Black Hat, White Hat:
Melodrama, Politics & Culture
Media Studies 392, Emory University
The rhetoric addressing social or political “evils”–and the focus on victims–connects the black hat, white hat tradition with social-realist melodramas (Sirk), political sagas (D.W. Griffiths) and the socialist propaganda epic (Eisenstein).
Our Work in Progress
This class is designed as a small seminar, meeting in Anthropology 107, TTh 1-2:15. Weekly screenings (or labs) are required. Screenings can usually be done on your own but a total of six lab sessions must be attended f2f. If you have taken these labs for another class and retain the skills, you are excused. Labs meet Wednesday 5-7, usually in White Hall 205 or a Cox classroom. Lab office hours will be held W 3-5, location TBA.
Office hours: Tuesdays 4-6 and by appointment, Rich 212. firstname.lastname@example.org, marcbousquet.net
In this introductory survey, you should learn to:
Demonstrate familiarity with some of melodrama’s major works and figures.
Identify the characteristics of melodrama in film, television, and other media, as well as some of the core questions raised by scholars and critics.
Explore the use and abuse of melodramatic art and political speech in the U.S. and globally.
- Midterm: Research Website
- Final: Civic Engagement Project using melodramatic speech and/or melodramatic art
- Informal Writing: One weekly blog post of 150-250 words; discussion; independent reading; digital storytelling and other forms of participation, including Your First Website
I assess your efforts holistically. This means that I look at the whole portfolio of work you’ve produced in the class. With respect to any given assignment, such as your first website, it is ok to try hard and still fall short. On the other hand it’s never ok not to make an effort. How to get an A? Read more on grading and othercourse policies, including my approach to teaching.
Your costs include web hosting and bundled software, typically $50 for 1 year or 2 years for $80 (recommended). Much of the reading is circulated in free pdf. Your total including textbooks should be around $150. That estimate will vary depending on the format in which you acquire textbooks, and on discounts available at the time you sign up for hosting. Links to copyrighted material are for disambiguation. Texts to purchase:
Linda Williams, Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson
Marcia Landy, ed. Imitations of Life: A Reader on Film and Television Melodrama
Assignments change every term, but you can see recent student work from this course. Joey Benevento Jenny Zhou Chang MengLaura Flint Natalie Sterrett Saher Fatte Meg Airey Vivie Lee Yuchen ZhangPaloma Bloch Philip Maghen Ean Kitchens Grace Kim Katrina Peed Izzy KornmanVirginia Spinks Sheena Desai Helen Zehan HouSam NichaminNick LalJoseph North Cody PerezChelsea Walton Gideon Weiss Ajay Harish
Tu Jan 10: In class screening: selections from Rocky and Bulwinkleand a Perils of Pauline tribute compilation; clips from Star Wars, Predator, Omega Man, Thelma and Louise, a Sirk tribute, and Sweeney Todd. Join the course blog.
INTRODUCTION: Culture and Politics
Th Jan 12 Read: Bousquet, Harry Potter, the ‘War on Evil,’ and the Melodramatization of Public Culture On the course blog: Quote a few lines of a Harry Potter novel or other cultural artifact that seem melodramatic to you. Explain why. Rewrite the passage in a non-melodramatic way.
Tu Jan 17 Screen on your own: The Woman in Grey, episode 9 Burning Strands, and 10, House of Horrors Discuss: Ben Singer, Melodrama and the Consequences of Capitalism, Chapter 5 of Melodrama and Modernity. In class: Join class blog.
Th Jan 19 Read: Manifesto of the Communist Party. No later than midnight on the Wednesday before class: Use the course blog to identify elements of the Manifesto that seem melodramatic to you. Explain your reasoning. In class: Purchase hosting from InMotion.
Tu Jan 24 Perform and discuss Dion Boucicault, The Poor of New York. In assigned groups out of class, do selective staged readings of the plays. Use the course blog to identify two or three very short passages (5 minutes total performance) that your group might perform in the class. You do not have to memorize the lines, but you should make time to rehearse. Try to focus on scenes that allow you to critique or celebrate melodrama. Explain your choices on the blog.
Wed Jan 25, 5pm LAB #1: INTRODUCTION TO BOLDGRID AND WORDPRESS. Create a multi-page hubsite; customize a Boldgrid theme; basic web development tools; creative commons choices; Networked Self exercise, seeking melodramatic ties.
Tu Jan 31 Cawelti in Landy. Screen on your own: Indiana Jones and the Temple of Doom (Spielberg, 1984); In class: Scenes fromGunga Din (Stevens, 1939); Gunga Din (Kipling, 1892); a trailer and art from Sergeants 3 (J Sturges, 1962)
Wed Feb 1, 5pm LAB #2 CREATING A SUBDOMAIN WITH A DIFFERENT THEME; BASIC TOOLS: Learn how to use Google Fonts, Font-Image Generators, Tablepress, etc.
UNIT 1 Sirk, Fassbinder, The Family and Social Melodrama
Th Feb 2 Elsaesser in Landy. Screen on your own:Guess Who’s Coming To Dinner (Kramer, 1967)
Tu Feb 7 Affron in Landy; Polletta, The Limits of Plot Screen on your own: Freaks and Geeks episode 1; In class: scenes from The Simpsons, The Middle, All in the Family
Wed Feb 8, 5pm LAB #3 HOW TO MAKE A RESEARCH WEBSITE; THE PURPOSE OF A LITERATURE REVIEW
Th Feb 9 Schatz in Landy. Screen on your own: Written on The Wind (Sirk, 1956) In class: scenes from The Beverly Hillbillies, The Honeymooners, 2 Broke Girls
Tu Feb 14 Polletta, Narrative and Social Movements Screen on Your Own: Orange is the New Black, Lesbian Request Denied (S1 Ep3) and You’re The Worst , There Is Not Currently A Problem (S2 Ep7)
Wed Feb 15, 7pm SCREENING, 205/208 White Hall: The First Legion (Sirk, 1951)
Th Feb 16 Francesca Polletta, “It was like a fever:” Narrative and Identity in Social Protest. Discuss The First Legion
Wed Feb 15 Lab #4 Presentations, Memes, Infographics & Explainer Videos
Th Feb 23 Kleinhans in Landy. Read 1/3 of US!
Tu Feb 28 Finish US!
Th March 2 Rodowick in Landy. Screen on your own: Madea Goes To Jail (Perry, 2009) Approval of midterm research topics
UNIT 2 Please Don’t Let Me Be Misunderstood: The Hidden Virtue of the Violent Avenger
Tu March 14: Screen on your own: First Blood (Rambo I, Kotcheff 1982) ; In class: scenes from Dirty Harry (Siegel, 1971) and Hardboiled (Woo, 1989)
Th March 16: Screen on your own: V for Vendetta (McTeigue, 2005) ; In class: scenes from Batman (TV serial,1966-1968)
Tu March 21 : Screen on your own: Sweeney Todd (Burton, 2007) In class: scenes from The Fugitive
Th March 23: Screen on your own: Thelma & Louise (R. Scott, 1991)
Monday, March 27: Research website due
UNIT 3 Race and the Zombie Apocalypse
Tu March 28 Williams, ch 1 + 2. In class: Walt Disney, Mickey’s Mellerdrammer (1933, 8 mins)
W March 29 Lab #5 Tutorial on Video: Shooting, Sound, Editing
Th March 30 Williams ch 3. Screen on your own: Battleship Potemkin (Eisenstein, 1925) In class: scenes from Birth of a Nation (Griffith, 1915)
Tu April 4 Gould, in Polletta, ed. Screen on your own: Birth of a Nation (Parker, 2016)
W April 5 Lab #6 Tutorial on Tactical Media
Thu April 6 Screen on your own: Omega Man (Sagal, 1971) + Fradley, Maximus Melodramaticus: Masculinity, Masochism, and White Male Paranoia.
Tu April 11 Williams, conclusion. Screen on your own: Aliens (Cameron, 1986) and an episode from Santa Clarita Diet (Netflix, 2017)
Th April 13 Screen on your own: Episodes from Cops and The Wire
Tu April 18: Screen on your own: White Zombie (Halperin, 1932) In class: Zombie sketches by Key and Peele
Th April 20 Last class
Final project due May 7, 2017, 5pm