![]() ![]() The rich and varied contributions address theoretical issues around this double world of "cinematification" and feminist historiography, advancing questions on the authorship of pioneering female filmmakers and the role of female stars in early cinema. ![]() This proceedings volume gives a representative picture of the breadth of the conference. "The work of the Women and the Silent Screen Conferences is to collectively create a new realm of cinema history, neither 'the' history, nor 'a' history, but a strange double world." These words are from Jane Gaines in her keynote address for the fifth Women and the Silent Screen Conference, held at the Stockholm University in 2008. New findings are exposed and new research perspectives are opened through these and other figures, allowing us to uncover original ways of thinking about women’s visibility and agency on film. Alice Guy, Asta Nielsen, Florence Turner, Lois Weber, Mary Pickford, Esfir’ Shub, Pearl White, Vera Karalli, Aleksandra Khokhlova, Elsa Lanchester, Louise Fazenda, Sarah Bernhardt, Gemma Bellincioni, Angelina Buracci, Yin Mingzhu, Leni Riefensthal: these are but some of the names that are encountered across the essays in the collection. ![]() The fundamental figure of the actress links multiple threads of scholarship, traversing different films and national cinemas. A particular focus on acting and the agency of the actress is shared across the volume. Each investigation prompts us into distinct acts of cultural contextualization. #Radi lyubvi serial serialHow did American serial queens impact early Chinese film? How did the variety stage accommodate American films in Rio de Janeiro? Along what lines might we discuss women filmmakers who literally toured the world? These are just some of the issues that are discussed in the volume. Questions of nation and nationhood, and women’s inclusion or exclusion within these terms, are examined in connection to issues of cultural globalization. While giving a new impetus to the idea of transitional cinema, the collected essays also illuminate the importance of film’s transnational circulation. Much emphasis is given to the transitional period of silent cinema (1910s to the early 1920s), which emerges as the field where feminist film scholars are beginning to claim their own theoretical and historical ‘place’. The volume builds on the thematic, methodological, and material diversity that characterized earlier efforts in women’s film history, and the originating context of the sixth Women and the Silent Screen conference (Bologna, 2010). What motivates feminist film research today? Exploring women’s contribution to silent cinema, scholars from across the globe address questions of performance, nationality, industry, technology, labor, and theory of feminist historiography. ![]()
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