Melodrama and Asian Cinema

Keyword(s):  
Author(s):  
Gerald Pratley

PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passes and now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever in making entertainment for the mass audience. No one has given it a name or described it as "New Wave," it is simply Asian Cinema -- the most exciting development in filmmaking taking place in the world today. In China everything is falling apart yet it manages to hold together, nothing works yet it keeps on going, nothing is ever finished or properly maintained, and yes, here time does wait for every man. But as far...


Author(s):  
Gérard Camy ◽  
Camilla Wasserman

Here, representations of suicide in fiction film from the United States, Europe, and South East Asia are presented. Films are helpful in addressing discourses on suicide worldwide. Typically, the sufferings of the characters considering suicide or taking their lives occupy a minor part of the plot in scenarios highlighting action, cultural, and social reflection or existential interrogations. In Hollywood dramas, redemption, punishment, lost love, and solitude are major reasons for suicides; often the consequence of genuine injustice. In the European films discussed, suicides on screen often open to comments and reflections on many tragic circumstances explaining the protagonists’ actions. Not recognizing oneself in and by society seems an important reason for suicide. Wanting to understand the motives behind the voluntary death of a peer is recurrent. Much South East Asian cinema reflects the malaise of a society, its interiorized violence, death’ fascination, and the distress of a youth lacking excitement.


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