Category Archives: Hollywood Film

Dissertation Days (25): A New Day, A New Chapter 4

In between the chaos of moving and travel (I’m about ready to set off for another round tomorrow), I managed to squeeze in a little work time today. Since I’d rather hit a wall with Chapter 4 as it was, I started a new version, one which really, consciously sets out to be the version I want to submit at the end of July.

To that end, I only managed to write 500 words today, but I’m pretty happy with them. I managed to bring together everything I wanted to argue in this chapter, in a way that’s more coherent than I’ve managed to attain so far. As I’ve said before, I want to focus on what I’m calling “imperial melancholia,” a yearning for a form of political stability that seems to always exist frustratingly out of reach, perpetually tantalizing with the possibility that it might be brought into fruition.

A lot of my thinking on this has been shaped by recent reading I’ve been doing on the role of spectacle in the way that film works, as well as my most recent reading research, a history of the Cleopatra icon by the British author Lucy Hughes-Hallett. Spectacle, to me, has always been frustratingly vaguely defined, and one of the things I hope to do in this chapter is to tease out the sort of meanings inherent in this oft-used cinematic expression. It is all part of my redemptive critique of the epic, my attempt to take it seriously as a means of engaging with the larger questions posed by modern (and ancient) history.

Once I return to my normal work schedule, I’m really hoping to get back into my old habit of writing 1,000 words a day, especially since I want to have a really strong draft of this ready for submission to the adviser by the end of July. If I can do that, and if I can get Chapter 3 and 4 approved by the very early Fall by pretty much everyone, I’ll feel like a great deal of pressure has been lifted off me. It’s a tall order, but I think I can do it.

I’ll be hitting the road for yet more traveling tomorrow and throughout the weekend into the early part of next week, so don’t expect any updates from me until then. After that, though, I should be able to get back into the swing of things.

Onward.

Dissertation Days (24): Chapter 4

So, today was the first day in quite a while that I didn’t work on Chapter 3 at all, but instead focused my energies on Chapter 4.

I have to say, all of that effort paid off. I managed to get 500 good words, and I think I am edging closer to a fully-fleshed argument. If you know how irritated I have been with this Chapter and how much I have struggled to put together a coherent argument that fits in with what I have been doing in the other chapters of the Dissertation, you no doubt know why this would be such a big deal.

As I mentioned yesterday, that essay from Tom Brown has proven to be extremely helpful in enabling me to make a compelling argument about these films. I have to say, the core of this chapter–the emphasis on empire–is a bit of a holdover from the very earliest concepts of this dissertation as a whole, but I do think that it has something in it that fits with how the project has taken shape.

If I’m being completely honest, this is the chapter that I’ve been dreading the most. I’ve done a lot of research, and there is still a lot to do, but I’m gradually clawing and groping my way toward a conclusive set of arguments.

While I’m still uncertain whether my set of claims about Anthony Mann’s Fall of the Roman Empire really make a substantial contribution to the understanding of the film, I do think that what I have to say about Cleopatra is useful. Like The Bible: In the Beginning, the film has suffered from a really extensive study from a film studies perspective, still less from a textured historicist analysis. That’s basically what I hope to provide in this chapter, since I believe that the film deserves more critical appreciation than it has largely achieved, either in mainstream of scholarly film criticism.

I’m getting ready for another bout of travel, so my updates will be rather sporadic. Sunday will probably be the next day that I get a chance to really work on the dissertation, but even so, I’m sure the project will not be far from my mind. It never really is.

Once I’m able to settle down for a bit (in about a week and a half), it’ll be a real crunch time.

I can do this.

I can.

Dissertation Days (21): Roadblocks

I’ve reached that stage in Chapter 3 where I know that the end is in sight, but it’s precisely the nearness of accomplishment that proves more than a little debilitating. Still, it is precisely in those moments that one has to continue onward, pushing past the mental barricades to get to the rich intellectual material beneath.

I did manage to eke out some new material in Chapter 3, both by writing some new stuff and also by importing a paragraph from an earlier draft. The third section still needs a little development to fully cohere, and it’s going to take some doing to make sure that it fits together both internally and with the rest of the chapter, but I think that’s doable, so long as I don’t let myself get bogged down too much.

That being said, I do feel like I made some genuine progress today, and I’m setting Wednesday as the day that I would like to be done with the heavy lifting on this draft. That puts me at just about two months revision which, considering all that’s been going on–pet loss and illness, travel, family obligations–isn’t bad at all. I really do have to keep my momentum going if I want to defend by this coming spring (which I basically have to do regardless). So, any positive thoughts and encouragement y’all could send my way would be much appreciated.

In terms of Chapter 4, I wrote 500 words, mostly in two of my sections that deal with the films. Today, I focused mostly on Anthony Mann’s The Fall of the Roman Empire and John Huston’s The Bible: In the Beginning. At the moment, I’m trying to think through the utopian sensibility that these films express, even as they also acknowledge the rather dystopian realities of history.

Once I settle down again, I am going to need to rewatch both Fall and The Bible. It’s been a while since I’ve seen them, and I need to make sure that I have the type of detail that enables a textured film analysis. Given how much of a stickler I am for sound film criticism, I have to be extra careful to practice what I preach.

On tomorrow’s agenda: keep plodding away at Chapter 3 (as usual). Then it’s on to Chapter 4, and I think I have a rich vein of inquiry ready to be tapped.

Tomorrow is going to be great.

Dissertation Days (18): Increments

Well, I finally returned to the semi-normal writing schedule. Today, I mostly worked on a read-through of Chapter 3, finessing some of the prose that has been rather clunky. Of course, I made sure to clip out a few of those pesky couplets that are such a troubling part of my prose (gods I hate those fucking couplets). There are still a couple that have resisted all efforts to get rid of them, but I’ve been successful for the most part.

I managed to make it to page 20 of the draft, and I’m pretty happy with the way that this first section looks. I’ve had to really hard to make sure that the section has allusions to what happens later, so that it’s clear from the beginning how the context that I’m laying out relates to the parts that come later. I think, at least in a dissertation chapter, that you want to have a number of signposts so that your reader can keep the bigger picture in mind.

Tomorrow, I hope to get through another 20 pages, and then I should just about be ready to get back into that section on Nero’s queerness. I am really struggling to get that section to fit into what I’ve written before, but I’m confident that I can at last corral everything into a coherent whole.

I also managed to write 500 words of Chapter 4, almost entirely in the historical context section. Gradually filling that out allows me to clarify what it is that I’m trying to accomplish with the chapter as a whole. The conceptual framework is still a little hazy, but I’m inching closer to a coherent argument. If I can manage to eke out a draft, no matter how rudimentary, by the end of July I will be happy.

Tomorrow is definitely going to be a busy day. I’m going to try to keep up the momentum with Chapter 4, as I don’t want to lose sight of that. It’s very easy to let my wheels start spinning in the midst of the revisions on Chapter 3, with the result that I can’t really accomplish anything else. Now that the end of Chapter 3 is (I think) at last in sight, I should be able to resume concerted work on the final chapter. (Can I just say how glorious it is to write that final sentence).

Tomorrow is going to be a glorious day.

Dissertation Days (17): Headaches

Much as it pains me to admit it, this has not been a very productive day on any front. I managed to eke out some progress on Chapter 3, though I did nothing at all on Chapter 4. I had a bit of a pet emergency (Beast, my kitty, had an asthma flare, so a large part of the day has been spent fretting over here; she’s doing much better, thankfully). I also developed a splitting headache, so that ruled out a lot of work progress this evening.

Still, I did manage to do some copy and paste from earlier drafts of the chapter, so the section on queerness, Nero, and Quo Vadis is starting to slowly take shape in a coherent form. I’m still struggling to bring together the strands of queerness, colour, and the terrifying nature of history, but I think I have the avenue I need.

I’m trying to avoid a huge theory info-dump right in the middle of the discussion. I think I’m going to have to just winnow out any theoretical references that aren’t directly relevant to what I’m doing, and relegate the others to a footnote. I also have to find a way to bring together my discussions of queer theory in general and the queer film theorists that I’m also working with.

I think that I need to focus on just the queer theorist Kathryn Bond Stockton and her notion of the queer child and Lee Edelman’s notion of jouissance and the death drive. Now, if I can only make sure that they mesh with both my arguments about chromatic history, I think I’ll have something significant to say about how this film imagines history (I also have to make sure that it fits in with the preceding discussion of S&D and D&B). Lots of balls in the air. I do like a challenge.

Sigh.

Unfortunately, more work is probably not in the offing tomorrow, as I have more family obligations. Sometime, probably early next week, I should be able to get back into something of my normal groove.

Until then, I fear that the installments of Dissertation Days will be as sporadic as the actual progress I’ll be making on my chapters. Still, I’m going to carve out each piece as I can, and that will have to be good enough for now.

In my book, any progress is good progress.

Dissertation Days (15): Three Outta Five Ain’t Bad!

I know it’s been a while since I posted a dissertation update. My Parents and I lost a furry member of our family, so we’ve been grieving. Today, though, I knew I had to get back in the swing of things. And here we are.

So, this chapter of my dissertation has basically five complete sections: context (historical); context (theoretical); close reading of Samson and Delilah; close reading of David and Bathsheba; and close reading of Quo Vadis. There is also, of course, a very brief conclusion.

So far, I’ve managed to finish three out of those five, especially since I managed to finish up my close reading of David and Bathsheba. It’s a little briefer than the one about Samson and Delilah, but that’s okay. It’s basically meant to be a complement to that earlier reading, an elaboration of the many ways in which the historico-biblical epic engages with the question of desire and history.

Overall, I’m pretty happy with the way that this section turned out, and I think I’ve added some nuance to the ways in which scholars have already talked about the film. I really think that thinking about colour adds a new layer of understanding to the way in which the film engages with the question of history and desire. David and Bathsheba may not have attained quite the canonical status of some other epics of the midcentury period, it does, I think, deserve more critical consideration than it typically receives.

Tomorrow, I’ve got to get deep into the weeds on the section of Quo Vadis. I’ve thought about excising it from the chapter, but have opted not to. I do think there is a strong case to be made for the way in which queer desire in the film operates at the level of form, and it makes a compelling counterpoint to the question of female desire raised by the other films discussed. So, it stays in for right now.

I was planning on submitting this chapter later this month, but since I’ll be traveling for quite a while, I’m going to submit it around the middle of June. However,  I going to continue working on Chapter 4 (which I fully intend to do tomorrow, in addition to my other work).

There is still a lot of work, but I think most of it will be done this week.

It can be done.

Dissertation Days (14): Sometimes I Love What I Do

Today was one of those glorious day when the pieces at last started to fit together. It was a truly productive day, and I managed to finish the section of the chapter devoted to Samson and Delilah. 

finally found a coherent way of talking about the ways in which the terror and chaos of history is expressed through Samson and Delilah‘s emphasis on costume, fabric, and tactility. If you’ve ever seen the film, you can see the ways in which it expresses a very disruptive and chaotic form of desire, one that cannot be entirely contained by the conventions of narrative.

I really do think that I’m making a contribution with this line of argument, for I’m trying to work against a dominant strand of criticism that tends to see Delilah as little more than an object of the gaze, a femme fatale who is the screen onto which men project their fantasies and fears about women. To me, the period of the late 1940s and early 1950s is far too fractious and unsettled for that to be the whole story, and when you think about both the terrors of modern history and the essentially unruly nature of color as a formal element of cinema, you get a very different picture of the epic films of the period.

I didn’t get to finish my section on David and Bathsheba, alas, though I did hash out the thesis of that section so that it’s a little more clarity, so at least I accomplished that. There isn’t quite as much to do with that section as S&D, since it was always a bit clearer.

That just leaves the last section on Nero and Quo Vadis, and that is definitely going to take a couple of days to both write and make sure that it fits with the rest of what I’ve already been doing. Still, with grit and determination I know this can be done. I know it.

At the rate I’m going, I should be ready to submit this revision before the end of the month. That basically means I’ll have taken about a month and a half to make some pretty significant revisions, so I’m okay with that. Even if it needs another round, I think that the next bit won’t take as long.

Once it’s done, I’m on to Chapter 4. Onward and upward, friends.

Onward and upward.

 

TV Review: “Feud”–“You Mean All This Time We Could Have Been Friends?”

So, we come at last to it, the finale of the first season of Feud. I’m still not sure that the series needed all 8 episodes that it got in order to get to this point, but I do think that it told a good story, solidly acted, and beautifully shot. It may not go down in history as one of the greatest TV series, it is nevertheless a solid part of the Murphy oeuvre, a testament to his ability to imprint his vision on Hollywood history.

Whereas earlier episodes showed Lange’s Crawford slipping into moments of high-strung histrionics, this episode sees her bowing out with a measure of pathos-drenched grace. This is the Joan whose body has begun to fail her, first in the rash of dental problems that are the result of her having molars extracted in her youth to give her cheeks a more carved appearance, and then when the cancer that will take her life starts to take its toll. She gradually withdraws into her apartment, determined at the last to maintain a measure of dignity despite everything else (this becomes an especially acute issue after a photo that she deems unflattering sees the light of day).

The episode makes no secret that Joan’s career was definitely the one that fizzled out much more ignominiously than Davis’s. (While you wouldn’t know it from this episode, Davis would actually go on to have several more notable film appearances, even costarring with Lilian Gish in The Whales of August). One cannot but feel sorry for Joan, that one of the giants of the screen should be reduced to playing in a film such as Trog. Even there, though, the series does show that she continued to be a consummate professional, working with all of her considerable skills to bring an element of craftsmanship to this inglorious position. She faces every new humiliation with aplomb, even though she is truly working in less-than-ideal conditions.

The highlight of the episode is, of course, a fever dream in which Joan sees Hedda, Jack, and Bette gathered in her living room. There ensues a conversation  in which Bette and Joan at last say the things to each other that they never said in life. As with the rest of this episode, the moment is laden with ambiguity, a potent and pathos-laden incident in which we are treated to a world that might-have-been. It’s a moment when both Bette and Joan are restored to their former glamourous glory, and they can at last be honest with one another.

Of course, the fantasy cannot last, and the scene abruptly shifts to Joan sitting alone in her dark living room, her long hair askew. The fantasy has been punctured, and the revelation that Joan died shortly thereafter makes the scene all the more poignant. When Bette responds to the death with a cruelly offhand remark, we’re left wondering if she does it out of a residual sense of bitterness, a lack of feeling one way or another, or just because by this point it’s what she’s expected to do.

The last scene is one that is also laden with ambiguity, as we are shown a scene in which Bette and Joan, on the first day of shooting for Baby Jane, both think that is the beginning of a beautiful new friendship. But, of course, the past 8 episodes have shown us that that is a hope that remains unfulfilled, that the dark forces of male Hollywood will always come in between them. This sequence ultimately raises more questions than it answers: Is this a flashback to what actually transpired on the first set of the film, a moment of utopian longing for a friendship that could have been? Or is instead just that, a utopian figment, a figment of the imagination, a cautionary tale about the dangers of Hollywood feuding (and, by implication, our complicity in consuming this narrative?)

And of course the last shot is the most heartbreaking of all, as the two actresses, both of them larger than life, both of them outshining many of the stars who would come in their wake, go to their separate dressing rooms. It’s a moment laden with a melancholy significance, as we in the audience are left to mourn a friendship that never was, just as we were left to contemplate the tragedy of Joan’s final delusion, in which she imagines a rapprochement that never took place but which we wish might have, as it would have offered both of them an opportunity to unite against the system that worked so stridently to keep them apart.

In the final analysis, I think Feud is a thoroughly good show. Is it one of the greatest or even great on its own terms? I don’t think so. It tends to rely too much on cleverness and surface, and there are some questionable historical choices (and even more questionable accuracy). As with so many Ryan Murphy projects, it tends to be better in concept than in execution. Still, as a student and amateur historian of classic Hollywood, I’m excited that it was made, and I’m glad that it has brought such increased visibility to a period that has only recently begun to get the respect and attention that it deserves.

If I have one major complaint about the series, it’s that it tends to focus too much on Joan at the expense of Bette. This wasn’t as noticeable early in the series, but as it went on it was very clear that Murphy was more invested in her side of the narrative than Bette’s. She gets to have more of the tender moments–particularly in this last episode, where we see her visibly touched by the love of one of her daughters–whereas Bette is always seen as the tower of strength. That by itself isn’t necessarily a bad thing, though it does tend to skew the series in Joan’s favour.

Overall, I’m glad that Feud was made, and I am very glad that I stuck with it to the very end. While I tend to fall of the wagon with Murphy’s series, for once he made it worth sticking with him.

Long live Bette and Joan.

Dissertation Days (13): Breakthroughs

Somehow, it seems that revision and incremental writing seems to take so much more energy and time than producing new material. It’s one of the bitter ironies of writing a new chapter draft. As a result, it took me several hours to work my way through a mere few pages, but luckily I had some substantial breakthroughs.

This came about as I was finishing the section on queerness and communist subversiveness. It actually provided me with the final piece of the puzzle that I needed, so that I can finally make a compelling and (I hope) original point about the way in which Nero’s queerness in Quo Vadis works as an expression of the pleasure of terrifying history. There’s nothing like a bit of collective queer fantasy to encounter the ineffable nature of history, am I right?

Still, despite the fact that today was a bit of a slog, I made good progress today. The queer section is pretty much done in its broad contours, and the same is also true of the section on colour. A little more fine-tuning might be needed to make sure that that section is ready for submission, but overall I think it does the work that it needs to do.

Since this is a pretty large and complex chapter, I’ve found that I’ve had to use a bit more signposting than I usually do, just to make sure that the reader is able to follow my logic and understand why I’m including the evidence that I do. It does pad out the chapter, but I personally think it’s helpful to have those rhetorical bits when you’re dealing with a 40-50 page piece of academic writing.

I’m quite happy with the way that this day turned out, really. The queer section was a hot mess this morning, and now it feels like it actually works in the chapter as a whole. Not too bad, if I do say so myself. Now I don’t actually feel bad about not doing any work tomorrow.

Yes, you read that right. I am indeed taking off tomorrow. Then it’s back to work on Monday to finish up the close reading sections of both Samson and Delilah and David and Bathsheba. Once those two sections are done, the home stretch will finally be in sight. What a glorious feeling.

It’s going to be a great day. I can feel it.

Dissertation Days (12): No Rest for the Weary

Well, I have to break my habit of taking weekends to do creative writing (so no Novel Weekends this weekend, alas), in order to make sure that I continue the momentum with this chapter. I can still see the finish line in the distance, but if I don’t want to lose sight of it I have to keep moving.

I’ll be honest, though; it feels like this revision is eating up my entire life. Ugh. This is what happens when your first draft is a bit of a hot mess (even though it took like 8 months to write). Still, I just have to remember to be patient with myself. Sometimes, the more complex an idea is, the longer it takes to eloquently and coherently articulate it.

Today was a bit of a mixed bag. While I finished up a few sections, there are still that are a bit glaring in terms of their inconsistency. However, the section on female sexuality is almost complete (should be able to definitively finish it tomorrow), and I aim to also finish the section on sexuality and queerness as well. I might even (if I’m extraordinarily lucky and determined) make it most of the way through colour. I was particularly happy with the way that my discussion of fashion turned out today; hoping for more of that sort of breakthrough tomorrow.

Once again, I managed to trim out a few pieces of superfluous material, which I did through a combination of deletion and relegating things to footnotes. I’m well aware that most people don’t even read the damn things, but there are, I think, little tidbits and supplementary information that can’t necessarily be included in the main body of the text but that you want to see the light of day.

So, tomorrow is going to be a busy day. Sunday, alas, is a bit out of the running for work of any kind, though I might be able to squeeze a few pages of the close reading of Samson and Delilah. If not, I am definitely going to try to get both that section and the one on David and Bathsheba done on Monday.

The chapter is sitting at around 18k words, which is pretty long, but I am determined to keep this under 20k. Anything longer than that, and I fear that it is going to lose focus altogether.

But, onward.

And.

Onward.