(Un)Frozen expressions: Melodramatic moment, affective interval, and the transformative powers of experimental cinema
Abstract
The study examines the double temporality of melodrama and the ways in which it can be further developed or transformed. Typical melodramatic moments draw attention to the tension between static, seemingly frozen tableaus and utopian, supposedly endless expression.
Certain experimental films (e.g. Werner Schroeter's Der Tod der Maria Malibran) radicalise this tension, making way for all the affective operations that emerge when the two temporalities are played out against each other.
At the same time, while these affective operations make the melodramatic moments appear in a different light, they still leave them recognisable as melodramatic. This paper aims to show how this two-way movement between melodrama and experimental cinema, or melodramatic moment and affective interval respectively, works and the new insights it can bring for affect studies and their application in film theory.