Tuesday, April 4, 2017

24 vs. Homeland - Differences in Gendered Melodrama?

While reading McPherson's "24, Masculinity and Hybrid Form," I was particularly interested in her reading of 24 as a male melodrama or a melodrama in hiding through its masculinity. While I have never seen 24 (my father, an Arab, forbade us from watching "this piece of orientalist garbage," as he called it) and I've only seen the one episode of Homeland that we watched in class (probably a continued for of living under the rules my father had set up), I am interested in the ways that Homeland serves as a melodramatic counterpoint to 24. From what I know of the shows, they seemingly offer many of the same themes and motifs, and if technology is both lauded and made slightly ambivalent through its failures in 24, the same could certainly be true in the first episode of Homeland. That said, from what I know about Homeland, it is quite popular and critically acclaimed. I'm wondering if this acclaimed feminized form of melodrama, which perhaps just makes it melodrama, (with its female lead, the word "home" being in the name, etc.) is a result of the success the masculinized melodrama of 24 had prior to this?

1 comment:

  1. I am not sure if Homeland is a good counter-point to 24 in that it is also highly-masculinized and the lead actress is only as good as her male-counter parts when she is not succumbed to her mental illness. This brings the conversation about the female body and mental illness with its long history of negative representation. . . We can go down a deep rabbit hole with this one.