{"id":189,"date":"2013-03-03T15:12:36","date_gmt":"2013-03-03T15:12:36","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/?p=189"},"modified":"2013-03-03T15:12:36","modified_gmt":"2013-03-03T15:12:36","slug":"the-bfi-and-50-unmissable-melodramas","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/2013\/03\/03\/the-bfi-and-50-unmissable-melodramas\/","title":{"rendered":"The BFI and 50 Unmissable Melodramas"},"content":{"rendered":"<p>Posted by Sarah<\/p>\n<p>Recently the British Film Institute\u00a0contacted the group regarding an exciting event about melodrama which they are currently organising. Screenings will take place at the National Film Theatre and talks at the BFI from April-June 2014. The BFI&#8217;s Jo Botting came to discuss the BFI&#8217;s plans and attended our most recent screening and discussion session.<\/p>\n<p>Questions the BFI&#8217;s melodrama event are raising chime very well with the group&#8217;s research concerns. As well as the thorny, and varied,\u00a0matter of definitions the relation between different mediums is one central to a medium which in its earliest days relied heavily on adaptations. The group is also interested in the similarities and differences between melodramas across the world, and throughout history.<\/p>\n<p>In order to come up with our own list of top 50 unmissable melodramas the research group split into four different sections and each was allocated a geographic area: Europe, Rest of World,\u00a0UK, US. This resulted in 225 titles.<\/p>\n<p>Below is the streamlined version which includes 26 from the US, 8 from the UK, 9 from Europe (Denmark, France, Italy, Spain)\u00a0and the remaining 7 from the rest of the world (China,India, Korea, Mexico). They range from 1920 to 2009.<\/p>\n<p>See the next post for the long (225 films!) list, and leave any thoughts (in either place or email me on <a href=\"mailto:sp458@kent.ac.uk\">sp458@kent.ac.uk<\/a>) about those that have been included and excluded.<\/p>\n<p>&nbsp;<\/p>\n<ol>\n<li><i>A Place In The Sun<\/i> (George Stevens, 1951) US<\/li>\n<li><i>All that Heaven Allows<\/i> (Douglas Sirk, 1956) US<\/li>\n<li><i>Beyond the Rocks<\/i> (Sam Wood, 1922) US<\/li>\n<li><i>Brokeback Mountain<\/i> (Ang Lee, 2005) US<\/li>\n<li><i>Black Narcissus<\/i> (Michael Powell &amp; Emeric Pressburger, 1947)\u00a0 UK<\/li>\n<li><i>Camille<\/i> (George Cukor, 1936) US<\/li>\n<li><i>Dark Victory<\/i> (Edmund Goulding, 1939) US<\/li>\n<li><i>Death in Venice <\/i>(Luchino Visconti, 1971)\u00a0\u00a0 Italy<\/li>\n<li><i>Duel in the Sun<\/i> (King Vidor, 1946) US<\/li>\n<li><i>\u00c9l (This Strange Passion) <\/i>(Luis Bunuel, 1953)\u00a0\u00a0 Mexico<\/li>\n<li><i>El Amor Brujo<\/i> (Carlos Saura, 1986)\u00a0 Spain<\/li>\n<li><i>Far From Heaven<\/i> (Todd Haynes, 2002) US<\/li>\n<li><i>Farewell My Concubine<\/i> (Kaige Chen, 1993) China<\/li>\n<li><i>Festen<\/i> (Thomas Vinterberg, 1998)\u00a0 Denmark<\/li>\n<li><i>The Flower of my Secret<\/i> (Pedro Almodovar, 1995) Spain<\/li>\n<li><i>Gladiator<\/i> (Ridley Scott, 2000) US<\/li>\n<li><i>The Goddess<\/i> (Wu Yonggang, 1934)\u00a0 China<\/li>\n<li><i>Humoresque<\/i> (Jean Negulesco, 1947) US<\/li>\n<li><i>Io sono l&#8217;amore\/I <\/i><i>Am Love <\/i>(Luca Guadagnino, 2009)\u00a0 Italy<i><\/i><\/li>\n<li><i>It Always Rains on Sunday<\/i> (Robert Hamer, 1947)\u00a0 UK<\/li>\n<li><i>Jezebel <\/i>(William Wyler, 1938) US<\/li>\n<li><i>Leave Her To Heaven<\/i> (John M. Stahl, 1945) US<\/li>\n<li><i>Love Story<\/i> (Arthur Hiller, 1970) US<\/li>\n<li><i>The Man in Grey<\/i> (Leslie Arliss, 1943) UK<\/li>\n<li><i>Marjorie Morningstar<\/i> (Irving Rapper, 1957) US<\/li>\n<li><i>The Men<\/i> (Fred Zinneman, 1950) US<\/li>\n<li><i>Mere Mehboob<\/i> (Harnam Singh Rawail, 1963)\u00a0\u00a0 India<\/li>\n<li><i>Millions Like Us<\/i> (Frank Launder &amp; Sidney Gilliat, 1943)\u00a0\u00a0 UK<\/li>\n<li><i>Mommie Dearest <\/i>(Frank Perry, 1981) US<\/li>\n<li><i>Now Voyager<\/i> (Irving Rapper, 1942) US<\/li>\n<li><i>Ossessione<\/i> (Luchino Visconti, 1943)\u00a0\u00a0 Italy<\/li>\n<li><i>Pakeezah<\/i> (Kamal Amrohi, 1971) India<\/li>\n<li><i>Piccadilly<\/i> (Ewald Andr\u00e9 Dupont, 1929)\u00a0 UK<\/li>\n<li><i>Polyester<\/i> (John Waters, 1981) US<\/li>\n<li><i>Quai Des Brumes<\/i> (Marcel Carn\u00e9, 1938)\u00a0 France<\/li>\n<li><i>Raise the Red Lantern<\/i> (Yimou Zhang, 1991)\u00a0 China<\/li>\n<li><i>Rocky<\/i> (John G. Avildsen, 1976) US<\/li>\n<li><i>Senso<\/i> (Luchino Visconti, 1954)\u00a0 Italy<\/li>\n<li><i>The Singer Not The Song<\/i> (Roy Ward Baker, 1961) UK<\/li>\n<li><i>Some Came Running<\/i> (Vincente Minnelli, 1958) US<\/li>\n<li><i>\u00a0A Star is Born<\/i> (George Cukor, 1954) US<\/li>\n<li><i>The Stray Bullet<\/i> (Yu Hyun-mok, 1960)\u00a0 Korea<\/li>\n<li><i>A Streetcar Named Desire <\/i>(Elia Kazan, 1951) US<\/li>\n<li><i>Tea and Sympathy<\/i> (Vincente Minnelli, 1956) US<\/li>\n<li><i>They were Sisters<\/i> (Arthur Crabtree, 1945) UK<\/li>\n<li><i>Tormento<\/i> (Raffaello Matarazzo, 1950) Italy<i><\/i><\/li>\n<li><i>Victim<\/i> (Basil Dearden, 1961) UK<\/li>\n<li><i>Waterloo Bridge<\/i> (Mervyn LeRoy, 1940) US<\/li>\n<li><i>Way Down East<\/i> (D. W. Griffiths, 1920) US<\/li>\n<li><i>Written on the Wind<\/i> (Douglas Sirk, 1956) US<\/li>\n<\/ol>\n<h2><\/h2>\n<h2><\/h2>\n","protected":false},"excerpt":{"rendered":"<p>Posted by Sarah Recently the British Film Institute\u00a0contacted the group regarding an exciting event about melodrama which they are currently organising. Screenings will take place at the National Film Theatre and talks at the BFI from April-June 2014. The BFI&#8217;s &hellip; <a href=\"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/2013\/03\/03\/the-bfi-and-50-unmissable-melodramas\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":5401,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/posts\/189"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/users\/5401"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/comments?post=189"}],"version-history":[{"count":3,"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/posts\/189\/revisions"}],"predecessor-version":[{"id":193,"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/posts\/189\/revisions\/193"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/media?parent=189"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/categories?post=189"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/melodramaresearchgroup\/wp-json\/wp\/v2\/tags?post=189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}