Mad Love: The Surrealism of the Supernatural Romantic Melodrama, Part One « The Third Meaning

I hadn’t considered this. Socio-cultural roots of the modern fantasy melodrama?

Part of what makes supernatural romantic melodramas stories of amours fou, arguably, is how they go about addressing a fundamental problem for the love story in the contemporary social context: how do you erect obstacles between the couple? If they are in love enough for us to be invested in their situation, how can you have a plausible enough obstacle for them to have to overcome in order to be together? Unless you want to do a period picture (be it Thomas Hardy, Far from Heaven or The Notebook), class, nationality, religion, and other aspects of social background just aren’t sufficiently convincing barriers to a Western audience, even if really they should be; we have all been raised, mostly by movies and pop songs, to believe that True Love Conquers All.

Mad Love: The Surrealism of the Supernatural Romantic Melodrama, Part One « The Third Meaning