Meals and Melodrama Commensality in Contemporary International Cinema
Date of Award
2003
Document Type
Thesis
Degree Name
Bachelors
Department
Humanities
First Advisor
Cuomo, Glenn
Keywords
Meals, Cinema, Family
Area of Concentration
Humanities
Abstract
Authors, filmmakers, psychologists and anthropologists agree: families who eat together, stay together. Contemporary world cinema embraces mealtime as a symbol of family togetherness. Melodrama provides the perfect generic venue for family mealtime, with its emphasis on relationships, domestic situations, and heightened emotion. In other films, foods can connote magical qualities, such as the ability to reconcile opposing cultural and religious values. This thesis project analyzes contemporary film dramas where rituals of cooking and eating are central framing devices. The idea behind such films is that mealtimes reveal character and conflict, while also providing a means of narrative resolution. Consequently, these 'food films' bring special focus to mealtime behaviors found across cultures and subcultures, employing the table as a universal gathering device and bonding mechanism for characters. Chapter One explores the historical underpinnings of melodrama and analyzes three films: Alfonso Arau's Como Agua Para Chocolate (Like Water for Chocolate) (1993), Ang Lee's Eat Drink Man Woman (1994), and Gurinder Chadha's What's Cooking (2000). Chapter Two briefly explains Scandinavian philosophy and literature (Kierkegaard, Andersen) as they inform Gabriel Axel's Babette's Feast (I 987) and Lasse Hallstr6m's Chocolat (2000). While the first part of this study explores the sharing of food at the family level, the second part explores how a community comes together around food as well.
Recommended Citation
Tolbert, Anneliese, "Meals and Melodrama Commensality in Contemporary International Cinema" (2003). Theses & ETDs. 3325.
https://digitalcommons.ncf.edu/theses_etds/3325
Rights
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