A melodrama is a film that appeals to the emotions of its audience, on a higher level than the simple "drama" genre. The characters in a melodrama are often stereotyped and exaggerated to indicate something about the culture of the time, making their traits illustrations of the writer's thoughts about society. A Tree Grows in Brooklyn (1945) and A Raisin in the Sun (1961) are family melodramas of the Classical and Postclassical periods, respectively. There are three main elements that were modified, or rather developed, from 1945 to 1961, which change the qualities of the melodrama genre: historical context, conventions and icons. So, if the general understanding of the genre remains the same and if the themes of the two films are very similar, the elements change depending on the attitudes of the time and the evolution of societal issues, or even their progressive character.Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get an original essay Before analyzing and comparing the genre that links these two films, it is important to note the time periods in which they were filmed and directed, as well as the social constructs behind their main themes and the actions of their characters. A Tree Grows in Brooklyn was made in 1945, the year World War II ended. However, the story takes place between the years 1900 and 1918, the last four of which would have occurred during the First World War. Bordwell and Thompson highlight characteristic features of classic Hollywood cinema. These include characteristics such as “narrative form,” “focus” on the central character, “a process of change,” motivations of a psychological nature, and finally “closure” (Bordwell and Thompson, 98). A Tree Grows in Booklyn clearly demonstrates all of these characteristics, as we will see later. A Raisin in the Sun was made sixteen years after A Tree Grows in Brooklyn, in 1965, when the Classical period had ended and the Post-Classical period was drawing to a close. The Post-Classical era began just after World War II and ended in 1962. It was characterized by its experimental and transitional nature, as its position in the cinematic period timeline marked the next step toward the Modernist period . from classical to post-classical is the result of the progression in sophistication of both the “creator and consumer” (Casper, Lecture) of the film and the technologies used to create it. According to Casper and Edwards in Introduction to Film Reader, various types of experimentation took place during this period, such as the use of "genre as vehicle", "nostalgia", "thematic accommodation", between others (Casper and Edwards, 308). . Due to the cultural differences of the era in which these films were made, it is not surprising that the way in which the themes of A Tree Grows in Brooklyn and A Raisin in the Sun are demonstrated, as well as the genre of melodrama in which they fit, are apparently different. In Reality Television, Melodrama, and the Great Recession, Susan Schuyler states that "melodrama adapts fluidly to changing audience tastes, borrowing tropes and techniques from various dramatic genres" (Schuyler, 44). The phrase "fluidly adapted" supports the idea that melodramas focus on real-life issues, their characters caricaturing the men and women of the era in which they are based, a method of commenting on our ever-changing society through entertainment. Tree Grows in Brooklyn and A Raisinin the Sun are based on the aspirations of the main characters and on money. The dreams of Francie Nolan (Peggy Ann Garner) and Walter Lee Young (Sidney Poitier) are simple dreams. However, the introduction of stronger narratives in the post-classical era changes the way the family melodrama genre is depicted, as societal issues are reinforced by the characters' presentations. Francie Nolan is a young girl who aspires to be a writer and Walter Lee Young is a man who dreams of buying a house he can be proud of. These two ambitions are linked and would be achievable if these two families did not live in poverty. However, the differences between the dreams can be explained by the cultural context surrounding these two stories. Francie Nolan's dream must be achieved through hard work and perseverance against all odds, like her alcoholic father Johnny Nolan (James Dunn) who dies at the height of his motivation. Francie is only supported by her family at the very end of the film when her mother, lying in bed, tells her that she regrets not having read her compositions: “I haven't read any of your compositions . It’s on my conscience” (A Tree Grows in Brooklyn, 1945). Francie's situation could have applied to young people from any culture with a similar class background. In contrast, A Raisin in the Sun pushes the boundaries of the Family Melodrama genre by offering a cultural alternative to the classic Hollywood family depiction, using an African-American family. Thompson and Chappell argue that "in culturally influenced resources, culture is not essential to the underlying message of the film, but it has a unique effect on the message and viewers' responses to it... African-American culture uniquely influences the messages conveyed. » (Thompson and Chappell, 223). The dream dynamic in A Raisin in the Sun is different from that of A Tree Grows in Brooklyn because Francie's ambitions are more personal, while Walter struggles with his personal dreams and those of his family members, as well as the decisions that he must take. his next generation. Because the Young family is African American and is subject to prejudice and racism, the decision that Walter ultimately makes has to do with the family's unity against the whites who try to oppress them: "And we decided to move in in our house because my father – my father – he won it for us brick by brick” (A Raisin in the Sun, 1961). In this way, the family melodrama genre progresses as a stronger narrative is introduced. A narrative is, according to Bordwell and Thompson, "a type of filmic organization in which the parts are related to each other through a series of causally related events unfolding in time and space" (Bordwell and Thompson , G-4). A Tree Grows in Brooklyn has a clear storyline, beginning, middle, and end that all contribute to the Bildungsroman nature of its plot. However, the strongest narrative occurs in A Raisin in the Sun, as the melodrama gains its dramatic character through events linked by the moral question of the house Walter wants to move into. In this way, through the symbol of the house, A Raisin in the Sun comments more on society and focuses less on individual characters, but rather uses them as a vehicle to showcase its melodramatic qualities. Form, techniques and schemes Conventional cinematography changed between the 1940s and 1960s, as seen in A Tree Grows in Brooklyn and A Raisin in the Sun. The classic era is known for its studio system, which relied on major studios such as 20th Century Fox Studios for its filming locations. As seen in A Tree Grows in Brooklyn,Sets for classical-era Hollywood films were elaborate and expensive. It's easy to see that this movie was shot in a professional studio, due to the visible camera angles and lighting used in its scenes. For example, shots of the staircase in many scenes would have required cameras mounted in order to show the height of the space. This is indicative of the orientation of the family in A Tree Grows in Brooklyn. The inclusion of the different floors and levels of the house helps to focus on the Nolan family as a whole. The three-point lighting used creates beautiful portraits of all the characters, highlighting the importance of individual character development in the plot. In Behind the Silver Screen Series: Cinematography, Keating and Cagle argue that in the classical period, lighting was used "primarily to suggest three-dimensionality, differentiate stars, and provide glamour" (Keating and Cagle, 40). Three-point lighting includes the backlight, fill light, and key light that shine directly on the subject – to “achieve the desired portrait” (Keating and Cagle, 40). The surrounding lights made it possible to visually prioritize the most important subjects. Keating and Cagle argue that “Coupled with an encouraging director and an appropriate script, the filmmakers pushed classical boundaries and experimented with conventions” (Keating and Cagle, 61). This progression and experimentation was driven by economic and social changes. Following the economic boom that occurred after World War II in the 1940s, “1947 triggered a sharp financial decline for the film industry” and “studios cut their overhead costs” (Keating and Cagle, 60). This lack of money is evident in the way A Raisin in the Sun was filmed. The majority of the film takes place in the Young family's small apartment, occasionally venturing out of this location for plot-related purposes. The simpler setting of this film helps the audience focus more on the historical and social context of its story. Without the elaborate settings and beautiful portraits featured in A Tree Grows in Brooklyn, A Raisin in the Sun leans more on the importance of the construction of society in the time in which it takes place. According to Keating and Cagle, in the Postclassical period, "filmmakers began to mix visual markers of newsreel authenticity with different stylistic choices that also evoked realism, many of which emphasized glamour" (Keating and Cagle , 65). This heightened sense of realism can be seen in A Raisin in the Sun, as the simplified setting contributes to the realistic nature of the plot. It focuses on the real problem of racism in 1950s America, immigrants' struggle to advance in society, and their efforts to challenge the seemingly insurmountable immobility of the class system. Because it does not focus as much on individual character development as in A Tree Grows in Brooklyn, A Raisin in the Sun shows the development of the genre of family melodrama as it becomes a "bourgeois tragedy, dependent on an awareness of the existence of society” (Keith Grant, 73). The conflict the Young family faces highlights the introduction of their culture into Hollywood cinema and the unified response of African Americans to feelings of white supremacy. The decision Walter must make between pride and money involves his entire family. The Youngs appear to be a representation and symbol of inspiration for African-American families in 1950s America, while Walter chooses to speak out against normalities, 232).