Melodrama: An Aesthetics of Impossibility

Description

Offering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility. Focused on the notion of what Douglas Sirk termed the "impossible situation" in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk's prompt. His analysis hones in on melodrama's original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven's opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making it resistant to normative forms of value and a powerful tool for creating new potentials. Jonathan Goldberg is Arts and Sciences Distinguished Professor of English at Emory University and the author of several books, most recently Strangers on a Train: A Queer Film Classic. He is also the author of Willa Cather and Others and editor of Queering the Renaissance, both also published by Duke University Press. "Apropos of his homo-topics, Goldberg writes beautifully, in prose vulnerable and oppositional that elevates academic vernacular to a higher aesthetic plane.... Lucky for us, Goldberg’s decided we can’t have our Hitchcock without our Highsmith, and aren’t they a lovely pair. He writes about music in Hitchcock (something rarely considered) and explores how Highsmith thematizes music in her novels.... [Y]ou will trust Goldberg’s fast-paced, suspenseful ekphrasis and delight in reliving these extraordinary reversals on the page." — Maxe Crandall, Lambda Literary Review "Goldberg achieves a greater, more nuanced understanding of melodrama’s potential for artistic and philosophical expression, as well as its unique importance for the study of media, gender, race, and sexuality." — Matthew J. M. Grant, Film Criticism Preface ix Acknowledgments xvii Part I. The Impossible Situation 1. Agency and Identity: The Melodrama in Beethoven's Fidelio 3 2. Identity and Identification: Sirk—Fassbinder—Haynes 23 Part II. Melos + Drama 3. The Art of Murder: Hitchcock and Highsmith 83 4. Wildean Aesthetics: From "Paul's Case" to Lucy Gayheart 133 Coda 155 Notes 169 Bibliography 187 Index 197