The Sentimental Drama: Nostalgia, Historical Trauma, and Spectatorship in 1940s Hollywood
2012; Taylor & Francis; Volume: 29; Issue: 5 Linguagem: Inglês
10.1080/10509201003719290
ISSN1543-5326
Autores Tópico(s)Theater, Performance, and Music History
ResumoClick to increase image sizeClick to decrease image size Notes 1. Richard Maltby, “Post-Classical Historiographies and Consolidated Entertainment,” in Contemporary Hollywood Cinema, ed. Steve Neale and Murray Smith (London: Routledge, 1998), 40. 2. Jeffrey Sconce, “‘Trashing’ the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style,” Screen 36 (1995): 371–93; Joan Hawkins, Cutting Edge: Art-Horror and the Horrific Avant-garde (Minneapolis, Minn.: University of Minnesota Press, 2000). 3. Paul Willemen, “Distanciation and Sirk,” Screen 12.1 (1971), reprinted in Imitation of Life, ed. Lucy Fischer (New Brunswick, N.J.: Rutgers University Press, 1991), 272. 4. Much of this line of inquiry is captured in Home is Where the Heart Is: Studies in Melodrama and the Woman's Film, ed. Christine Gledhill (London: British Film Institute, 1987). See especially Linda Williams, “‘Something Else Besides a Mother’: Stella Dallas and the Maternal Melodrama,” pp. 299–325. Also, Mary Ann Doane's reading of Caught (1948) hinges on the film's role dilemma—Desire to Desire: The Woman's Film of the 1940s (Bloomington, Ind.: Indiana University Press, 1987). 5. Thomas Schatz, Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Pantheon Books, 1988), 372. 6. See for instance Robert Burgoyne, The Historical Film (Blackwell Press); Sue Harper, Picturing the Past: the Rise and Fall of the British Costume Film (London: British Film Institute, 1994). 7. James T. Patterson, Grand Expectations: The United States, 1945–1974 (Oxford: Oxford University Press, 1996), 9. 8. Lea Jacobs, The Decline of Sentiment: American Film in the 1920s (Berkeley, Calif.: University of California Press, 2008). 9. The Secret Garden poses an unusual mix of gothic and sentimental elements. 10. Schatz, ibid. 11. Chris Cagle, “Two Modes of Prestige Film” Screen 48 (2007): 291–311. 12. Kyle Dawson Edwards, “Brand-Name Literature: Film Adaptation and Selznick International Pictures’ Rebecca (1940)” Cinema Journal 45.3 (2006): 32–58. 13. Roland Barthes, “Myth Today,” in Mythologies, trans. Annette Lavers (Hill and Wang, 1964), 109–159. Barthes’ example is “Sininess” for the idea of China presented by Second Empire French culture. 14. Stephen Heath, “Film and System: Terms of Analysis, part I” Screen 16.1 (1975): 37. See also Heath's discussion of “style” in “Narrative Space,” in Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen (New York: Columbia University Press, 1986), 403. 15. See, for example, Devin Orgeron, “La Camera-Crayola: Authorship Comes of Age in the Cinema of Wes Anderson” Cinema Journal 46.2 (2007): 40–65. 16. By comparison Mr. Blandings Builds His Dream House, a non-prestige A-picture from the same year, had a budget of just under $1.9M. Budget numbers from The RKO Studio Collection, Arts Library Special Collections, University of California, Los Angeles, folders RKO-P-166 and RKO-P-171. 17. See especially Adam Lowenstein, Shocking Representation: Historical Trauma, National Cinema, and The Modern Horror Film (New York: Columbia University Press, 2005) and E. Ann Kaplan and Ben Wang, eds., Trauma and Cinema: Cross-Cultural Explorations (Honk Kong: Hong Kong University Press, 2003). 18. For example, Georg Schmundt-Thomas, “Hollywood's Romance of Foreign Policy: American GIs and the Conquest of German Fräulein.” Journal of Popular Film and Television 19.4 (1991): 187–97. 19. Letter from Fred Zinnemann to Lazar Wechsler, December 2, 1946, Fred Zinnemann Collection, folder 57–779, Margaret Herrick Library, The Academy of Motion Picture Arts and Sciences, Los Angeles, Calif. Other correspondence from 1946 and 1947 details the strained relationship between Zinnemann and his Swiss partners. 20. Review of Little Mr. Jim, Daily Variety, June 5, 1946. 21. Percy W. White, “Stage Terms,” American Speech 1.8 (May 1926): 437, quoted in Jacobs, The Decline of Sentiment. Jacobs notes how the industrial trade press attached the label of hokum to the sentimental drama far more than to comedic films; see page 82. 22. For a comparable reading of ideology as repression of historical circumstances, see Linda Williams, “Mildred Pierce and the Second World War” in Female Spectators: Looking at Film and Television, ed. E. Deidre Pribram (New York: Verso, 1988), 12–30. 23. Lowenstein, Shocking Representation; Akira Matsuka Lippit, “The Death of an Animal,” Film Quarterly 56.1 (2002): 9–22. 24. Robert Griffith, “Forging America's Postwar Order: Domestic Politics and Political Economy in the Age of Truman,” in The Truman Presidency, ed. Michael Lacey (Cambridge: Cambridge University Press, 1991), 59. 25. E. Ann Kaplan and Ban Wang, “Introduction: From Traumatic Paralysis to the Force Field of Modernity,” in Trauma and Cinema, ed. Kaplan and Wang. For a theoretical consideration of trauma and witnessing as means of apprehending the Holocaust, see Shoshana Felman and Dori Laub, Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History (New York: Routledge, 1992). 26. Kaplan and Wang, 9. “Category E” from Jean-Luc Comolli and Jean Narboni, “Cinema/Ideology/Criticism” in Film Theory and Criticism: Introductory Readings, 5th ed., ed. Leo Braudy and Marshall Cohen (Oxford: Oxford University Press, 1999), 752–759. 27. “There is a serious questions in our minds as to the exact nature of the feeling of the little girl, Meg, toward Mademoiselle Bouchet. Certainly, there should not be the slightest whiff of suspicions that there is anything unnatural about her adoration of the ballerina. We believe the intent to be that the child's attitude is one of hero-worship, and there should be no question at any time that it is otherwise.” Letter Joseph Breen to Louis B. Mayer, August 15, 1946, The Production Code Administration files, Margaret Herrick Library, The Academy of Motion Picture Arts and Sciences, Los Angeles, Calif. 28. Linda Williams, “Film Bodies: Gender, Genre, and Excess” Film Quarterly 44.4 (1991): 2–13. 29. Karl Schoonover, “The Comfort of Carnage: Neorealism and America's World Understanding” in Convergence Media History, ed. Janet Staiger and Sabine Hake, (London: Routledge, 2009), 127–138; “Realism at a Distance,” in European Film Theory, ed. Temenuga Trifonova (New York: Routledge, 2009), 301–318. 30. Steve Neale, “Melo Talk: On the Meaning and Use of the Term ‘Melodrama’ in the American Trade Press,” The Velvet Light Trap 32 (1993): 66–89; Jacobs, Decline of Sentiment
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