Anna: 'I Didn't Know Anyone Could Be So Unselfish': Liberal Empathy, the Welfare State, and King Vidor's Stella Dallas. In: Cinema Journal 38,4, Summer 1999, pp. 323.
The rhetoric of King Vidor's Stella Dallas, the premiere example of 1930s melodrama, is dominated by a welfare ethic of redistribution that pacifies the more radical implications of the movie's class and gender politics. Released in 1937, at the beginning of Franklin Delano Roosevelt's second term in office, the movie focuses on a woman who embodies the use of consumer culture to affirm an identity that does not adhere to any single class politics. As such, she provides a third alternative to both market sensibility and the New Deal's consumer ethics throughout most of the movie.
Smith, James L.: Melodrama. London: Methuen 1973.
Sobchack, Thomas: Interiors: The Space of Melodrama. In: Beyond the stars. 4: Locales in American popular film. Ed. by Paul Loukides and Linda K. Fuller. Bowling Green, Ohio: Bowling Green University Popular Press 1990, pp. 261277.
Sobchack, Vivian: Child/Alien/Father: Patriarchal Crisis and Generic Exchange. In: Camera Obscura: A Journal of Feminism, Culture, and Media Studies 15, Fall 1986, pp. 734.
Sochen, June: Mildred Pierce and Women in Film. In: American Quarterly 30,1, Spring 1978, pp. 320.
Studlar, Gaylyn: Masochistic Performance and Female Subjectivity in Letter from an Unknown Woman. In: Cinema Journal 33,3, Spring 1994, pp. 3557.
Tasker, Yvonne: Female friendship: melodrama, romance, feminism. In her: Working girls: gender and sexuality in popular cinema. London/New York: Routledge 1998.
Thaggert, Miriam: Divided images: black female spectatorship and John Stahl's 'Imitation of Life.' In: African American Review 32,3, Fall 1998, pp. 481-492.
Director John Stahl's 1934 film 'Imitation of Life' offers images and characters for black female spectatorship. The film, an adaptation of Fannie Hurst's novel of the same title, contains cinematic elements such as black feminism that create pleasure in African American women viewers. This unique interplay of feminist film theory and black female spectatorship is effectively exploited in the strained relationship between the film's black mother and her lightskinned daughter.
Thomas, Deborah: Beyond Genre: Melodrama, Comedy and Romance in Hollywood Films. Moffat: Cameron & Hollis 2000.
Turim, Maureen: Fictive Psyches: The Psychological Melodrama in 40s Film. In: Boundary 2 An International Journal of Literature & Culture 1213, Spring-Fall 1984, pp. 321331.
Turim, Maureen: Psyches, Ideologies, and Melodrama: The United States and Japan. In: EastWest Film Journal 5,1, Jan 1991, pp. 118143.
Verstraeten, Peter: The (Dis)Illusion of White Masquerade: An Overidentification with Stock Images in Sirk's Melodrama Imitation of Life (1959). In: Thamyris 7,12, Summer 2000, pp. 201213.
Viviani, Christian: Who is without sin? The maternal melodrama in American film, 193039. In: Wide Angle 4,2, 1980, pp. 417.
Considers the four versions of "Madame X". Trans. from 'Cahiers de la Cinémathèque' 2829, 1979.
Waldman, Diane: At Last I Can Tell It to Someone!: Feminine Point of View and Subjectivity in the Gothic Romantic Film of the 1940s. In: Cinema Journal 23,2. 1984, pp. 2940.
Walker, Janet: Hollywood, Freud and the Representation of Women. Regulation and Contradiction, 1945 – early 60s. In: Home is where the Heart is: Studies in Melodrama and the Woman's Film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 197214.
Walker, Michael: Melodrama and the American Cinema. In: Movie, 29/30, Summer 1982, pp. 238.
Walsh, Andrea S.: Women's Film and Female Experience, 194050. New York: Praeger 1984.
Wegner, Hart: Melodrama as Tragic Rondo: Douglas Sirk's Written on the Wind. In: LiteratureFilm Quarterly 10,3, 1982, pp. 155161.
Wells, Lynn / Weathers, Winston: Staging Nontraditional Fiction: 'Now Voyager' as a Case History. In: Literature in Performance: a Journal of Literary & Performing Art 3,2, April 1983, pp. 4554.
Wernet, Simone: Leben ohne Liebe bleibt Imitation. Melodramatische Leinwandheldinnen. St. Augustin: Gardez!Vlg. 2003, 295 S. (Filmstudien. 27.).
Wexman, Virginia Wright / Hollinger, Karen, eds.: Letter from an Unknown Woman: Max Ophuls Director. New Brunswick, N.J.: Rutgers University Press 1991.
Willemen, Paul: Notes on the Sirkian System. In: Screen 12,2, 1971, pp. 6367.
Williams, Linda: 'Something Else Besides a Mother': Stella Dallas and the Maternal Melodrama. In: Cinema Journal 24,1, Fall 1984, pp. 227.
Repr. in: In: Home is where the heart is: studies in melodrama and the woman's film. Ed. by Christine Gledhill. London: British Film Institute 1987, pp. 299325.
This article asks what is different about a classic narrative film in which the primary "look" motivating the narrative is between mother and daughter e.g., when the typical look of desire articulates a visual economy of motherdaughter possession and dispossession and when the significant viewer of this drama is herself a woman. King Vidor's "Stella Dallas" is thus used as an interesting test case for many important concepts of recent feminist film theory as well as for feminist thinking about the formation of the female subject.
Williams, Linda: Feminist Film Theory: Mildred Pierce and the Second World War. In: Female Spectators: Looking at Film and Television. Ed. by E. Deidre Pribram. London/New York: Verso 1988, pp. 1230 (Questions for Feminism.).
Williams, Linda.: Film Bodies: Gender, Genre, and Excess. In: Film Quarterly 44,4, Summer 1991, pp. 213.
Williams, Linda: Melodrama Revisited. In: Refiguring American Film Genres: History and Theory. Ed. by Nick Browne. Berkeley: University of California Press 1998, pp. 42-88.
Williams, Linda: The American Melodramatic Mode. In her: Playing the race card: melodramas of black and white from Uncle Tom to O.J. Simpson. Princeton, N.J.: Princeton University Press 2001.
Williams, Linda: Playing the Race Card: Melodramas of Black and White from Uncle Tom to O.J. Simpson. Princeton and Oxford: Princeton University Press 2001.
Williams, Linda: Melodrama in Black and White: Uncle Tom and The Green Mile. In: Film Quarterly 55,2, Winter 2001-02, pp. 1421.
Wilson, George: Max Ophuls' Letter from an Unknown Woman. In: Modern Language Notes 98,5, Dec. 1983, pp. 11211142.
Repr. in seinem: Narration in light. Studies in cinematic point of view. Baltimore : Johns Hopkins University Press 1986.
Young, Kay: A Woman's Space Is in the Home: Architecture, Privacy, and Melodrama in Pamela and Gaslight. In: Partial Answers: Journal of Literature and the History of Ideas. 2,2, June 2004, pp. 5174.
