New Books in Film

Cultural studies of the nineteenth century often categorize their subjects as being motivated by one of two opposing notions: a wholehearted embrace of progress or an antimodernist nostalgia. A Perfectionist Impulse: The Art of Stopping Time in the Nineteenth Century (U Minnesota Press, 2026) centers a different kind of response to the period’s newly intensified awareness of temporality and history: an obsession with preserving perfection. Engaging a diverse set of case studies, Dr. Ellery E. Foutch explores the era’s desire to forestall the march of time and immortalize the fleeting moment through art and technology.

Beginning with an investigation of artist and naturalist Titian Peale’s butterfly illustrations and specimen boxes, Dr. Foutch assesses the implications of attempts to fix animal life in the “perfect state.” She then turns to Harvard’s Ware Collection of Glass Flowers, botanical models meticulously crafted to serve as instructional tools but most famous internationally as a spectacle for tourists. Finally, she scrutinizes the period’s preoccupation with the fragility of the human body, examining artistic representations of the legendary bodybuilder Eugen Sandow, widely known during his time as the “Perfect Man.” Highlighting the paradoxical way in which these attempts at preservation ultimately sap the vitality from the organic processes they seek to arrest, Dr. Foutch uses these curious objects to unpack a deep set of cultural anxieties around decay and death.

By analyzing objects of mass culture and natural history using methods typically reserved for works of art, A Perfectionist Impulse provides a unique window into how nineteenth-century scientists, technologists, artists, and entertainers rendered a common desire for perfection and immortality. Itself a wondrous collection of attempts to capture the idealized moment, this extensively illustrated book serves as a shining example of our enduring fascination with the ephemeral.

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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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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In light of the dismal Disclosure Day (2026), we return to two films that show Spielberg tackling alien visitation (or invasion) stories while at the height of his powers. Close Encounters of the Third Kind (1977) and The War of the Worlds (2005) are decades apart, yet united by a single image and devotion to their audiences. The first is as Disneylike as Pinocchio; the second conjures memories of 9/11. Both show domesticity under great strain as families and infrastructures break down; one ends with hope while the other simply stops.

Incredible bumper music by John Deley.

The War of the Worlds is based on H. G. Wells’s 1898 novel, which you can purchase here.

Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla’s substack, The Grumbler’s Almanac, for commentary on offbeat topics of the day.
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Kathleen W. Taylor Kollman has a new book out that focuses on the reality of women running for president in the United States, and the fictional representations of this idea that we have seen over the past hundred years. The Fictional Female Presidency in Film, Television, and Literature: Representations from 1932 to 2024 (Bloomsbury Academic, 2026) takes up a number of different and intriguing examples of this idea, a woman serving as president, and unpacks the various narratives to help us understand what popular culture may be communicating about this concept and what those narratives may be teaching the audience (viewers or readers). Taylor Kollman comes at her research from a variety of perspectives, including Media Studies, Women’s Studies, Feminist Studies, and American Studies. This makes the research particularly rich – since it explores these ideas from a host of analytical viewpoints, helping the reader to consider different genres (television, film, literature) and different approaches. Undergirding all of this is an interrogation of the idea of women and power, which is a controversial concept for many voters, even if it remains unacknowledged.

Taylor Kollman goes through the decades, with a focus on examples of female presidents in a variety of different cultural artifacts. In tracing this concept through almost a hundred years of different narratives, the research highlights some interesting themes, including the accidental way in which women become president within the fictional framework. One of the points Taylor Kollman makes is that, in all the different genres and contexts, there seems to be something wrong with this idea of a woman as president. Often the characters are presented as deceptive, evil, corrupt, illegitimate, or they are seen as incapable of doing the job and are often torn between work and homelife/family life. In tracing these examples, Taylor Kollman also provides the reader with an understanding of the different iterations (waves) of feminism and feminist thought, as well as noting the various backlashes to feminism. The Fictional Female Presidency in Film, Television, and Literature takes the reader through a host of different examples, fleshing out these feminist and backlash imaginary spaces that focus on women and power.

Another part of the equation, that is often overlooked in the research on this topic, is that there are fewer female film and television producers, directors, and showrunners, thus often constraining the opportunity to present these ideas of woman and power. This also influences the narratives that come before audiences, since women are not generally “trusted” in the same way that men are to helm major film releases with multi-million dollar budgets. This is another form of reality influencing the imaginary, but in a less expected way. The Fictional Female Presidency in Film, Television, and Literature: Representations from 1932 to 2024 takes the reader from Betty Boop for President to Allison Janney as President Grace Penn in The Diplomat and many other fascinating examples of fictional portrayals of women as president of the United States.

Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-host of the New Books in Political Science channel at the New Books Network. She is co-editor of The Politics of the Marvel Cinematic Universe Volume I: The Infinity Saga (University Press of Kansas, 2022), and of The Politics of the Marvel Cinematic Universe Volume II: Into the Multiverse (University Press of Kansas, 2025) as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). She can be reached @gorenlj.bsky.social
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In this episode I discuss the book Understanding Social Images: Essays on Visual Methods and Teaching Anthropology (Berghahn, 2025) with co-editors David Zeitlyn and Chihab El Khachab, a posthumous collection of writings by the late anthropologist Marcus Banks. Banks was a key the figures in development of visual anthropology, but his work remains of continuing relevance. This volume brings together several of his essays on film, photography, archive work, as well as reflections of visual methods such as photo-elicitation and ways of teaching visual anthroplogy.

The conversation begins with Marcus Banks himself, his place within anthropology, his influence on visual anthropology, and the broader effort to preserve and extend his work through a set of posthumous collections. From there, the discussion turns to one of the central themes that emerge from across several essays, namely, that images are not simply illustrations or transparent representations, but socially and temporally situated objects with disctinct social lives. From there, we discuss Banks’s interest in the materiality of the visual and how the circulation and afterlives of images gather new meaning over time.

A substantial part of the interview focuses on Banks’s film Raju and His Friends (1988), which proved foundational to his later reflections on ethnographic filmmaking, and especially on the ethics and politics of representation. As well as providing an introduction to Marcus Banks’s work and serving as a tribute to a scholar whose influence continues to shape the field, many of the topics covered in the interview touches on many broader questions in anthropology itself, and as such will be of interest not only to students of visual anthropology, but to anthropology students and anthropologists more generally.

David Zeitlyn is Professor of Social Anthropology at the University of Oxford and a Fellow of Wolfson College. His work spans visual anthropology, photography and archives, religion and divination, and long-term fieldwork in Cameroon. He also collaborated with Marcus Banks on the second edition of Visual Methods in Social Research.

Chihab El Khachab is Associate Professor in Visual Anthropology at the University of Oxford and a Fellow of Wolfson College. He is a social anthropologist specializing in visual and media anthropology, especially Egyptian media production, and is the author of Making Film in Egypt: How Labor, Technology, and Mediation Shape the Industry.

Further reading and resources mentioned in the recording

Jainism as Social and Visual Practice: Anthropological PerspectivesMarcus Banks. Edited by John E. Cort, David Zeitlyn and Chihab El Khachab. New Delhi: Primus Books, 2026. This posthumous volume gathers Banks’s writings on Jain social organization and visual representation.

The revived HADDON catalogue of ethnographic filmsOriginally created by Marcus Banks in the 1990s, HADDON is an online catalogue of archival ethnographic film. The revived site presents a restored version of the database, now hosted through Paul Henley’s Silent Time Machine project.

Raju and His Friends (1988)The film discussed at length in this episode, and a key reference point for Banks’s later reflections on visual anthropology and ethnographic filmmaking.

Marcus Banks was Professor of Visual Anthropology at the Institute of Social and Cultural Anthropology (ISCA), University of Oxford until he passed away in 2020. He was a pioneer in integrating visual approaches into the mainstream of social and cultural anthropology. With Howard Morphy, he edited the influential volume Rethinking Visual Anthropology (Yale University Press, 1999).
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