Domestic Melodrama as Genre (2010 Discussion)

Molly Haskell

1. Group 3: What three types of women does Haskell find in the woman's film? Who would be a recent example of each type?
2. What are the woman's film's four main themes? Do you see them operating in the two melodramas we've viewed: Ordinary People (Group 4:) and Imitation of Life (1934--Group 1:)?
   • How about in a recent American film?
3. Group 2: How is hostility toward children expressed in the woman's film? Have you seen it in a recent American film?
4. All Groups: What impact does the issue of race have on the woman's film? Compare/contrast the white and black mothers (Bea and Delilah, respectively) in Imitation of Life.
5. All Groups: What theme does Haskell see that entwines the domestic and the romantic?

Christine Gledhill

1. Group 4: How did melodrama become "respectable" in academic circles? In particular, what does it mean to "read" a film "against the grain" (p. 6)?
2. Group 1: What four "points of tension" does Gledhill see in 1970s film criticism about melodrama?
3. Group 2: Gledhill discusses Coma, Witness, and The Color Purple as melodramas descended from silent melodrama such as Way Down East (1920). What key aspects of melodrama does she see in these newer films? Can you think of recent films or TV programs that also contain these aspects?
4. Group 3: What were "patent theaters"? How did "illegitimate" theaters get around the restrictions of the patent system? When were restrictions lifted in England and France?

Juno (directed by Jason Reitman, written by Diablo Cody, 2007)

1. Compare/contrast Juno with Imitation of Life? How does Juno use (or not) themes from 1930s melodrama? How does it compare/contrast with Ordinary People?
   • Group 4: How are mothers represented?
   • Group 1: How is the theme of sacrifice represented?
   • Group 2: How is the conflict between domestic love and romantic love represented?
   • Group 3: How is the iconography of the middle-class (or UPPER middle class) home represented? What does it mean?

Thomas Elsaesser Pronounced "ell-SASS-sir".

1. Elsaesser's article has two goals:
   1. Tracing the "melodramatic imagination".
   2. Searching for "some structural and stylistic constants" in the melodrama, 1940-1963.
2. Group 2: Considering #2 above: What does Elsaesser mean by melodrama's "expressive code" (p. 51)? In particular, what does he mean when he says that melodrama contains "a sublimation of dramatic conflict into decor, colour, gesture and composition of frame" (p. 52)?
   • The melodramas we've seen so far (Ordinary People, Imitation of Life, and Juno) mostly do not illustrate his point. Can you explain why they do not? We will have to wait until the Sirk version of Imitation of Life to see this sublimation in action in the melodrama, but how might this same point be made about film noir?
3. All Groups: Elsaesser uses numerous Freudian concepts in this article, especially in the section titled, "Where Freud left his Marx in the American home" (p. 58-). Can you define any of these and can you explain how Elsasser is applying these concepts to melodrama?
   • Fehlhandlungen, or Freudian slips (from Psychopathology of Everyday Life)
   • Displacement
   • Condensation
   • Manifest dream content
   • Latent dream content

External links

1. Juno illustrations.

Bibliography

1. Molly Haskell, "The Woman's Film," in From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1974; revised edition 1987) 153-188.
2. Christine Gledhill, "The Melodrama Field: An Investigation," Home is Where the Heart Is: Studies in Melodrama and Woman's Film, ed. Christine Gledhill (London: British Film Institute, 1987) 5-39.

Merged topics

This article merges Domestic Melodrama as Genre (Discussion) and Domestic Melodrama Since World War II (Discussion) in an attempt to make up for a missed discussion session during spring 2010 semester.