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Close Reading and Douglas Sirk

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Close Reading and Douglas Sirk ESSENTIAL DISCRIMINATIONS: CLOSE READING AND DOUGLAS SIRK By CHARLES R. NEWSOM A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Charles R. Newsom 2 To Natalie 3 ACKNOWLEDGMENTS I must first acknowledge Robert B. Ray‟s impact on both this work and my life. He introduced me to nearly all of the major writers, ideas, and works that influenced this dissertation, and he has shaped me as a scholar, teacher, and writer. When I arrived at Florida, I had only a vague notion of my interests, but my scholarly life took a distinct form through conversations and classes with Robert over the last four years. I am also grateful for the feedback from and conversations with my other committee members: Gregory Ulmer, Marsha Bryant, and Sylvie Blum-Reid. I appreciate their patience with a project that had a less-than-promising beginning. I would also like to thank Tracy Cox-Stanton, who started as my teacher and then became my friend. She continually gave me encouragement when I needed it the most. I wholeheartedly thank my parents as well. They fondly recall how I used to arrive home from elementary school and then “play school” for hours with both imaginary students and, often, with my brother as my lone, unfortunate pupil. Although more than twenty years separate those days from this final degree, their support remained unending as I worked toward, what must seem to them, my life‟s natural outcome. Finally, and most important, I must acknowledge Natalie, who inspired me to a level of productivity I never thought I could achieve. She is far too humble to accept any responsibility for this fact, but her boundless, patient, and selfless love undoubtedly enabled my accomplishment. If for no other reason, I owe both Robert and Natalie one great debt: they never lacked confidence in me—even when I had no confidence in myself. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF FIGURES .......................................................................................................... 7 ABSTRACT ..................................................................................................................... 8 CHAPTER 1 WHAT HAPPENED TO FILM CRITICISM? ................................................................ 10 Introduction ............................................................................................................. 10 Filmmaking Choices and Evaluation ....................................................................... 11 The Function of Criticism ........................................................................................ 11 Meaningful versus Successful ................................................................................ 12 The History of Thematic Readings .......................................................................... 15 Film as Film ............................................................................................................ 20 The Two Routes ..................................................................................................... 22 Inflation Threatens .................................................................................................. 31 Why Douglas Sirk? ................................................................................................. 36 Teaching ................................................................................................................. 40 2 THE INSPIRED AND THE PARNASSIAN IN ALL THAT HEAVEN ALLOWS ............ 45 Sirk‟s Parnassian .................................................................................................... 52 All That Heaven Allows ........................................................................................... 59 Scene One: At the Train Station ....................................................................... 63 Scene Two: The Christmas Tree Lot ................................................................ 65 Scene Three: The Christmas Carolers ............................................................. 67 Scene Four: Christmas Morning ....................................................................... 75 Inspired Filmmaking ................................................................................................ 81 Sirk Blackmailed ..................................................................................................... 86 3 WHAT DOES IT MEAN TO TEACH A FILM? ............................................................ 88 Pedagogical Problems ............................................................................................ 89 Hasty Evaluation .............................................................................................. 89 Mere Entertainment .......................................................................................... 92 Initial Response and the Literary Level ............................................................ 93 The Speed of Film ............................................................................................ 98 The Problem of Indifference ........................................................................... 100 Definitions and Examples ..................................................................................... 102 Description and Filmmaking Choices .................................................................... 111 Imitation of Life ..................................................................................................... 114 5 The Scene: Summary and Description ........................................................... 120 Analysis of a Filmmaking Choice .................................................................... 125 Evaluation ....................................................................................................... 132 4 ECONOMY AND EMOTION IN DOUGLAS SIRK‟S SMALL-TOWN TETRALOGY.. 134 Sirk and Authorship .............................................................................................. 134 The Films .............................................................................................................. 142 Has Anybody Seen My Gal? (1952) ............................................................... 142 Meet Me at the Fair (1953) ............................................................................. 143 Take Me to Town (1953) ................................................................................ 145 All I Desire (1953) ........................................................................................... 148 Economy ............................................................................................................... 149 Camera Movement ............................................................................................... 156 Has Anybody Seen My Gal? .......................................................................... 156 Meet Me at the Fair ........................................................................................ 157 Take Me to Town ............................................................................................ 158 All I Desire ...................................................................................................... 160 Framing ................................................................................................................. 163 Has Anybody Seen My Gal? .......................................................................... 164 All I Desire ...................................................................................................... 165 There’s Always Tomorrow .............................................................................. 166 Cutting and Shot Length ....................................................................................... 172 Has Anybody Seen My Gal? .......................................................................... 173 Meet Me at the Fair ........................................................................................ 174 All I Desire ...................................................................................................... 176 5 “YOU ONLY NEED ONE …” .................................................................................... 181 LIST OF REFERENCES ............................................................................................. 185 BIOGRAPHICAL SKETCH .......................................................................................... 191 6 LIST OF FIGURES Figure page 2-1 Cary‟s responses.. .............................................................................................. 64 2-2 Shot One (14 seconds) ....................................................................................... 68 2-3 Shot Two (3.5 seconds) ...................................................................................... 68 2-4 Shot Three (7.5 seconds) ................................................................................... 69 2-5 Shot Four (3.5 seconds) ..................................................................................... 69 2-6 Shot Five (7.5 seconds) ...................................................................................... 70 2-7 Shot Six (17 seconds) .......................................................................................
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