Invitation to join the Melodrama Research Consortium

Posted by Sarah

The Group has received a very kind invitation from Matt Buckley of Rutgers University to join the Melodrama Research Consortium. This sounds like a great way to forge links globally, map the field of melodrama academics and pool melodrama resources. This is a very exciting and worthwhile opportunity so do click through and add your areas of interest.

murray-left

Matt’s message:

Dear Colleague,

I am writing to invite you to participate in the Melodrama Research Consortium, an international, interdisciplinary project intended to facilitate and advance scholarly research on the topic.  The initial aims of the project are twofold: first, to establish an ongoing forum for the exchange of ideas among the many scholars working on melodrama in different periods, contexts, and mediums; and, second, to begin work on a collaborative, open-platform database of the production history of stage, film, and television melodrama.

The need for a forum for the exchange of ideas on the topic is now pressing: both historical and theoretical research is advancing rapidly on many fronts, yet most of us remain largely unaware of often complementary work in different areas.  In order to offset this problem, we intend to publish on line an open list of melodrama scholars, including areas of specialization, relevant publications, and contact information, and—if it seems useful—to set up a listserve on the topic.

The need for a database of melodrama’s production history is equally apparent: the now substantial number of scholars working on the topic have begun to recover large portions of melodrama’s complex and extended genealogy, yet these remain largely isolated and scattered among the literature of specialized fields.  At the outset, our goal for the database is no more complex than to gain a rough common map of melodrama’s multi-modal, multi-contextual history—to start to bring together, in one place, the many different strands of its development.  At a moment when melodrama’s vast and disparate genealogies are exploding into view, and as we struggle with the growing recognition that melodrama’s larger history has unfolded in complex ways across contexts, and not merely in them, the immediate value of such a mapping is obvious.

The larger, more long-term goal of the database is to construct a useful research platform for the kind of broadly comparative and data-intensive scholarship that melodrama, as a mass-produced form of global modernity, seems increasingly to invite and may well soon require.  More than other, older forms of aesthetic production, melodrama invites quantitative analysis, both to establish the broad patterns of its formal and medial development and to gain an accurate picture of its longer history of production, distribution, and consumption as a cultural commodity.  As some of you already know, I have begun over the past few years to construct a more limited database of early British stage melodrama in order to facilitate my own current work on melodrama’s origins and to establish the foundation for the project.  After two years of work by a small handful of part-time research assistants, we now have a searchable digital record of about 1500 plays, including melodramas as well as other closely-related theatrical genres, written and/or produced in Britain between 1800 and 1840.  The research value of even that very limited portion of the project has been exceptional: for the first time, it is possible to trace with something more than anecdotal accuracy melodrama’s rising success on the British stage, the manner in which its production expanded and spread across different theatres and populations, and the precise periods and contexts in which its development was punctuated by formal and generic shifts.  Expanding that record to include even a schematic database of melodrama’s larger history constitutes a significantly more substantial challenge, but one that will by no means be hard to achieve with even modestly expanded resources.

I’m writing you now because we would like to begin to formalize the project as a consortium in order to start applying this year for the funding support that such an effort will require.  You need not play any active role at this point, or perhaps ever.  However, I’m hopeful that you might consent to join in a nominal way now so that we might prepare and submit proposals for large, foundational grants as a sizeable international group–and thus gain both greater authority and wider funding eligibility.

Joining the consortium will also, I hope, provide a timely opportunity for those of you whose institutions and disciplines offer funding for collaborative and international projects.  As the nature of the database suggests, this project will be a de-centered effort by specialists all over the world and spread across a wide range of fields.  With that in mind, please feel free to think of ways in which you might use the project as the basis for more specific proposals to gain internal and area-specific research support.  I now have one assistant working exclusively on grant funding, and I would be more than happy to provide whatever support we can for such efforts.

I would be delighted, of course, if any of you would like to take an active or an advisory role.  I would be very thankful, too, for any thoughts you might have about the consortium, the database project, or likely sources of support for either, as I am neither a digital savant nor a savvy grant writer.  If you would prefer not to join the consortium at this time, I would be grateful if you might consider at least to be included on our listing of melodrama scholars.  Even if you are no longer active in the field, it will be helpful for others to know of your work.

You can indicate your reply, provide information about yourself, and join the consortium if you wish, on a google form that we have posted at https://docs.google.com/forms/d/10jphGiR1TN_vpKZfk75JAlEEu7j4UbwPNVvohY6LkSo/viewform.  Completing it should take only a few minutes.  If you are interested, I would be very grateful if you might respond by November 15, as we intend at that time to generate and post a list of participants in the consortium and scholars in the field.

Please do share this invitation with colleagues and students—the group is intended to be as inclusive as possible, and I certainly don’t know everyone.

With best wishes,

Matt

-- 
Matthew Buckley
Associate Professor
Department of English
Rutgers University
510 George Street
New Brunswick, NJ 08901
646-245-6918

For more info on Matt visit http://english.rutgers.edu/faculty/facultyprofiles/261-mbuckley.html

Do, as ever, log in to comment or email me on sp458@kent.ac.uk to add your own thoughts. We could maybe get some discussion going about formalising our specific (individual and group) interests in melodrama.

Inspirations: A Celebration of Pam Cook’s Work in Film Studies

Posted by Sarah

Keeley sent me an email to draw the Group’s attention to an event taking place at the University of Southampton on the 9th of November. It is a celebration of renowned film scholar Pam Cook’s work. The speakers include Claire Hines, Richard Dyer, Sarah Street, Catherine Grant, Michael Williams, and of course Pam Cook.

Pam Cook

Pam Cook’s work on stardom is especially relevant to our work of the last couple of weeks. In addition, Catherine Grant (former of the University of Kent, now of the University of Sussex) is contributing a video essay entitled: Mirrors, Melodrama and Pam Cook: A Video Essay.

The all-important link: http://www.southampton.ac.uk/film/news/events/2013/11/09_inspirations.page

It looks like a great opportunity, so many thanks to Keeley for mentioning it.

Variety Ultimate Subscription Now Available for Kent Users

Posted by Sarah

There is some very exciting news about a new resource available for those of us who have a University of Kent login. The Templeman Library now has access to Variety Ultimate. This means that most issues of the American trade journal (from 1905-the present) can now be searched and accessed. This is excellent news for research at Kent generally, and, of course, melodrama.

The link: http://chain.kent.ac.uk/login?url=http://www.varietyultimate.com/

I have had a very quick look in terms of film melodrama and found this very early review by ‘Jolo’ of the film The Big Sister on 15th of September 1916, p 26: http://www.varietyultimate.com.chain.kent.ac.uk/archive/issue/WV-09-15-1916-26

big sister

The film was directed by John B O’Brien and starred Mae Murray.’Jolo’ opined that the film ‘is melodrama without any attempt at concealment’. The mention of concealment is interesting in two ways. Firstly it indicates the reviewer’s, and the general, rather negative view of melodrama by suggesting that other melodramas might try to appear to be something else. But also, as we have seen, concealment is often a key theme of melodrama.

There will be many, many more exciting nuggets relating to melodrama, so do take a look. And do also share your findings by emailing me on sp458@kent.ac.uk. I can then post them to the blog for us all to enjoy!

Repost: Maternal Melodrama

Posted by Sarah

Following discussion about this yesterday, please find below information on, and a link to, the online journal Sequence. Of special interest to us in the focus on Maternal Melodrama.

‘We Need to Talk about Maternal Melodrama’, a new publication atSEQUENCE Serial Studies in Media, Film and Music (part of the open accessREFRAME platform in Media, Film and Music), as well as a Call for Papers in response to, or in connection with, the topics raised by the lead article, an essay bySue Thornham. The title of Thornham’s essay is ‘”A HATRED SO INTENSE…”:We Need to Talk about Kevin, Postfeminism and Women’s Cinema’.

http://reframe.sussex.ac.uk/blog/2013/02/05/presenting-sequence-two-plus-feminist-film-and-media-studies-news/

If you work on film or media representations of motherhood, or melodrama, and you think you’d like to respond to, bounce off of, or otherwise fruitfully interact with Thornham’s work, or with its topics more broadly,SEQUENCE would be very excited to hear from you. You can read more about respondinghere. Thank you. Best wishes

DrCatherine Grant REFRAME Editor, Senior Lecturer in Film Studies School of Media, Film and Music University of Sussex Silverstone Building Falmer BN1 9RG E:C.Grant@sussex.ac.uk T: +44 1273 678876 Editor: Film Studies For Free Guest Editor: Frames, Issue 1, July 2012: Film and Moving Image Studies Re-Born Digital?

 

As ever, do log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.

 

Melodrama Meet on 9th of October

Posted by Sarah

As we are meeting in Keynes (seminar room 6) rather than Jarman this term, some of us are planning to first gather in Jarman lobby around 3.45 pm on the 9th of October.
 
 
For those unable to make it that early, here’s a link to directions for our  intended destination: http://www.kent.ac.uk/timetabling/rooms/room.html?room=KS6
 
 
All are welcome.

John Mercer’s Magnificent Obsession talk

Posted by Sarah

We were fortunate on the 29th of September to host another fascinating talk by Dr John Mercer of Birmingham City University (http://www.bcu.ac.uk/pme/school-of-media/applying-to-us/our-staff/john-mercer)

Prior to a screening of Douglas Sirk’s melodrama Magnificent Obsession (1954), John spoke about the fact that the orthodox version of Hollywood history often depends on gossip and rumour.

8 Events Magnificent ObsessionJohn subsequently challenged some misconceptions relating to Magnificent Obsession. These range from matters of reception to production. It has been claimed that it was populist trash primarily targeted at female audiences. It has also been the view that the 1935 film  the 1954 version was a remake of was obscure. Meanwhile it is often assumed that Producer Ross Hunter was more interested in the project than Sirk.

mag ob novel

The 1929 source novel by Lloyd C Douglas (see book cover, left) was one of that biggest selling of the  year. In  addition, a previous 1935 film adaptation featured the established and incredibly popular star Irene Dunne and the up and coming Robert Taylor and reaped enormous box office rewards. These three facts reveal that the narrative was in fact highly significant since it was very familiar to audiences.

 

It was pointed out that Hollywood had not abandoned the Magnificent Obsession  magnificent-obsessionnarrative in the almost twenty years between the first and second film versions. It was adapted for Lux radio in 1936 (with Dunne and Taylor), in 1940 (staring Claudette Colbert) and 1942 (starring Dunne). In addition, the sequel to the source novel was adapted for TV as a popular soap opera in the early 1950s.

John also noted the different ways in which stars are treated in the Film Studies. There are those who have always been present both in popular memory and film scholarship; those largely forgotten by the masses but who are in some ways recovered by film scholarship; those who are simply ignored. While Hudson might be said to belong to the first category, Jane Wyman, sadly, belongs to the last.

John provided a useful summary of Wyman’s career. Although beginning as a fairly light jane wymansecond lead she progressed to challenging roles. Significantly Wyman received a Best Actress Oscar in 1948 and was nominated a further 3 times (including for Magnificent Obsession). Wyman was clearly well thought of at the time despite Film Studies’ subsequent lack of interest in her. In relation to melodrama Wyman specialised in ‘dignified suffering’ and was a ‘model of femininity’.Wyman’s status as a star, and her importance to Magnificent Obsession, was highlighted by John’s discussion of the film’s finances. Wyman received a large proportion ($150,000) of the film’s ($780, 000) budget.

Rock Hudson

Hudson’s career was also outlined by John. Interestingly, while today many assume that the contemporaneous opinion of Hudson’s acting was less than complimentary, John’s research in fact reveals that this is not the case.

 

Discussion of Sirk focused on the prevalent view of him in Film Studies as a cynical intellectual auteur and the ruthless efficiency with which he manages the audience’s emotional responses.  The sheer lavishness of the costumes and the cinematography was also mentioned.

Foster Hirsch’s description of the actors’ performances in Magnificent Obsession as ‘hushed’ was also referenced. This seems particularly at odds with the general view of ‘melodramatic’ acting and will be of special interest to the group for the first 3 screening and discussion sessions of term  which focus on performance.

Many thanks to John for another insightful and enjoyable talk which has inspired us to consider screening not only Sirk’s All That Heaven Allows (1955) which also starred Jane Wyman and Rock Hudson but the 1935 version of Magnificent Obsession….

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

Tamar Jeffers McDonald Appears on Radio Kent!

Posted by Sarah

Doris book!Melodrama Research Group founder Dr Tamar Jeffers McDonald (http://www.kent.ac.uk/arts/staff-profiles/profiles/film/t_jeffers-mcdonald.html) appeared on Radio Kent today to talk about her new book: Doris Day Confidential: Hollywood, Sex and Stardom.To listen to the programme, or indeed to re-listen, go to the BBC iplayer: http://www.bbc.co.uk/programmes/p01gcjxh

The interview with Tamar begins about 2 hours into the programme.

For more details of the Doris Day Weekend at the Gulbenkian, please see previous posts on the blog.

REMINDER: Melodrama Events at the University of Kent on Sun 29th of Sept

Posted by Sarah

Doris Day ConfidentialJust  a quick reminder about the melodrama events that are taking place at the Gulbenkian Cinema at the University of Kent on Sunday the 29th of September. These are part of a Doris Day weekend to celebrate both the launch of Dr Tamar Jeffers McDonald’s recently published book on the star (see picture, left), and to showcase Day’s versatility as a performer.

A screening of Pillow Talk (1959) will take place on Friday the 27th of Sept at 6pm.

A singalong version of Calamity Jane (1953) is being shown on Saturday the 28th of Sept at 2.30 pm.

Melodrama Events On the 29th of September:

8 Events Magnificent Obsession11 am: There is a free 30 min talk on melodrama by Dr John Mercer, Film Studies, City Birmingham University http://www.bcu.ac.uk/pme/school-of-media/applying-to-us/our-staff/john-mercer

11.30 am Magnificent Obsession screens.

For further details and to book your ticket go to:

http://www.kent.ac.uk/gulbenkian/cinema/films/2013/september/2013-09-magnificent-obsession.html

 

6.45pm: Dr Tamar Jeffers McDonald of the University of Kent man who knew(http://www.kent.ac.uk/arts/staff-profiles/profiles/film/t_jeffers-mcdonald.html) will introduce Alfred Hitchcock’s film The Man who Knew Too Much (1956). Tamar is the author of a forthcoming book on one of the stars of the film, Doris Day, and will speak about Doris’ darker films.

 

 

For further details and to book your ticket go to: http://www.kent.ac.uk/gulbenkian/cinema/films/2013/september/2013-09-the-man-who-knew-too-much.html

 

Do join us for some or all of these wonderful Doris and/or Melodrama Events.

Melodrama Events at the University of Kent on Sun 29th of Sept

Posted by Sarah

A reminder that the following exciting melodrama events are taking place at the Gulbenkian Cinema at the University of Kent on the 29th of September.

The first focuses on Douglas Sirk’s film Magnificent Obsession (1954).

8 Events Magnificent Obsession11 am: There is a free 30 min talk on melodrama by Dr John Mercer, Film Studies, City Birmingham University http://www.bcu.ac.uk/pme/school-of-media/applying-to-us/our-staff/john-mercer

John is co-author, with Martin Shingler, of Melodrama : Genre, Style, Sensibility. London ; New York : Wallflower, 2004

11.30 am Magnificent Obsession screens.

The Gulbenkian website description of the film: “Based on Lloyd C. Douglas’ spiritual novel of the same title, churlish playboy Bob Merrick becomes indirectly responsible for the death of a much loved local doctor when he foolishly wrecks his speed boat. In trying to make amends, he falls in love with the doctor’s widow and must remake his life in order to win her love.”

For further details and to book your ticket go to:

http://www.kent.ac.uk/gulbenkian/cinema/films/2013/september/2013-09-magnificent-obsession.html

6.45pm: Dr Tamar Jeffers McDonald of the University of Kent man who knew(http://www.kent.ac.uk/arts/staff-profiles/profiles/film/t_jeffers-mcdonald.html) will introduce Alfred Hitchcock’s film The Man who Knew Too Much (1956). Tamar is the author of a forthcoming book on one of the stars of the film, Doris Day, and will speak about Doris’ darker films.

The Gulbenkian website’s description of the film:  “A family vacationing in Morocco accidentally stumble on to an assassination plot and the conspirators are determined to prevent them from interfering. Includes a 5-10 minute introduction”

For further details and to book your ticket go to: http://www.kent.ac.uk/gulbenkian/cinema/films/2013/september/2013-09-the-man-who-knew-too-much.html

Doris Day Confidential

To see more details of Tamar’s book Doris Day Confidential: Hollywood, Sex and Stardom go to: http://www.amazon.co.uk/Doris-Day-Confidential-Hollywood-Stardom/dp/1848855826/ref=sr_1_1?ie=UTF8&qid=1378711364&sr=8-1&keywords=doris+day+confidential

 

CFP: The Melodramatic Moment, 1790-1820

Posted by Sarah,

I thought people might be interested in an upcoming conference on melodrama due to take place at the Institute of Historical Research in London in March 2014. The era it focuses on is a fair bit earlier than we have been examining, but I’m sure there is still much of relevance.

http://events.history.ac.uk/event/show/11430