Short Story: A House to Let

Posted by Sarah

Since we have not had much of a chance to explore melodramatic literature in our meetings, I thought exploring a short(ish) story might be interesting, as well as fairly manageable.

Ahouse to let House to Let was written jointly by Charles Dickens, Wilkie Collins, Elizabeth Gaskell and Adelaide Anne Procter for the 1858 Christmas edition of Dickens’ Household Words. The first three writers are, of course, closely linked to melodrama since it infuses many of their novels. Dickens’ Bleak House (1853), and many others in his oeuvre, deploy melodramatic plots, while Collins’ The Woman in White (1860) rests on coincidences, and Gaskell’s Mary Barton (1848) focuses on the suffering eponymous heroine.

 

(For more on Dickens and melodrama see Juliet Johns’ Dickens’s villains: melodrama, character, popular culture. Oxford University Press, 2003.)

Procter’s name may not be as well-known today as the others, but in her time she was considered by some to be the country’s second favourite poet – after Alfred Lord Tennyson (according to Gill Gregory, “Procter, Adelaide Anne (1825–1864)”. Oxford Dictionary of National Biography. September 2004.)

house to let radio 4The story concerns an elderly lady and the mysterious goings on in the house opposite: the ‘House to Let’ of the title. In addition to the more obvious melodramatic elements of the story, it should be interesting to analyse how each author deals with melodrama.

Dickens and Collins wrote the first chapter, “Over the Way”, and the last chapter “Let at Last” together, and each of the writers wrote one of the intervening chapters: Gaskell “The Manchester Marriage”, Dickens “Going into Society”, Procter “Three Evenings in the House” and Collins “Trottle’s Report”.

It has been adapted fairly recently (in 2006) for a Radio 4 drama which was directed by Ned Chaillet and starred Marcia Warren.

Find the novella via the Gutenberg Project at: http://www.gutenberg.org/ebooks/2324

Alternatively, access it on the internet archive: http://archive.org/details/ahousetolet02324gut

Visit our additional blog http://melodramaresearchgroupextra.wordpress.com/ for more information.

Do, as always, log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.

Serial Queen Melodramas

Posted by Sarah

I thought it might be interesting to return to our consideration of early film melodrama. While previously we focused on the suffering, passive, heroine (particularly evident in DW Griffith’s films starring Lillian Gish) there are alternative views of women in the teens. One of these is present in the Serial Queen Melodramas.

Lass of the lumberlands

The Serial Queen Melodramas are particularly noteworthy as their heroines challenge some assertions about the portrayal of women in American Cinema of the teens and twenties. There is a notion that prior to It girl Clara Bow’s appearance in the late 1920s female stars belonged in either the passive virgin or the threatening vamp camp. (Though Bow and other progressive female stars certainly encouraged a focus on positive female sexuality.) However, as can be seen from the above card advertising Helen Homes in A Lass of the Lumberlands (1916), the serial queen, while imperilled on occasion, was often active. The fast pace of these serials also provides a useful comparison to the action-filled male melodramas of later Hollywood which Steve Neale wrote of.

Pearl WhiteWhile several different Serial Queen Melodramas were produced in the teens, few are widely available. Of these, The Perils of Pauline series retains public resonance. This series, from 1914, starred Pearl White (pictured left) in loosely connected adventures. Apparently 20 episodes were made, but only the 9 part European version survives. The chapters can be found on the internet archive using the links below. Chapter length varies from 9-29 mins, with the average about 20 mins. They total approximately 200 mins.

LINKS

Part 1: http://archive.org/details/THEPERILSOFPAULINE1914Ch.1PearlWhite

Part 2: http://archive.org/details/THEPERILSOFPAULINE1914Ch.2PearlWhite

Part 3: http://archive.org/details/THEPERILSOFPAULINE1914Ch.3PearlWhite

Part 4: http://archive.org/details/THEPERILSOFPAULINE1914Ch.4PearlWhite

Part 5: http://archive.org/details/THEPERILSOFPAULINE1914Ch.5PearlWhite

Part 6: http://archive.org/details/THEPERILSOFPAULINE1914Ch.6PearlWhite

Part 7: http://archive.org/details/THEPERILSOFPAULINE1914Ch.7PearlWhite

Part 8: http://archive.org/details/THEPERILSOFPAULINE1914Ch.8PearlWhite

Part 9: http://archive.org/details/THEPERILSOFPAULINE1914Ch.9PearlWhite

Perils of Pauline

Scholarly work in this area of melodrama includes Ben Singer’s excellent article “Female Power in the Serial-Queen Melodrama: The Etiology of an Anomaly.” Camera Obscura 8.1 22 (1990): 90-129 and Jon Burrows’ fascinating examination of British action heroines: “‘Melodrama of the Dear Old Kind’: Sentimentalising British Action Heroines in the 1910s.” Film History: An International Journal 18.2 (2006): 163-173.

(Please see a post on our additional blog  http://melodramaresearchgroupextra.wordpress.com/2013/07/16/serial-queen-melodramas/ for more information on these.)

As always, enjoy the melodrama links, and log in to comment, or email me on sp458@kent.ac.uk to add you thoughts or to propose a melodramatic area for us to discuss!

Lois Weber’s The Blot (1921) to be screened at the BFI

Posted by Sarah, on Frances’ behalf

the blot

The BFI will be screening a Lois Weber film next month which may be of interest to some of you. Weber, you may remember, was the director of one of the early cinema shorts we watched last term called Suspense (1913). Weber was a prominent film director of the period, often making films which addressed social issues and controversial topics. The BFI will be screening Weber’s The Blot from 1921 next month which is an important film in the director’s oeuvre and it incorporates many of the themes we have discussed in our melodrama meetings. Here is the description from the BFI website:

“Lois Weber was in her time one of the most influential figures in the US film industry. Her masterpiece, The Blot, is a realistic study of genteel poverty among the struggling middle-classes. A professor scarcely has the means to support his wife and daughter, who in turn has three suitors, one an [sic] poor cleric, one the son of a nouveau riche neighbour, and one a playboy. The film is a subtle, compassionate study of the vagaries of society’s rewards and the cruel masquerade of gentility.”

Enjoy!

https://whatson.bfi.org.uk/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=7D94E989-64D2-4501-8343-53214B47AB99&BOparam::WScontent::loadArticle::context_id=D227EFA6-8921-484E-B232-8A687EDA0B05

Radio Soap Operas

Posted by Sarah

I thought it might be useful over the Summer Break to delve into two areas relating to melodrama which we have yet to deal with in detail. Radio is a medium that we have not really discussed, and likewise the soap opera (with its melodramatic storylines, suffering characters and implausible coincidences) has been a little neglected.

radio soap opera

Television soap operas are popular in the UK, with soaps like Eastenders and Coronation Street continuing to top the ratings and to have a large presence in celebrity magazines. Soap operas also have an impressive history which spans several decades and a few different media. For example, Radio 4’s The Archers (an everyday story of country folk) has been going since 1950. Indeed, the very first soap operas were created for radio. This was during American radio’s ‘golden age’ which roughly coincides with Hollywood’s Studio System – the 1920s to the 1950s.

rinso2The term ‘soap opera’ itself comes from the advertisers who sponsored the radio programmes – such as Proctor and Gamble and Lever Brothers (Rinso – see picture on left). They were designed for female audiences, and often written by female writers. In particular they were meant to appeal to  housewives. The programmes were often 15 minutes long and could either be listened to whilst undertaking chores or when enjoying a short break from the housework. They were generally broadcast 5 days a week, had on-going storylines, constant cliff-hangers and revolved around women. The main female characters often suffered and had a special talent for self-sacrifice.

Romance of Helen Trent

Much ‘old time radio’ was never recorded at the time, but transmitted live, and consequently not all that many copies exist. There are some episodes of well-known radio soap operas from the 1930s, 1940s and 1950s on archive.org. These include wonderfully-titled programmes such as The Romance of Helen Trent (1933-1960 – see picture on right), Big Sister (1936-1952), The Guiding Light (1937-1956), which inspired The Right to Happiness (1939 -1960), Hilltop House (1937-1941,1948-1955 and 1956-1957), Joyce Jordan M.D. (1938-1948, 1951-1952, 1955) and its offshoot The Brighter Day (1948-1956), The Career of Alice Blair (1939-1940) and  Against the Storm (1939-1942, 1949 and 1951-1952). (Information for the above has been taken from John Dunning’s incredibly useful  On the Air: The Encyclopaedia of Old Time Radio, Oxford University Press, USA, 1998.)

I would especially recommend Big Sister (http://archive.org/details/BigSister), Joyce Jordan MD (http://archive.org/details/JoyceJordonM.d), Hilltop House (http://archive.org/details/HilltopHouse_214) and The Romance of Helen Trent (http://archive.org/details/RomanceOfHelenTrent).  Several consecutive episodes are available for each of these which gives a better view of the soap opera’s serial nature. In addition, since the first 28 episodes of Big Sister are on the archive it is possible to trace it from its beginnings. I have also uploaded the first 28 and later 4 consecutive episodes of Big Sister, the 2 sets of 5 episodes of Hilltop House, the 4 Joyce Jordan and 3 Helen Trent mp3s to our additional blog so you can put them straight onto ipods and suchlike, should you wish: http://melodramaresearchgroupextra.wordpress.com/2013/06/27/radio-soap-operas/

UPDATE: I’ve listened to some of the mp3s which I downloaded (these are brilliantly melodramatic!) and it seems, as ever with OTR, there is some mislabelling! The 3 parts of Helen Trent are probably in the right order, but I suspect there are episodes missing. Joyce Jordan’s episodes of the 25th and 26th have been switched (so do listen to the 26th first!), and those listed for the 27th and 28th are the same episode; which appears to be totally unrelated to the other two. The first 5 episodes of Hilltop House are consecutive though. I’ll update again if I notice any more…

As ever, log in to comment, or email me on sp458@kent.ac.uk to add your thoughts. And do get in touch if there is anything melodramatic you would like to post over the Summer Break…

Music and the Melodramatic Aesthetic

Posted by Sarah

I just happened upon some interesting information on the University of Nottingham’s webpages. It relates to a vital part of melodrama that we have not had much chance to explore: music. It contains some useful videos which consider the intersection of melodrama and music, most of which seems to have been posted in 2008 or earlier.

Do take a look: http://www.nottingham.ac.uk/music/research/projects/mma/index.aspx

There is also a report on the Music and the Melodramatic Aesthetic Conference which took place in 2008: http://www.scope.nottingham.ac.uk/confreport.php?issue=14&id=1129

Links to Early Film Melodrama Shorts

Posted by Sarah

Below are links to videos on archive.org and youtube.com of the films we watched, as well as some other Griffith films. Do watch (or rewatch!) and feel free to log in and comment, or email me on sp458@kent.ac.uk

 

Barbe-bleue: http://archive.org/details/Barbe-bleue

Suspense: http://www.youtube.com/watch?v=zfgiUvBaosg

The Mothering Heart: http://archive.org/details/TheMotheringHeard

What Shall we Do with Our Old? http://archive.org/details/WhatShallWeDoWithOurOld

An Unseen Enemy: http://archive.org/details/TheUnseenEnemy

Lonely Villa: http://archive.org/details/LonelyVilla