New Books in Performing Arts

The centerpiece of Melodrama as Provocateur (Duke UP, 2026) is an essay by Linda Williams (1946–2025). Williams was Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her highly influential work reframed some of cinema’s most neglected or denigrated genres from a feminist perspective, including documentary, pornography, horror, and melodrama.

Melodrama is the focus of what would become Williams’s final project. In the last few years of her life, she was working on a project that traced melodrama’s divergent fortunes in France and the US—and argued for its enduring relevance in contemporary life and culture.

Williams's work on this project was curtailed when she suffered a stroke, the complications of which led to her death in 2025. In the wake of her passing, some of her friends, collaborators, and admirers joined together to make a book that honors and memorializes her. Not only sharing Williams’s unfinished work with the world, Melodrama as Provocateur also expands on that work through a series of essays by scholars working in melodrama studies across time, place, and media.

For New Books in Film, Alix Beeston sits down with the three editors of Melodrama as Provocateur: Christine Gledhill, an esteemed scholar of film and feminism who is presently a Visiting Professor of Cinema Studies at the University of Leeds; Laura Horak, Professor of Film Studies at Carleton University; and Elisabeth R. Anker, Professor of American Studies and Political Science and Director of Film Studies at the George Washington University.

Celebrating the model of incisive and generous research, teaching, mentorship, and collaboration Williams provided, the editors of Melodrama as Provocateur discuss the unique shape of a scholarly book generated in response to a colleague’s unfinished labor. They also take up some of Williams's provocations, including the political possibilities of melodrama in contemporary culture—from Trumpian discourse to trans cinema and beyond—and explore the kinds of labor, thought, and feeling necessary for studying melodrama as a form that moves or provokes us.

Like their book, a work forged in grief and loss, Gledhill, Horak, and Anker's conversation casts film and media scholarship as an act of collectivity and love: a bid for a better kind of world.
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Today’s guest, Caro Pirri, is the author of Colonial Failure and Theatrical Form in Early Modern England: Stages of Unsettlement (Oxford University Press, 2025). This book explores how early modern colonial travel writing informed the London theater’s spatial and placemaking conventions. It suggests that what the stage found most compelling about narratives of colonial settlement was their failure to claim interpretive control over unfamiliar places and people. The book goes on to link colonial misreadings of places and people to theatrical strategies for staging disorientation, which Pirri characterizes as a condition of “unsettlement.”

Each chapter focuses on a specific formal device that emerged from colonial misreadings: “uncommonplacing” in Richard Hakluyt’s travel compendium; metonymic possession in Christopher Marlowe’s Tamburlaine; “seasoning” in Ben Jonson’s city comedies; “stagewreck” in Shakespeare’s The Tempest; and “stagework” in the Lord Mayor’s Shows.

By approaching form as an interpretive process that is always engaged in the act of making and being made, Colonial Failure and Theatrical Form offers a model for reading past the seeming impasses of colonial narratives. It shows how narratives of failed settlement served as a productive resources for the formal worldmaking conventions of early modern theater.

Jane Hwang Degenhardt is Professor English at the University of Massachusetts Amherst. She is the author of Globalizing Fortune on the Early Modern Stage (Oxford UP, 2022) and Islamic Conversion and Christian Resistance on the Early Modern Stage (Edinburgh UP, 2012). She is also a co-editor of the academic journal English Literary Renaissance.
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The Bartered Bride, a comic opera by Bedrich Smetana, premiered in Prague on March 30, 1866. Its pastoral love story and setting in a rural Czech village eventually became an enduring symbol of Czech nationalism. In Visions of the Village: Ruralness, Identity, and Czech Opera (Oxford University Press, 2025), Christopher Campo-Bowen examines how a particular image of the rural village in a set of Czech operas written between 1866 and 1904 became a powerful signifier for Czech ethnoracial and nationalist identity. He follows this conception of Czech identity and its entanglement with opera through the political changes in the years when the Czech lands were ruled by the Austro-Hungarian Empire and the upheaval that followed when the Empire collapsed in 1918 and the First Czechoslovak Republic was founded. In addition to composers and their operas, Campo-Bowen investigates the output of critics, administrators, and other urban intellectuals to understand the impact of village operas on public discourse. By setting his analysis within a discussion of how race was understood in nineteenth-century Europe, Campo-Bowen shows that this seemingly straightforward nationalist discourse was shot through with racialized essentialism and ideas about gender that were connected with larger political realities. He ends the book with a discussion of the resonances of this nineteenth-century conception of Czech identity in the current Czech Republic.
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In The Patty Duke Show and the American Sixties: Hot Dogs and Crêpes Suzette (Oxford UP, 2026), the first ever published on The Patty Duke Show (1963-66), Caryl Flinn and Dana Polan examine the significance of this classic US sitcom within popular culture and within American society at the time. Child acting sensation Patty Duke plays the all-American Patty as well as her staid British counterpart Cathy, who comes to live with Patty's family in Brooklyn. Far from being a frivolous show, the show's use of twin girls--and their comic antics--offers glimpses into different identities and possibilities to try on, in keeping not only with girls' popular culture of the time but the optimism of John F. Kennedy's Camelot years.At the same time, the series plugged into many of the contradictions of the mid-1960s. It flirted, as much of the US did, with foreign cultures, such as Julia Child's mediation of Frenchness, only to return to and reaffirm core US values. Like Kennedy, who encouraged the country's youth to engage with the world at large, the show gestures towards a cosmopolitanism that, ultimately, retreats into an American-based perspective, as evidenced in the series' preferential treatment of Patty over Cathy--despite the two characters being played by one actor.Drawing on archival research, Flinn and Polan bring to light the show's production background, which has until now been largely lost to history, as well as considering the series's conception, reception, its many tie-in products, and its ongoing afterlife in the decades since its initial broadcast. In so doing, they reveal hidden and overt issues that shaped American culture and ideology of the 1960s.
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The
early twenty-first century ushered in a period of change in Bolivia.
The country welcomed its first Indigenous president, a new constitution,
and a profusion of laws that recognized individual music and dance
expressions as intangible cultural heritage. Using cultural heritage
lawmaking as a window through which to view the de-centered workings of the Indigenous-focused Plurinational Bolivian State, Heritage Fever: Law and Cultural Politics in a Decolonizing State
(Oxford University Press, 2025) by Dr. Michelle Bigenho and Dr. Henry
Stobart unpacks the myriad motivations for heritage making in this this
politically transformative moment. Heritage Fever reorients
UNESCO-driven heritage debates towards a different set of questions—a pivot the authors call “heritage otherwise.”

These
inquiries focus on how citizens use law to frame expressive culture and
engage their new state. Through grounded case studies, Bigenho and
Stobart reveal how competing claims over cultural expressions stimulate
aficionado research and produce an abundance of cultural activities.
Managing these productive conflicts often involves strategic uses of
scale within the country's new political autonomies, even as old-style
nationalisms lurk beneath a plurinational sheen. One case study highlights
imagined Indigenous autonomy as bolstered by decolonizing
historiography that predates the Plurinational State by several decades.

Privileging
the stories told by those who championed or who were bureaucratically
involved in the respective heritage-making campaigns, Heritage Fever's
research draws from the authors' combined fieldwork in Bolivia over the
last 30 years, recent multi-sited fieldwork conducted as a team, and
ethnographic interviews conducted with Bolivians involved in
heritage-making projects. Contributing to legal anthropology, critical
heritage studies, ethnomusicology, and anthropology of the state, Heritage Fever
looks beyond intellectual property frames, opens new perspectives on
archival thinking, reflects on decolonizing practices in expertise and
knowledge production, and uncovers the agency of mid-level citizens in a
decolonizing state.

This interview was conducted by Dr. Miranda Melcher whose book
focuses on post-conflict military integration, understanding treaty
negotiation and implementation in civil war contexts, with qualitative
analysis of the Angolan and Mozambican civil wars. You can find
Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. 
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