The deadline for abstracts for the third Gothic Feminism conference has been extended to the 1st of March.
Please see the previous post about the CFP for more details.
As noted in the last post, the melodrama research group will be screening several of Dirk Bogarde’s films from the 1st of October. This is because I was recently lucky enough to access the British Film Institute’s Dirk Bogarde Collection of journals. These magazines were gifted to the BFI by the late actor’s estate and provide a fascinating insight into the reach of the star across different types of publications and countries.
Over the next few weeks, Lies is very kindly posting 8 blog posts I’ve written about my work on the collection, and Dirk, on the NoRMMA blog. You can find the first here: http://www.normmanetwork.com/introduction-the-dirk-bogarde-collection-project/
I’ll also be sharing some film-specific material from the collection in advance of each screening.
We now have a provisional list of films we’re screening in the Autumn Term. We’re focusing on several films of the British star Dirk Bogarde. (Apart from our Halloween offering on the 29th of October which dates from 1930 and stars Chester Morris.)
1st October Esther Waters (1948, Ian Dalrymple and Peter Proud, 108 mins)
15th October Hunted (1952, Charles Crichton, 84 mins)
29th October The Bat Whispers (1930, Roland West, 83 mins)
12th November EITHER A Tale of Two Cities (1958, Ralph Thomas, 117 mins)
OR Libel (1959, Anthony Asquith, 100 mins)
26th November The Singer Not the Song (1961, Roy Ward Baker, 132 mins)
10th December I Could Go On Singing (1963, Ronald Neame, 99 mins)
More detail on each film will be posted in advance of its screening.
All are very welcome to join us on these dates, from 5-7pm, in Jarman 6.
The Melodrama Research Group and its sister organisation Network of Research: Movies, Magazines, Audiences (NoRMMA) were delighted to welcome a guest on Wednesday the 26th of July.
Tamsin Flower, writer/director and founder of the company Stream-Lyric, has been supported by Arts Council England to develop new theatre work since 2014. Using intertextuality and ‘playful poetics’ to approach social themes, Stream-Lyric toured ‘MENTAL Play’ to five South East Venues in 2015, including Camden People’s Theatre and developed ‘TRANSFORMER’ for work-in-progress sharings at Cambridge Junction, Metal Culture and The Key Theatre/Vivacity Arts in 2016. Most recently she was commissioned by the Creative People and Places consortium/Peterborough Presents to create a verbatim play about gardeners and green-space volunteers in the Environment Capital, Peterborough. She draws on drama, contemporary poetry and multimedia presentation to provoke and entertain hybrid audiences.
Tamsin visited us to collaborate in a script development workshop for ‘TRANSFORMER’. Tamsin has described the play as “presenting a mother daughter relationship that transcends our ordinary conception of time in a play narrative. Each scene focuses on either the mother, Norma, or her daughter, Eddie, who experience moments from iconic films as integral parts of their lives. Norma is trapped in memory and reminiscence – her scenes are from 1930s/40s/50s film. Eddie’s scenes are from 80s film to the present day. They finally share a scene in the 1960s/Rosemary’s Baby sequence, as they anticipate a new arrival.” Other films referenced include Now Voyager (1942), The Red Shoes (1948), The Damned Don’t Cry (1950), Clueless (1995), My Big Fat Greek Wedding (2002), and Black Swan (2010).
Prior to our session, Tamsin sent us excerpts of three scenes. There was much fruitful and enjoyable discussion about these, as well as the structure of the piece more generally. We were especially pleased to talk about female stars in popular films from 1935-2015, the relationship of audiences to films, the afterlife of films, moments of transformation in melodrama, and feminism in the 20th and 21st centuries. We look forward to welcoming back Tamsin in September, when we’ll be treated to the latest version of ‘TRANSFORMER’, and engage in another feedback session which will further foster connections between academics and practitioners.
Many thanks to Tamsin and all attendees for such an interesting discussion.
Tamsin’s posted a few of us giving a quick audio summary of some of our thoughts on the session on sound cloud: https://soundcloud.com/user-293309613/transkent1mp3
Why not join the discussion on favourite female stars on Stream-Lyric’s Facebook page? Nominees so far include Doris Day, Julie Andrews, Joan Greenwood, Juliette Binoche and Guilietta Masina: https://www.facebook.com/StreamLyric/?fref=mentions
You can also find Stream-Lyric on other platforms:
Melodrama Research Group members Katerina Flint-Nicol and Ann-Marie Fleming have released a Call for Papers for a their upcoming conference on TV horror which will take place at Kent on the 27th and 28th of October 2017.
The CFP info from Kat and Ann-Marie:
The Melodrama Research Group presents:
At home with horror? Terror on the small screen
27th-28th October 2017
University of Kent
Keynote speaker: Dr Helen Wheatley (University of Warwick)
CALL FOR PAPERS
The recent horror output on TV and the small screen challenges what Matt Hills found to be the overriding assumption ‘that film is the [horror] genre’s ‘natural’ home’ (Hills 2005, 111). Programmes such as American Horror Story, Penny Dreadful and The Walking Dead are aligned to ‘‘quality TV’, yet use horror imagery and ideas to present a form and style of television that is ‘not ordinary’’ (Johnston 2016, 11). Developments in industrial practices and production technology have resulted in a more spectacular horror in the medium, which Hills argues is the ‘making cinematic’ of television drama (Hills 2010, 23). The generic hybridity of television programmes such as Whitechapel, and Ripper Street allow conventions of the horror genre to be employed within the narrative and its aesthetics create new possibilities for the animation of horror on the small screen. Series such as Bates Motel and Scream adapt cinematic horror to a serial format, positioning the small screen (including terrestrial, satellite and online formats) as the new home for horror.
The history of television and horror has often displayed a problematic relationship. As a medium that operates within a domestic setting, television has previously been viewed as incompatible with ‘authentic’ horror. Television has been approached as incapable of mobilizing the intense audience reactions associated with the genre and seen as a medium ‘restricted’ in its ability to scare and horrify audiences partly due to censorship constraints (Waller 1987) and scheduling arrangements. Such industrial practices have been seen as tempering the genre’s aesthetic agency resulting in inferior cinematic imitations or, ‘degraded made-for-TV sequels’ (Waller 1987, 146). For Waller, the technology of television compounded the medium’s ability to animate horror and directed its initial move towards a more ‘restrained’ form of the genre such as adapting literary ghost stories and screening RKO productions of the 1940s (Ibid 1987). Inferior quality of colour and resolution provided the opportunity to suggest rather than show. Horror, then, has presented a challenge for television: how can the genre be positioned in such a family orientated and domesticated medium? As Hills explains, ‘In such a context, horror is conceptualised as a genre that calls for non- prime-time scheduling… and [thus] automatically excluded from attracting a mass audience despite the popularity of the genre in other media’ (Hills 2005, 118).
Helen Wheatley’s monograph, Gothic Television (2006), challenges the approach of television as a limiting medium for horror, and instead focuses on how the domestic setting of the television set is key to its effectiveness. Focusing on the female Gothic as a domestic genre, Wheatley draws a lineage from early literary works, to the 1940s cycle of Gothic women films and Gothic television of the 1950s onwards. Wheatley argues for the significance of the domestic setting in experiencing stories of domestic anxiety for, ‘the aims of the Gothic drama made for television [are] to suggest a congruence between the domestic spaces on the screen and the domestic reception context’ (Wheatley 2006, 191).
Developments in small screen horror are not restricted to contemporary output. In his work on the cultural history of horror, Mark Jancovich argues that it was on television in the 1990s where key developments in the genre were taking place (Jancovich 2002). Taking Jancovich’s work as a cue, Hills develops his own approach to the significance of horror television of the 1990s. Hills cites Buffy the Vampire Slayer and The X Files as examples of programmes striving to mobilise the genre’s more graphic elements while existing as a ‘high-end’ cultural product: ‘authored’ TV that targeted a niche fan audience (Hills 2005, 126).
Taking these recent developments into account, the aim of this conference is to engage with such advances. Can we say that it is on the small screen where critical and creative innovations in horror are now being made? How has the expansion of satellite television and online sites impacted on the genre? How has the small screen format developed the possibilities of horror? Is the recent alignment with ‘quality TV’ evidence of horror’s new mainstream status? This conference will also reflect on seminal works on television horror and revisit the history of the genre. In addressing these questions the conference will underline the importance of the small screen for horror, within the study of the genre and of the medium, and ask: is the small screen now the home of horror?
Topics can include but are not limited to:
Please submit proposals of 400 words, along with a short biographical note (250 words) to email@example.com by Friday 30th June. We welcome 20 minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays.
Conference organisers: Katerina Flint-Nicol and Ann-Marie Fleming
The multi-screen Passages of Gothic, a 20 minute video essay the Melodrama Research Group worked on for the Festival of Projections last year, is being screened in Jarman Gallery on Monday the 3rd of April. You are welcome to come and join us!
The Melodrama Research Group and Gothic Feminism invite you to
Passages of Gothic
Experience an atmospheric multi-screen installation celebrating the Gothic heroine in film. This curated collection of film clips counters her frequent dismissal as a passive observer, instead privileging the Gothic heroine in moments of active investigation and bravery. These often stand directly in opposition to her suffering and persecution. Explore the slippage between women’s private and public behaviours in a setting which underlines the complexity of these under-rated female protagonists and their social significance.
The Gallery , Jarman Building
Monday 3 April 2017
Screenings at 11.30, 12.30, 1.30, 2.30.
The Melodrama Research Group and Gothic Feminism are research groups sponsored by the Centre for Film and Media Research within the School of Arts, University of Kent.