Apocalipsis y melodrama: el tiempo suspendido y la herida final

Abstract

This article specifies the main features of the melodrama, to confront the so called apocalyptic cinema from the will to restate the concepts themselves. We think that the basic elements of the genre are the wound and the time. In a type of audio-visual speech in whose plots the end of the times is represented, good it is for threats, for catastrophes or for other reasons that we do not happen to guess, the above mentioned elements suffer alterations that, without managing to prevent that they fulfill its plot function, are projected to another dimension. The transversality of the melodrama not only is kept, but it is reinforced. The wound, while wretched loss of traumatic form for the role, acquires a much more relevant dimension: not only it is a question of the death of dear beings, but the disappearance of the mankind in its entirety; besides the personal wound, which plays from similar form to since it does it in the classic melodrama, crawls different, collective and linked to an unequivocal future. In our argumentation, we resort to emblematic titles of this type of cinema, with special attention, as paradigm, to the series The Leftovers.