Linda Williams and eds. Christine Gledhill et al., "Melodrama As Provocateur" (Duke UP, 2026)

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. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.