Broadway, Hollywood, and the Problem with The Prom
Among all the necessary and welcome debates around identity in contemporary culture, few have been more pronounced in theatre and film than that of who should be cast to play characters of marginalised identities. From gender identity and religious beliefs to nationality and disability, this issue is occurring with increasing regularity. Eddie Redmayne has called his portrayal of Lili Elbe, who underwent sex reassignment surgery in the early 20th century, in The Danish Girl (2015) “a mistake”[i], which reflects a wider trend of studios and casting directors rightly taking more care when selecting actors for certain roles. It should be said, though, that this is not an entirely new phenomenon – over 40 years ago Vanessa Redgrave, an outspoken critic of Israel’s actions in Palestine, was attacked when chosen to portray musician and Holocaust survivor Fania Fénelon in Arthur Miller’s television film Playing for Time (1980)[ii]. And while this centred […]
Continue ReadingMending Fences: The Broken Bond between Theatre and Film
Play to film adaptations have fallen in prestige and numbers in recent years, and one of the main reasons for this is the decline in popularity of plays that can be adapted. For example, A Streetcar Named Desire was the 5th highest grossing film of 1951[i] while Fences was the 91st highest grossing film of 2016[ii]. As film technology has improved in the intervening years, so has the public interest in stage works that are not comedies or musicals declined. From a culture of regular and successful stage to screen adaptations to one in which it is vanishingly rare, this article will reflect on how and why these changes have come about. One notable facet of this decline is the relative scarcity of actors moving from the stage to film. Whereas in previous decades actors struggling to find work in film could earn equal prestige on stage, it is now […]
Continue Reading“Where is Thy Sting?”: Clifford Odets and the Problem of Audience
On September 6th 1936, The New York Times went to print with an article entitled: “Odets, Where is Thy Sting?”[i] Reflecting on the recent reception of Clifford Odets’s The General Died at Dawn (1936), Frank Nugent described the enthusiasm of the audiences who had come to see the Broadway playwright’s first Hollywood feature: “[T]hey had come to hear their prophet of social reform in his first sermon from a cinema pulpit. They were prepared to cheer, they were anxious to cheer, and, by every soapbox from Union Square to Columbus Circle they did cheer”.[ii] But they soon fell silent, however, upon realising that the film offered them very little to cheer about. While many hsad come with the hopes of catching a glimpse of the sharp political edge which had made Odets’s plays something of a sensation, it quickly became apparent that the film offered very little in the way […]
Continue ReadingDrama and Cinematic Adaptation: USSO Special Series
The adaptation of plays into films has been a core part of Hollywood’s output in the 95 years since the introduction of sound into cinema. In this time a huge number of the cinema’s finest and best-regarded works have begun life on the stage, Broadway or otherwise. Despite this close relationship, though, the movement of works from the stage to the screen has rarely been straightforward, and is often tinged with controversy, disappointment, and inequality. This special series has sought to examine any and all facets of this relationship, and given that we have had almost two years with minimal attendance at cinema and theatres, it will hopefully illuminate the historic, current, and possibly future challenges faced by theatre artists. Playwrights have made vast contributions to American culture, but it is often only when these works are filmed, from Glengarry Glen Ross (1992) to Grease (1971) that they attain […]
Continue Reading“Heeere’s Johnny!”…Again…and Again…: Pluto TV and the Continued Presence of Johnny Carson’s Tonight Show
(Image source: https://www.facebook.com/PlutoTV/videos/johnny-carson-tv/1012800892491661/) In August 2020, Pluto TV, a free streaming service from ViacomCBS, launched a new channel called “Johnny Carson TV.” Twenty-four hours a day, seven days a week, the channel streams hour-long edited episodes of The Tonight Show Starring Johnny Carson (NBC, 1962-1992).[i] This article will explore how Pluto TV’s programming strategy of continuously streaming content removes The Tonight Show’s hallmarks of timeliness and late-night positionality, yet still works to incorporate the program into the modern media landscape. When Pluto created the Johnny Carson TV channel, it joined the ranks of the platform’s other “Classic TV” offerings, which includes channels dedicated to The Rifleman, The Addams Family, Mission: Impossible, Happy Days, The Love Boat, and other American television programs from the 1950s-1980s.[ii] What separates Johnny Carson TV from the other channels in the Classic TV category, however, is timeliness and topicality. While these narrativized programs in Pluto’s […]
Continue Reading‘Brings Back Some Memories’: Textual and metatextual experiences of nostalgia in Twin Peaks: The Return
“When you see me again, it won’t be me,” the entity called The Arm warns in the second season finale of Twin Peaks, the cult 1990s TV series co-created by screenwriter Mark Frost and filmmaker David Lynch. This cryptic statement was borne out by the long-awaited revival of the series Twin Peaks: The Return (2017), which adopted a darker tone, more opaque storytelling techniques, and a sterner aesthetic than the original series. This, coupled with the narrative withholding of iconic elements from the series, qualified the return promised by the season’s title. Consequently, Twin Peaks’ third season has been framed as a critique or a “refutation” [i] of nostalgia. However, it can be argued that The Return uses audience expectations and memories to trigger nostalgia in its viewers and exploit this feeling as a springboard to engage in a critical reexamination of their perception of the original series. The […]
Continue ReadingQuantum Leap: Jukebox Nostalgia and the Flattening of History
In the opening scene of the Quantum Leap episode “Animal Frat” (2×12), Dr. Sam Beckett ‘leaps’ into the body of Knut “Wild Thing” Wileton, arriving in his body on top of a pool table as two ‘Tau Kappa Beta’ fraternity brothers pour beer from the keg into Sam’s startled face. A raucous house party rages in the background as The Kingsmen’s seminal 1963 rendition of Louie Louie booms from unseen speakers. By this point in the show’s run, the audience is aware that this conspicuous use of popular music in the soundtrack is more than mere background noise, it is important mise-en-scène. The viewer is instantly transported, with Sam, into all of the countercultural insinuations of rock and roll and youthful rebellion inherent in that simple I-IV-V chord progression. It is the mid-‘60s and the nascent teenage youth culture of the ‘50s has grown and matured into a social and […]
Continue ReadingMirroring the Medium: Depictions of Female Domesticity in ‘WandaVision’
WandaVision (2021) is, at its core, a story of grief and nostalgia. In its genre-bending magnificence, WandaVision narrates the evolution of American sit-coms, hurtling us forward through the second half of the twentieth century and into the twenty-first, as the black-and-white pastiches of The Dick Van Dyke Show and Bewitched transform into the familiar worlds of Malcolm in the Middle and Modern Family. However, in mirroring the medium of American sit-coms, the series also masterfully chronicles the changing role of women in American society through its portrayal of the picturesque nuclear family life – and the fantasies which uphold its illusory existence. As we are transported into the world of Westview, New Jersey, we find Wanda Maximoff and Vision settling into a life of domestic newlywed bliss in the confines of 1950s sit-com America, complete with its monochrome filter. The series follows the events of Avengers Infinity War (2018) and […]
Continue Reading“The Only Way Forward Is Back” – Nostalgia, Grief and Television in WandaVision
WandaVision, one of the newest installments of the Marvel Cinematic Universe (MCU), abandoned the cinema altogether to bring two of the Avengers, Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) to the small screen in a 7-episode miniseries airing weekly between January and March 2021 on streaming platform Disney+. The series is set after Vision died at the hands of ubervillain Thanos in Avengers: Infinity War (2018), a fact viewers could not be sure of until several episodes into the series. It opens in medias res, dropping us directly into a world that feels both familiar and unfamiliar at the same time – recognizable to those who are well-versed in American sitcoms, but jarring to those expecting the MCU’s signature superhero fare. Episode one is shot in black and white, on a 4:3 frame ratio, and in front of a live studio audience, casting Wanda in the role of a […]
Continue ReadingEliminating “Blood and Thunder” from Containment Culture: Audience Efforts to Censor Postwar Radio Programming in the Run-Up to Television
The decade after WWII (1945-1955) was distinct and pivotal in the formation of American media policy, and in establishing postwar social norms.[1] The major broadcast networks (NBC, CBS, and ABC) had profited from wartime spending and garnered some regulatory goodwill through their work with the Office of War Information. Still, they struggled as they transitioned programming from radio to television – while fending off regulation efforts from Congress and an activist FCC. At the same time, a range of progressive and conservative groups debated how to define “the American Way.” Ultimately, Wendy Wall (2008) argues, the postwar emphasis on “getting along” silenced progressive voices, including minorities and women who objected to the postwar reassertion of patriarchal gender norms.[2] Instead of giving everyone a voice, postwar consensus or containment culture privileged and sought to universalize beliefs and arguments made by conservative social groups seeking to define the United States as emphatically […]
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