Revisiting Stella Dallas from a cognitive theory of film

Different approaches address melodrama from different perspectives and usually focus on different aspects of a melodramatic production. Most of the approaches rely heavily on theories in ways of understanding melodrama. A cognitive theory of film focuses on the way audiences in general perceive a film. Staying within the framework of a cognitive theory of film, I have analyzed audience’s comments on Stella Dallas (1937) found at customer’s review. The analysis is supported by a close reading of the last sequence of the film.

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PDF) Information, reception and film: A reader-response analysis of Rashomon

The Routledge Companion to Philosophy and Film

PDF) Information, reception and film: A reader-response analysis of Rashomon

Stella Dallas (1937): judgment and compulsory motherhood

Revisiting Stella Dallas from a cognitive theory of film

Anis PERVEZ, Researcher, Doctor of Philosophy, University of Oslo, Oslo, Department of Media and Communication

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PDF) Revisiting Stella Dallas from a cognitive theory of film

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PDF) Information, reception and film: A reader-response analysis of Rashomon

PDF) Race, Class, and the Pressure to Pass in American Maternal Melodrama: The Case of Stella Dallas