Images of flappers, garconnes, Modern Girls, neue Frauen, and
trampky-all embodiments of the dashing New Woman-symbolized an
expanded public role for women from the suffragist era through the
dawn of 1960s feminism. Chronicling nearly a century of global
challenges to gender norms, The New Woman International:
Representations in Photography and Film from the 1870s through the
1960s is the first book to examine modern femininity's ongoing
relationship with the nineteenth and twentieth centuries' most
influential new media: photography and film. This volume examines
the ways in which novel ideas about women's roles in society and
politics were disseminated through these technological media, and
it probes the significance of radical changes in female fashion,
appearance, and sexual identity. Additionally, these original
essays explore the manner in which New Women artists used
photography and film to respond creatively to gendered stereotypes
and to reconceive of ways of being a woman in a rapidly modernizing
world. The New Woman International brings together different
generations of scholars and curators who are experts in gender,
photography, literature, mass media, and film to analyze the New
Woman from her inception in the later nineteenth century through
her full development in the interwar period, and the expansion of
her forms in subsequent decades. Arranged both chronologically and
thematically, these essays show how controversial female ideals
figured in discourses including those on gender norms, race,
technology, sexuality, female agency, science, media
representation, modernism, commercial culture, internationalism,
colonialism, and transnational modernity. In exploring these topics
through images that range from montages to newspapers' halftone
prints to film stills, this book investigates the terms of gendered
representation as a process in which women were as much agents as
allegories. Inaugurating a new chapter in the scholarship of
representation and New Womanhood and spanning North America,
Western and Eastern Europe, Asia, and the colonial contexts of
Africa and the Pacific, this volume reveals the ways in which a
feminine ideal circled the globe to be translated into numerous
visual languages. With a foreword from the eminent feminist art
historian Linda Nochlin, this collection includes contributions by
Jan Bardsley, Matthew Biro, Gianna Carotenuto, Melody Davis,
Kristine Harris, Karla Huebner, Kristen Lubben, Maria Makela,
Elizabeth Otto, Martha H. Patterson, Vanessa Rocco, Clare I. Rogan,
Despina Stratigakos, Brett M. Van Hoesen, Kathleen M. Vernon, and
Lisa Jaye Young.
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