Dissertation Days (37): Back to Work

After a very rough weekend, I got back into the swing of things today with some decent work on Chapter 4. I only wrote 500 words, but I do see the entire chapter starting to cohere in a way that it didn’t before. I’m still not entirely certain that the pieces are all knitted together as tightly yet as I would like, but that should arrive soon.

Nowadays, I’m not so sure that the version I’ve been writing will be the absolute final version. I think it may take one more to make sure that everything appears as I want it to, and a great deal of how I proceed will stem from how much my adviser likes (or does not like) Chapter 3. Still, I am confident that I can have a draft of this chapter fairly ready for submission by the end of August, though I can also push it off to the end of September if need be.

Overall, the chapter is standing at about 9,500 words, so I would say that it’s about 3/5 done (I’m aiming for a 15,000 word limit). This will be one of my shorter chapters, but I’m happy with that. Sometimes, it really is better to focus on writing concisely rather than expansively.

In terms of what I produced today…well, I sketched in a few blank spaces in the historical context section. It wasn’t anything terribly complicated, to be perfectly honest, but hopefully those sentences will be the seeds for future development. More promising was the material I produced about Cleopatra. The more I reflect on this film–its industrial context, the plot, the formal elements that it mobilizes–the more fascinating it becomes. As I’ve said many times before, it seems to me that this film is critically undervalued, and I hope that my analysis of it helps others to see that, despite its weaknesses, it really tries to engage with the historical questions and pressures of the time.

At some point in the near future, possibly as later this week, I am going to go back and start revisiting my earlier chapters. I honestly haven’t looked at them that much since they were approved, and I want to start the revision process on them before it gets too late.

Given that tomorrow is a holiday, I might take a little time off to clean and work on the Novel. Then on Wednesday it’s back to work.

Dissertation Days (36): DONE

Well, the biggest news of the day is that Chapter 3 is, at last, finished and submitted. I think that it is a much stronger version of the chapter than earlier, so there is that to be proud of. It might be a while before I hear back about it, but I’m okay with that.

Now, on to Chapter 4. Today was one of those great days where the juices just seemed to be flowing in the right amount. I managed to bang out 1,000 words of the chapter (and most of them good ones!) before the rest of my life interrupted me. I’ve gotten into a bit of a flow with this chapter, and that is definitely a blessing. I’d really rather avoid the rut that kept me bogged down in Chapter 3 far longer than I would have liked.

I’m really hoping to rewatch Cleopatra this weekend, as I need the details that such a re-watch will provide me. But, for those of you who have seen it know all too well, it’s an obscenely long movie, and thus quite an investment in a weekend that’s already quite packed. However, even if I just manage to watch a part of it, that will still provide me enough material to work with for next week’s composition.

I also have a pretty extensive research program lined up for the next week. The broad strokes of the historical context is there, but I need to start filling in the details. The hard part will be making sure that it’s clear how this context fits in with the close readings, but I wrote a couple paragraphs devoted to that today. I’m not sure they’ll survive into the final draft in their present form (they’re a bit ham-handed, tbh), but for the moment they are serving their purpose.

Ugh. It’s getting to that point where I can’ just throw words on the page anymore. Now that I’ve reached the 8,000 word mark (a little over half), I’ve got to really start drilling down into precision. That’s always the hardest part for me, because it means that shit is really getting real. At the same time, it’s also the point at which, if you really squint, you can see the finish line of the chapter (and of the project) in the distance.

That’s a good feeling, but also a terrifying one.

But, I march onward.

Good times ahead.

Dissertation Days (31): Work, Work, Work

Overall, I think this was a better work day than yesterday. I actually managed to go beyond my 1,000 word goal for Chapter 4, and my re-reading of Chapter 3 made me feel like it’s not total dreck after all. Of course, that could be the caffeine talking, but I do like to think that this draft shows significant improvement from its predecessor.

If I have one complaint about Chapter 3, it’s that I think it’s still a bit bloated. If my adviser suggests it, I think that I will take out about 10 pages of excess, both in the context and close readings sections. It’ll work for right now, but there’s no question that the project as a whole can be a bit leaner. There is, though, a certain appropriateness to having a chapter about epics be too long. However, I’m not sure that my adviser, or my committee as a whole, will view it in the same light. There is something to be said, after all, for concision.

Chapter 4 is still coming apace. I felt better about the material I produced today than I did yesterday, both in the section about Cleopatra and about Fall of the Roman Empire. I still can’t quite shake the feeling that this will be the least dynamic and original of my chapters, but I suppose that’s an acceptable thing.

I am also not entirely sure how I’m going to fit my discussion of John Huston’s The Bible in there, though there are moments when I see how it fits. If I have to, I may eventually end up moving it to some sort of conclusion, but for the moment I’m going to keep it where it is and continue to hope that its connection to the other parts of the chapter becomes clearer as I go along.

Tomorrow, I am going to start my final read-through of Chapter 3, focusing on smoothing out any remaining rough edges, as well as making sure that the bibliography I have is the updated one (especially since I deleted some entries for this revision). I’ll also have to make sure that I fill out some of the footnotes that are still missing information.

Furthermore, I think I will only write 500 words of Chapter 4 tomorrow. I really want to get Chapter 3 knocked out ASAP, so I’m afraid that has to be my priority.

Onward and upward, as I always say. Onward and upward.

Dissertation Days (29): Good Feelings (Mostly)

Today was a very good day indeed in terms of revision and writing. Though I am rapidly approaching the point in Chapter 3 where I’m not hugely fond of my work, a part of my brain still recognizes that the chapter as a whole is much stronger than its earlier iterations. However, I also know that it’s just about time to get it submitted, before I pull one thread too many and the whole piece falls apart.

That being said, I like how the close reading sections have turned out. There are a few blips here and there, with both conceptual issues and prose, but those (I think) can be safely pushed off to a further round of revision after the adviser sees it. I think that the whole thing is hanging together pretty well, but I fear I’m becoming so enmeshed in the midst of it that it’s a bit hard at this moment to see it with an unjaundiced eye.

Chapter 4 is also in a strong position, stronger in fact than at an any other point. Part of this is due to the book I’m currently reading about Cleopatra’s iconography that has really helped to add some contextual heft to my analysis. Fortunately, there isn’t a huge amount of work on the 1963 film that takes it seriously as an engagement with history, so I think that will probably be the strongest part of the chapter.

At some point soon, I am going to have to go back to Chapters 1 and 2 and undertake some of the outstanding revisions there. I don’t think that will take that long, necessarily, but I’d like to knock it out before it gets too much later in the summer. After all, while I have several months left to finish it, I know full well they are going to speed by much faster than I’d like. But, such is the nature of the world alas.

Tomorrow, it’s more work on Chapter 3. I am hoping to finish that by the end of the week, let it rest over the weekend, then submit early next week. Chapter 4 will require 1,000 words tomorrow. I’m hoping to get all of that done early in the day, but we’ll see how that turns out.

There’s much yet to be done, but I feel good about my progress. If only that damned Chapter 3 will get approved…

Wish me luck, friends!

 

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 (23): Is this the End?

At the end of Quo Vadis, the delightfully queer Nero (played by Peter Ustinov) declaims: “Is this the end of Nero?”

I’ve now been led to ask: “Is this the end of Chapter 3?” Fortunately, I think that it just might be, or at the very least that I’m closer than I have been for a long time. I’ve pretty much finished with the third section (the one that discusses Quo Vadis), and now that leaves only the conclusion to really flesh out. Fortunately, I wrote the majority of that some time ago, so that shouldn’t take too long to finish.

Needless to say, I feel really good.

While there is some material that I want to reflect on more–there’s still a little bit of something that continues to elude my attempts to capture and put it on paper–I have come to accept that this isn’t the last version of this chapter that I will ever write. Indeed, it will probably go through several further iterations before that wonderful day when it finally sees the light of day as part of a book.

In Chapter 4 news, I think I have finally found the missing theoretical piece that has so far been eluding me. I’ve been reading an excellent book about spectacle in classic Hollywood (by Tom Brown), and his articulation of the vertical axis of spectacle vs. the horizontal one of narrative that I find really helpful.

It is in his essay on Gone with the Wind for the British film journal Screen, though, that I find to be especially useful, as he shows how the “historical gaze” mobilized by Scarlett enables her command a measure of agency denied many of the other characters.

As I work through Chapter 4, I think I am going to make the argument that the later epics of the midcentury cycle allow some characters a measure of Brown’s historical gaze, even as it denies it to others. It is the power of the spectacle that allows these characters to forge their own political destinies, to allow the film to remain suspended in a moment of profound, utopian potential, even as the inexorability of narrative ultimately brings ruin to these grandiose ambitions.

That’s what I’m thinking for the chapter now, though I hope to continue nuancing it based on historical context.

Time is ticking, and I have to tick with it.

(I don’t know what that means).

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 (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.

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 (10): Bits and Pieces

Well, friends, I wasn’t quite as productive as I should have been. It was a busy day of meetings and such, and that prevented me from working on what I had intended to. I just need to remind myself that it’s okay if I don’t meet my goal every single day. Sometimes, it’s not going to be possible for one reason or another, what with grading, editorial stuff, and just general life.

However, I did manage to chip away at a few paragraphs that were giving me a particularly large amount of trouble. I even managed to craft this sentence about the visual contrast between the Philistines and the Danites: “The color scheme, bifurcated as it is along lines of power and prostration, registers the essential brutality of history.” This, in fact, helped me to clarify some of the issues that I’ve been struggling with, and I think it actually may end up being the linchpin for the whole chapter. As I go on to discuss in the rest of the chapter, the spectacle of color provides an immediate experience of the violence of erotic history.

Also, while I’m thinking of it, I also managed to weed out several of my “couplets.” I have this nasty habit of pairing up two nouns (or two adjectives) to round out a sentence. For example, I almost wrote “the violence of the erotic and of history” above but changed it. I don’t know whyI have this habit, but I’m working on breaking it.

I also managed to revise several of the paragraphs associated with my close reading of Samson and Delilah, so that actually felt good. That particular reading is beginning to cohere nicely, and I hope to have it done by early next week (though that means I might have to work during part of the weekend).

There might be a little bit of productivity left in me tonight, but I honestly rather doubt it. However, I do feel like I can get at least 10 pages revised tomorrow, as well as my customary 500 words of Chapter 4. If I’m really lucky, I might even make it entirely through my historical context section. Wouldn’t that be something?

I have to get a lot done in the next couple of days, before the travel-heavy May and June begin.

Sigh. There is, as they say, no rest for the weary.

So, on to another day.