Reading Questions for Week Seven

Post your reading questions for week seven’s readings:

Janet Staiger’s “The White Slave” from Bad Women: Regulating Sexuality in Early American Film
Ben Brewster’s “Traffic in Souls: An Experiment in Feature-length Narrative Construction” from Cinema Journal, Vol. 31

Please, post them in the comment section for this entry.

226 Responses to “Reading Questions for Week Seven”

  1. Dave Murphy Says:

    After reading this weeks articles, I was struck by the fact that Traffic in Souls is often described as a docudrama that was also an experiment in feature-length narrative construction. From my perspective, these are two halves which don’t necessarily make a whole. The readings call attention to an interesting tendency of developing early narratives to describe social problems of the time. However, after reading the descriptions of the film, I was struck by the highly contrived and obviously artificial nature of the plot (specifically the heavy use of coincidence), and the fact that the “quasi documentary” wasn’t even based on a case from real life. To me, it seemed like Traffic in Souls really didn’t have anything to with documenting the state of prostitution. Instead, the film (and other like it ) seems to be nothing more than an attempt to capitalize on a sensational news story in order to draw crowds to the theater. From this perspective, one of the early attempts to create a fictionalized feature may also have been an early example of the synergy, which would also align the film with other early works based on books and plays. From a production standpoint, such a process could of been an attempt to guarantee a return on the investment, which would of definitely been tricky since there were few precedents for a film of such length. I find this really interesting because a very similar process occurs during the production of many of the blockbusters released today.

  2. Lee Knuttila Says:

    A response to Dave’s Question:
    I enjoy your questioning of the employment of ‘docu-drama’ in this context as it refers to the very highly contrived depiction of a media narrative. It aligns various narrative strands taken from the culture’s zeitgeist (based on real events or created events) and dramatizes them, which you point out, but I do not think this places it outside the margins of documentary. The documentary form is no more exempt from contrived situations or sensational subject matters than a fictional film. Take for instance, a documentary on aliens or a conspiracy theory, these are not necessarily based on a factual reality but nonetheless can utilize and align to the documentary form, perhaps to greater effect, than a fictional film.

    Reading Question:
    Ben Brewster’s article on Traffic in Souls describes how the reel breaks in early films did not “coincide with a narrative pause[s]” in film’s narratives. It is interesting to think of the tension between estrangement and the context. On one hand, the breaks, despite inter-titles or bracketing, would disrupt any narrative involvement and foreground the exhibition practice. One could consider this in relation to Tom Gunning’s notion of the cinema of attractions. On the other hand, Brewster illuminates how Traffic in Souls was one of the early multi-reel film so no rules of continuous on-screen action had been entrenched in cinematic and exhibition practice, thus, estrangement might be too strong a word and a resulting effect only in today’s film going practices. I think one inroad to this dynamic tension would be a hybrid of the two. That is, the practice would break the action and foreground the exhibition, but considering the context, this would not be that dramatic of an effect and would not endanger the continuity of narrative or exhibition practice. Perhaps it was like an intermission at the theatre or opera.

  3. Jen Thomas Says:

    In her chapter “The White Slave”, Staiger describes Traffic in Souls and other cultural texts dealing with similar content, as a melodramatic negotiation of the role of the modern woman. I’m wondering if these cultural texts were not equally concerned with race as they were with gender. The films and literature described by Staiger, all structure white middle-class social anxieties – those caused by women’s entry into the public sphere, and prostitution more specifically – using the framework of racially based slavery. They locate the victims solely within white society, and many (not Traffic in Souls, but The Cheat and The Fatal Hour at least) caste the exploitative traders as racially “othered”(I’m guessing these aren’t the only ones). The use of the language of racial slavery, in the term “slave” itself, and the descriptions of whipping, and the abduction scenario is also significant here. The social epidemic of white slavery described in these texts, seems to me an exaggeration, but one that’s just as sensational in its use of the term “White Slavery” as it is in its description of the magnitude of the situation (“fifty thousand girls who disappear every year”?). But melodrama as an artistic form, uses exaggeration and sensationalism to work through drastic social changes. Could we say then, that by exaggerating the racial relations of the situation to the same extent as they exaggerated the threat posed to young women, these texts worked to negotiate the shifting racial relations in the United States? Or, could we even argue that by recasting white-middle class social problems as racial victimization, the white authors of these texts were working to alleviate feelings of guilt around the recently demonized practice of racial slavery?

  4. Michael Longfield Says:

    I have two questions, and both involve termniology. Firstly, whose term is “White Slavery”, and am I the only person who gets deeply uncomfortable every time I hear or read it? Given the racial connotations, should we ever use the term today without quotes? (Jenn articulates this much better than me.) Secondly, I find the use of the terms documentary and docudrama problematic since we haven’t really established what is a documentary in 1913, whether it existed as a mode of film-making. Recall that we saw that “actuality” is not synonymous with “documentary”, and just as Brewster tries to show how “Traffic in Souls” was constructed as a narrative feature, it would behoove us to show the language of and styles of non-fiction filmmaking in this era. (Again, I guess this is something Dave deals with in his question.)

    I’m not sure I like posting questions like this… it makes me feel a whole less smarter.

  5. James Rowan Says:

    In Staiger’s chapter, “white slavery,” spends a significant amount of time outlining the crusade by Rockefeller and Roe (among others) against so called ‘white slavery.’ What I find interesting is that at no point is there any real evidence for any of this vigour. Rockefeller’s first input on this issue was as a member of the jury that found that there was no evidence of an organized trade in women, however, this was in 1911, and after this he founded his tribunal and hired Roe, who proceeded to publish book after book to about the fight against white slavery. Since many people disagreed with Roe, and there was little evidence of the truth in the stories of depravity that he shared, I wonder if perhaps this was merely an example of disinformation used against the public in an attempt to sway them to the ‘popular’ political opinion. From this then, I wonder if the success of the film “Traffic in Souls” is impart due to the fact that it clashes with the current goals of government, and would it have been as successful under different circumstance?

  6. Stephen Broomer Says:

    Staiger writes of the movement from oppositional characters to transformational characters in The Cheat – where the onus of a sense towards ‘proper conduct’ is placed on the character, reflected through the character, instead of left solely to the judgment of the audience. Perhaps this is to say the agency of a single character in a narrative editorializes judgment for an audience, where split in two the bad woman versus the good woman requires a precognition of what constitutes good behaviour and bad. This split between types is later addressed again in the advancement from Victorian womanhood to a “self-reliant, natural, caring, and public” equivalent. Does Traffic in Souls editorialize this transition? Is Mary a case of internally regulated negative-to-positive, positive-to-negative type transition, or does she represent an individual (that fully-formed post-Victorian public woman) acting in relation to forces in society (placing the onus of judgment as to right or wrong on the spectator)?

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