André Bazin's admonitions against a "cult of personality" ring in my ears when reading Grosz, Willemen, Halliday and others.[19] Was Sirk really alone in his critique of both bourgeois ideology and the conventions of 1930s melodrama? It's my belief that the elements of Sirk's visual style which these writers extoll are more a function of the genre than of the solitary genius. Thomas Elsaesser has traced similar ideological strategies in "tales of sound and fury" by Vincent Minelli and Nicholas Ray, as well as Sirk.[20] Intriguing claims have been made for these films' style, but the claims remain clouded by auteurist notions and obscured by a lack of system. Moreover, even work by non-auteurs such as David Miller (BACK STREET, 1961), Michael Gordon (PORTRAIT IN BLACK, 1960), and David Lowell Rich (MADAME X, 1966) evidence the genre's stylistic disequilibrium so valorized by Sirkophiles. Here I cannot go much further than posing such questions, however, for we still sorely need a systematic analysis of the domestic melodrama's stylistic evolution.
thomas elsaesser tales of sound and fury pdf 23
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