@article{oai:dwcla.repo.nii.ac.jp:00001849,
 author = {福田, 京一 and FUKUDA, Kyoichi},
 journal = {Asphodel},
 month = {Jul},
 note = {application/pdf, AN00000289-20190727-53, Since the emergence of narrative feature film the term “melodrama” or “melodramatic” has caused, and still is causing, more or less a definitional confusion among critics and scholars of film. The confusion may be harmless to members of the mass media, but it becomes crucial in the study of film: is it a genre, a mode, or both?
Going back to the origin of melodrama in the late eighteenth century will give us a glimpse of a bridge beyond which we can find the embarrassing confusion reduced to some degree, not to say wholly. Therefore, firstly this short essay will explain the cultural background in which melodrama emerged with the advent of a new era in philosophy and literature. Secondly it will discuss the nature of melodrama which, until the end of the nineteenth century, developed from moral plays of the middle class to dramas with socio-political connotations in a class-divided society. Thirdly it will consider the significance of melodrama which contributed to the development of American movies in their incipient stage. Finally it will assert the conclusion that all narrative films, that is genre films as a cultural asset, inherited the legacies of theatrical melodrama not as a genre but a mode; melodramatic movies, more often than not, have enriched the audiences’ experience in enjoying themselves and learning a hint of how to live better in turmoil., 論文},
 pages = {53--77},
 title = {メロドラマとハリウッド映画},
 volume = {54},
 year = {2019},
 yomi = {フクダ, キョウイチ}
}