Saturday, February 14, 2015

Moral Occult

In the Melodramatic Imagination by Peter Brooks, the theme of the "moral occult" is very frequent and used throughout many melodramas. Peter Brooks defines the moral occult as "the domain of operative spiritual values which are both indicated within and masked by the surface of reality." (Pg 5) Moral occult is such a valuable tool used in melodrama because it shows true emotion to the audience hiding little information. "They tend toward intense, excessive representations of life which strip the facade of manners to reveal the essential conflicts at work- moments of symbolic confrontation which fully articulate the terms of drama." (Pg 3)

The moral occult has been seen in many pieces of literature we have spoken about in class. For example, in All That Heaven Allows, directed by Douglas Sirk, Cary utilizes the moral occult while trying to determine her fate. She knows that she wants to live the rest of her life with Ron, but her children and many other social pressures pushes her away from him. There is very little information that is withheld from us because even though the characters don't know everything, the audience knows the whole story.

Friday, February 6, 2015

All That Heaven Allows

All That Heaven Allows

The Movie All That Heaven Allows directed by Douglas Sirk is a prime example of a melodrama. A melodrama is considered to be a sensational dramatic piece with exaggerated characters and exciting events intended to appeal to the emotions. Throughout the movie there were many events and situations that played with the audience feelings and emotions. For example, we never find out the name of Cary's husband. Throughout the movie he was the center of attention. No matter what Cary did it always had to go back to her later husband. For example, when Cary told her kids that she was planning on marrying Ron, the kids were worried about ruining their fathers legacy. Also, when Cary placed his trophy in the storage closet her son did not approve. Even though he plays a major role in this film, whenever he is talked about, they never seem personable or sincere.

When Cary tells her kids about her decision you can immediately tell the difference in lighting and tone. All of a sudden the room is dark and Cary and Ned are talking in a serious and low tone of voice. You can also tell that Ned is not happy with his mother by his actions and movements. He is very direct and forward. "A key feature was its dependence upon an established system of non-verbal signs, gestures, mise-en-scene and music" (Mercer and Shingler 7)