Revisiting Stella Dallas from a cognitive theory of film
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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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File:Stella-dallas-lobby-1925.jpg - Wikipedia
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PDF) Information, reception and film: A reader-response analysis of Rashomon
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Prospects for Film Theory: A Personal Assessment
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The evolution of human music in light of increased prosocial
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PDF) Race, Class, and the Pressure to Pass in American Maternal Melodrama: The Case of Stella Dallas
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Stella Dallas (1925): a melodrama that quickens the pulse
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From Saviors to Angels of Death: Apocalyptic Westerns – Offscreen
![](https://www.researchgate.net/profile/Anis-Pervez/publication/325618861/figure/fig7/AS:634807696498696@1528361357326/Observer-indication-through-comments-at-Amazon_Q320.jpg)
PDF) Information, reception and film: A reader-response analysis of Rashomon
![](https://offscreen.com/images/made/images/articles/_resized/Stella5_400_300_90.jpg)
Revisiting Stella Dallas from a cognitive theory of film
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Lives Together/Worlds Apart
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Stella French - Facebook, Instagram, Twitter [Profiles]
Peter Verstraten, Stefan Van Der Lecq - Film Narratology (2009
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Decoding identity from motion: how motor similarities colour our
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Anis Pervez – Offscreen