{"id":1428,"date":"2023-12-30T15:07:37","date_gmt":"2023-12-30T15:07:37","guid":{"rendered":"https:\/\/reticularfilms.com\/cursos\/\/clase\/clase-2-melodrama\/"},"modified":"2024-04-26T14:23:29","modified_gmt":"2024-04-26T14:23:29","slug":"clase-2-melodrama","status":"publish","type":"lesson","link":"https:\/\/reticularfilms.com\/en\/cursos\/el-vinculo-como-un-problema-estetico\/clase\/clase-2-melodrama\/","title":{"rendered":"Clase 2 &#8211; Melodrama"},"content":{"rendered":"<p style=\"text-align: justify\"><strong>Pel\u00edculas trabajadas en esta clase:<\/strong><br \/><em>Lo que el cielo nos da<\/em> (Douglas Sirk)<br \/><em>La angustia corroe el alma <\/em>(R.W. Fassbinder)<\/p>\n<p style=\"text-align: justify\"><strong>Temas:<\/strong><br \/>El amor entre clases sociales: mujer madura + joven pobre. Las coreograf\u00edas del melodrama: posiciones fijas, imposibilidad de salirse de la estructura social. Fassbinder y el estallido del melodrama a trav\u00e9s del distanciamiento. Referencia al teatro de Brecht. La composici\u00f3n del encuadre, la iluminaci\u00f3n, el claroscuro, el uso de la m\u00fasica. La forma melodram\u00e1tica, diferencias entre Sirk y Fassbinder. El melodrama como una est\u00e9tica popular apoyada en la dicotom\u00eda del bien y el mal.<\/p>\n<p style=\"text-align: justify\"><strong>Lecturas:<br \/><\/strong>Peter Brooks, <em>La imaginaci\u00f3n melodram\u00e1tica<br \/><\/em>\u00c1ngel Faretta, <em>La pasi\u00f3n manda<br \/><\/em>R.W. Fassbinder, <em>Sobre 6 pel\u00edculas de Douglas Sirk<br \/><\/em>Wallace Steadman Watson, <em>Understanding RWF<br \/><\/em>Jacques Ranci\u00e8re, <em>Las distancias del cine<\/em> (cap\u00edtulo sobre Minnelli)<br \/>Miguel Olea.Romacho, <em>Teatralidad y modos de representaci\u00f3n en el melodrama de Fassbinder <\/em>(monograf\u00eda)<br \/>Susan Sontag, <em>Contra la interpretaci\u00f3n<br \/><\/em>John Gardner, <em>El arte de la ficci\u00f3n<br \/><\/em>Gilberto P\u00e9rez, <em>El fantasma material<\/em><\/p>","protected":false},"comment_status":"open","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":""},"class_list":["post-1428","lesson","type-lesson","status-publish","hentry"],"aioseo_notices":[],"uagb_featured_image_src":[],"uagb_author_info":{"display_name":"reticularfilms","author_link":"https:\/\/reticularfilms.com\/en\/author\/"},"uagb_comment_info":0,"uagb_excerpt":"Pel\u00edculas trabajadas en esta clase:Lo que el cielo nos da (Douglas Sirk)La angustia corroe el alma (R.W. Fassbinder) Temas:El amor entre clases sociales: mujer madura + joven pobre. Las coreograf\u00edas del melodrama: posiciones fijas, imposibilidad de salirse de la estructura social. Fassbinder y el estallido del melodrama a trav\u00e9s del distanciamiento. Referencia al teatro de&hellip;","_links":{"self":[{"href":"https:\/\/reticularfilms.com\/en\/wp-json\/wp\/v2\/lesson\/1428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reticularfilms.com\/en\/wp-json\/wp\/v2\/lesson"}],"about":[{"href":"https:\/\/reticularfilms.com\/en\/wp-json\/wp\/v2\/types\/lesson"}],"replies":[{"embeddable":true,"href":"https:\/\/reticularfilms.com\/en\/wp-json\/wp\/v2\/comments?post=1428"}],"wp:attachment":[{"href":"https:\/\/reticularfilms.com\/en\/wp-json\/wp\/v2\/media?parent=1428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}