Dominique MarmenoFilm 392R
Affron:
By
standard critical canons the laying out of truth is too excessive and causes
melodrama to be looked down upon; why does a complete enlightenment of all of
the character’s appeal to the managerial class? Why does the bourgeoisie think
they are above the truth?
Polleta:
What is the purpose of stock characters? Why do we, as
an audience, accept the same stories and narratives we have seen and heard
before? Is there an advantage to using the same characters that appeals to the
managerial class? If we changed up the characters would certain works of film
still be melodramatic, examples?
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