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Far From Heaven

Far From Heaven. By Divya , Sam, and Stephen. Conventional / Radical Form. Reaching Politicizing Effect. Melodrama: Conventions. Cinematography Emotion of Sound Emotion of Color. Narrative Attends to Family Dynamics . Sirk ian Films. Sirk Vs Far From Heaven. SIRK.

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Far From Heaven

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  1. Far From Heaven By Divya, Sam, and Stephen

  2. Conventional / Radical Form Reaching Politicizing Effect

  3. Melodrama: Conventions • Cinematography • Emotion of Sound • Emotion of Color • Narrative • Attends to Family Dynamics

  4. Sirk ian Films

  5. SirkVs Far From Heaven SIRK Far From Heaven Meta-Melodrama Use of Color Scoring Set in the 1950s Focus on larger-than-life-feelings Explores Public Issues • Conforms to Melodrama • Use of Color Scoring • Set in the 1950s • Focus on larger-than-life feelings • Private and Domestic

  6. COLOR AND LIGHTING

  7. Color Scoring • Organization of Color around Drama • Used to Emphasize Conflict • & • Emotional States

  8. Whitaker’s by Color Frank Whitaker Cathy Whitaker

  9. The Invasion of Colors

  10. Color Scoring the Forbidden • Raymond is every shirt you own green? • How Many Green Bars are There? What are You Doing There With That Tree?

  11. Color Scoring of Homosexuality • “Mimi would be a dream, • El says its just darling , • everything is just pink” • “Oh really? Maybe we should • consider Bermuda.”

  12. Color Scoring Race • Ties characters Domestic Locals • Symbolic of Isolation of Individuals • Within Alien Environments

  13. Narrative Elements: Familiar Form and Variable Content in Melodrama • Haynes uses the familiar/conventional form of melodrama in the film and makes it a radical/politicizing form by altering selected ‘variable content’ • Making substitutions into variable narrative content enables Haynes to address larger social conflicts within the conflicts characteristic of melodrama.

  14. Narrative Elements: Familiar Form and Variable Content in Melodrama Narrative Elements that Haynes used as ‘variable content’: • -Character roles • -Personal Conflict • -Familial Conflict • -Social Conflict • -Conclusion/Resolution

  15. Narrative Elements: Plot Conflicts as variable content • Additional conflicts Haynes integrates : • -Inter-racial bonds • -Homosexuality • Conventional plot conflicts : • -Male/ Patriarchal authority • -Female/ Matriarchal suffering and sacrifice • -Familial problems • -Social Pressures • -Personal Conflicts

  16. Narrative Elements: Character Roles as Variable Content • Conventional character roles in Melodrama: • Family Members • -Patriarchal Male figure • -Female/Maternal figure • Children • Outsiders (Society) • Insiders (Confidantes / Close Friends/ Relations) • Haynes substitutes certain profiles into the character roles to bring attention to the social conflicts of interracial relationships and homosexual relationships

  17. Narrative elements: character roles as variable content

  18. Narrative Elements: Plot Conclusion as variable content • The ending of this film is very different from the typical melodrama ending. • In what ways? • To what extent? • How does the ending contribute to the politicizing effect?

  19. New queer cinema and identity

  20. What is “New Queer Cinema”? • “[T]he name given to a wave of queer films that gained critical acclaim on the festival circuit in the early 1990s. Coined, and largely chronicled by, film theorist B. Ruby Rich”(Aaron, 3). • “[T]he films frequently defy cinematic conventions in terms of form, content and genre”(Aaron, 8). • “[T]he films defy the sanctity of the past, especially the homophobic past… revisit historical relationships and firmly instate the overlooked homosexual content”(Aaron, 8). • “[T]he films are unapologetic about their characters’ faults or, rather, crimes: they eschew positive imagery”(Aaron, 8).

  21. Queering Identity • “Queer is not just about gender and sexuality, but the restrictiveness of the rules governing them and their intersection with other aspects of identity… ‘the complexity of what actually happens “between” the contingent spaces where each variable [race, class, gender] intersects with the other’”(Aaron, 7).

  22. Liminal space • “There’s no Aristotelian conflict in these characters, who are too innocent and ill-equipped to deal with the big issues they confront”(Haynes in Film Quarterly; Spring 2009).

  23. SOCIAL conflict: Inter-racial relationships Social conflict

  24. Social conflict: Inter-racial relationships Familial conflict

  25. Social conflict: Inter-racial relationships Personal conflict

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