With the help of mirrors, trap doors, elevators, photographs, and
film, women vanish and return in increasingly spectacular ways
throughout the nineteenth and twentieth centuries. Karen Beckman
tracks the proliferation of this elusive figure, the vanishing
woman, from her genesis in Victorian stage magic through her
development in conjunction with photography and film. Beckman
reveals how these new visual technologies projected their anxieties
about insubstantiality and reproducibility onto the female body,
producing an image of "woman" as utterly unstable and constantly
prone to disappearance.
Drawing on cinema studies and psychoanalysis as well as the
histories of magic, spiritualism, and photography, Beckman looks at
particular instances of female vanishing at specific historical
moments--in Victorian magic's obsessive manipulation of female and
colonized bodies, spiritualist photography's search to capture
traces of ghosts, the comings and goings of bodies in early cinema,
and Bette Davis's multiple roles as a fading female star. As
Beckman places the vanishing woman in the context of feminism's
discussion of spectacle and subjectivity, she explores not only the
problems, but also the political utility of this obstinate figure
who hovers endlessly between visible and invisible worlds. Through
her readings, Beckman argues that the visibly vanishing woman
repeatedly signals the lurking presence of less immediately
perceptible psychic and physical erasures, and she contends that
this enigmatic figure, so ubiquitous in late-nineteenth- and
twentieth-century culture, provides a new space through which to
consider the relationships between visibility, gender, and
agency.
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