Research Update 16/05/2017

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.

Source:
Deshpande, Anirudh. “Films as Historical Sources or Alternative History.” Economic and Political Weekly 39, no. 40 (2004): 4455-59.

Advertisements

Research Update 17/04/2017

This fortnight has largely been focused on thinking through and writing on methodology. It’s been a good process. The more I write the clearer things become.

First of all, it’s become clear to me in writing about methodology that my grasp of film theory is a little lacking. I found that when it came to describing how exactly I’ll approach the films and things like what exactly I mean by terms like mise-en-scéne, I couldn’t pull up the theory and the literature that I need. This sent me into a bit of a spin at first but at the end of the day, the only thing that will fix that is doubling down on the film research for a hot second.

Secondly, I worked out what I don’t really like about O’Connor. Although his method allows the space for serious film analysis, he and the scholars contributing to Image as Artifact are still coming from the perspective that traditional history is still the most important and the best means of assessing any historical piece. This is understandable given the time it was written, O’Connor’s position as a historian, and his intention that this method be applied in a history classroom. What it means though it that the areas of the methodology that fit more easily with standard historical methods, namely tracking down production histories through archival research, are the most thought out and considered aspects of the method presented in Image as Artifact and the film studies aspects are far less developed (though there are still some really interesting ideas in there). Also, it feels as if O’Connor and co. are still trying to fit film studies into historical studies.

Thirdly, despite this I found that I still feel the method can work. It is unsurprising that O’Connor’s attitude in the early 1990s would be the way it is. As such, I think for its time the method was still a great move forward in the field of film and history. I feel that if I bring it even further and dispense with the idea that historical methods are paramount (they are still absolutely crucial of course, I’m definitely not arguing to get rid of them) and taking the film analysis sections more seriously, the method can still be incredibly useful. I feel as if the method needs to be taken to a conclusion that O’Connor himself seemed still a little hesitant to reach. Film studies perhaps doesn’t need to fit into historical studies but rather they could meet somewhere more in the middle.

I’ve also had a few issues this fortnight trying to get that thesis/life balance right. Easter time is always a little busy for me, my family celebrates it and it’s birthdays all around (including my own) and finding the ability to say ‘I can’t do this thing because of my thesis’ has been really hard. I’ve never been very good at saying no to my family and close friends and I feel that now it’s expected of me to do everything, both by me and by them and it becomes this big loop of guilt for me about either/or not doing enough work and not doing enough with or for my family (though I know that they would of course understand). Not to mention, with my head, sometimes stupid things knock me out. I had a panic attack last week about almost losing a ring and it took me out all day which again, makes me feel really guilty. I’m just trying to work out how to balance these things at the moment and some days it’s harder than others. I think I have to learn how to live with being a bit selfish from time to time for my own greater good.

Research Update 21/03/2017

Last week was, for the most part, awful. Obviously the meeting with my supervisors was super helpful but outside of that, not great. I had been skimming through Visions of the Past, but the advice from the meeting was to lay off the theory reading and, especially, stop reading more Rosenstone. He’s outdated and I’ve read all that I need to in order understand where he fits into the field and my own argument. I went home then, and put that away. I think I’d like to look back into O’Connor a bit and refamiliarise myself and look deeper into the methodology.

I did some Tips for Effective Reading tutorials through the uni library. They were nice and quick and helpful. Mostly they were things that I knew but need to remember to do properly, specifically pre-reading. I typically tend to try to read absolutely everything and naturally, there is not enough time for this. I think I need to put more time into surveying the text for actual relevance to save time reading unnecessarily.

I also looked into Bourdieu’s theory of habitus, which was suggested to me by my supervisor Anne. Upon doing some reading I realised I must have done it a little before because the ideas were familiar. If I understand correctly, Bourdieu’s idea of habitus is the norms, patterns of talking, thinking etc., and tendencies that are socially and culturally acquired by individuals that they must take into different social contexts or fields but that also must adapt to those contexts. This is my understanding from some very surface level research. I did try to find some work on habitus and cinema but came up pretty empty (admittedly it was probably a boy’s look). There was one article by Bhrugubanda (2016) called “Embodied Engagements: Filmmaking and Viewing Practices and the Habitus of Teluga Cinema.” This looked mostly at the habitus of lower class Indian women and how this influences their viewing practices of devotional films though there was some discussion about the space of the cinema that could potentially be interesting. From my own thinking, I was wondering about film having its own habitus, as in certain kinds of films at certain times should fit certain conventions of narrative or genre or the like or how it might thwart these conventions and how this would shift over time. I guess viewer expectations would be important here too, expectations that are themselves created, or at least influenced, by pre-existing or prior conventions. I don’t know if that makes sense but it’s what I’ve been thinking about.

Sorry for the brevity and any incoherence, I’m incredibly tired at the moment. I will do better.

Sources:

Bhrugubanda, Uma Maheswari. “Embodied Engagements: Filmmaking and Viewing Practices and the Habitus of Telugu Cinema.” BioScope: South Asian Screen Studies 7, no. 1 (2016): 80-95.
Rosenstone, Robert A. Visions of the Past: The Challenge of Film to Our Idea of History. Cambridge, Massachusetts: Harvard University Press, 1995.