A Feminist Reader in Early Cinema marks a new era of feminist film scholarship. The twenty essays collected here demonstrate how feminist historiographies at once alter and enrich ongoing debates over visuality and identification, authorship, stardom, and nationalist ideologies in cinema and media studies. Drawing extensively on archival research, the collection yields startling accounts of women's multiple roles as early producers, directors, writers, stars, and viewers. It also engages urgent questions about cinema's capacity for presenting a stable visual field, often at the expense of racially, sexually, or class-marked bodies. While fostering new ways of thinking about film history, A Feminist Reader in Early Cinema illuminates the many questions that the concept of qearly cinemaq itself raises about the relation of gender to modernism, representation, and technologies of the body. The contributors bring a number of disciplinary frameworks to bear, including not only film studies but also postcolonial studies, dance scholarship, literary analysis, philosophies of the body, and theories regarding modernism and postmodernism. Reflecting the stimulating diversity of early cinematic styles, technologies, and narrative forms, essays address a range of topicsafrom the dangerous sexuality of the urban flAcneuse to the childlike femininity exemplified by Mary Pickford, from the Shanghai film industry to Italian diva filmsalooking along the way at birth-control sensation films, French crime serials, qwar actualities, q and the stylistic influence of art deco. Recurring throughout the volume is the protean figure of the New Woman, alternately garbed as childish tomboy, athletic star, enigmatic vamp, languid diva, working girl, kinetic flapper, and primitive exotic. Contributors. Constance Balides, Jennifer M. Bean, Kristine Butler, Mary Ann Doane, Lucy Fischer, Jane Gaines, Amelie Hastie, Sumiko Higashi, Lori Landay, Anne Morey, Diane Negra, Catherine Russell, Siobhan B. Somerville, Shelley Stamp, Gaylyn Studlar, Angela Dalle Vacche, Radha Vatsal, Kristen Whissel, Patricia White, Zhang ZhenBest remembered in her black bodysuit, she is an inky fetishthatsimultaneouslyhighlightsthevisibleevidenceofhergenderand poses theproblem ofvisibility. ... What Irma represented for contemporary viewers has much to do not only with the fact that she is a woman, but also with her status as a ... One exemplary technique that marked the transformation was the inclusion of introductory film sequences thatanbsp;...
|Title||:||A Feminist Reader in Early Cinema|
|Author||:||Jennifer M. Bean, Diane Negra|
|Publisher||:||Duke University Press - 2002-10-31|