I realise it’s been a month since I last did an update and while I’ve been really busy and have accomplished things in the meantime, I think I’ve been missing this time to reflect on what I’m doing. I do feel like I’m making progress which is great of course but every now and then I hit a problem that sends me back a step.
Finishing a first draft of the first chapter feels really great and like I have some tangible evidence that I’m getting somewhere. The feedback on it from my supervisors was so helpful and insightful and it’s incredibly comforting to know that my work will only get better and tighter with that guidance. Now though, it’s past time to get stuck into the meaty parts of the thesis.
I’ve been working on Elizabeth (1998) and I’m not entirely sure why I started with this film. I honestly think I just had it on the brain and I guess it’s the most visible depiction of Elizabeth I in recent decades. I’ve been going over those key scenes in it that I think are pivotal to understanding her representation, particularly in regard to gender. The more I go over them the more things I notice which is great. I’ve tried to go over them, first just in general a bunch of times and them with specific things in mind, like space, lighting, camera angles, performance etc. I’m particularly interested in the way Kapur uses light and colour to differentiate Elizabeth from the other characters, particular as this is also a moral differentiation. He creates a real visual dichotomy between good (Elizabeth for the most part) and evil (those that would bring her harm, namely any and all Catholic characters). So I’ve been exploring that and writing up my thoughts as well as looking into what others have written about the film.
I have hit a bit of a roadblock with the film aspect as I’m having some second thoughts about the themes. The more I think about it, the more problematic the woman/queen idea becomes to me. I’m wondering if it might be best to attack the films/series first. Perhaps if I picked the ones I find most interesting and analyse them properly and then re-evaluate the themes from there. It would be looser and I would have to go back and look over them again in particular reference to whatever theme I ended up going with and it scares me a little as it feels like a move backward but I wonder if it might be the better course in the long run.
Other than that I did read an interesting article recently. It was the article Judith sent me, “Films as Historical Sources or Alternative History” by Anirudh Deshpande. What I thought was interesting was that he is arguing that film is a form of history in the same way that oral history is and that this means that, as has been argued with oral history, to privilege written history is to also privilege the kinds of histories and the people who record their history this way and leave others out. He says,
If historians choose to stick to documentary sources they do end up limiting the scope of their enterprise. They will then consciously turn their back on those people who may not figure in documentary sources but might appear as crucial traces in visual sources of both past and present. (4456)
He argues essentially, in a kind of flipping of the argument we find in Image as Artifact, that written/archival sources should be supplemented with visual sources. It’s interesting to me that both arguments want to use both written and visual sources but come at it from different perspectives. Deshpande also argues that the emotional and personal elements of a historical film are its strongest. I think there’s some interesting perspectives in there I could perhaps incorporate.
I have to report the awful as well as the good I suppose so I should mention that I had a rather colossal stuff up. I entirely misread a source and then when writing about it, consequently misrepresented it. Obviously this is a HUGE no-no and I take such pride in my work usually that this mistake really threw me. It makes me both incredibly angry and frankly, embarrassed because it was such a lazy mistake and should never have happened. On the bright side, if there is one, it is not a mistake I will allow myself to make again.
Deshpande, Anirudh. “Films as Historical Sources or Alternative History.” Economic and Political Weekly 39, no. 40 (2004): 4455-59.