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In the silent era, American cinema was defined by two separate and
parallel industries, with white and black companies producing films
for their respective, segregated audiences. Jane Gaines's highly
anticipated new book reconsiders the race films of this era with an
ambitious historical and theoretical agenda.
"Fire and Desire" offers a penetrating look at the black
independent film movement during the silent period. Gaines traces
the profound influence that D. W. Griffith's racist epic "The Birth
of a Nation" exerted on black filmmakers such as Oscar Micheaux,
the director of the newly recovered "Within Our Gates." Beginning
with "What Happened in the Tunnel," a movie that played with race
and sex taboos by featuring the first interracial kiss in film,
Gaines also explores the cinematic constitution of self and other
through surprise encounters: James Baldwin sees himself in the face
of Bette Davis, family resemblance is read in Richard S. Robert's
portrait of an interracial family, and black film pioneer George P.
Johnson looks back on Micheaux.
Given the impossibility of purity and the co-implication of white
and black, "Fire and Desire" ultimately questions the category of
"race movies" itself.
Research into and around women's participation in cinematic history
has enjoyed dynamic growth over the past decade. A broadening of
scope and interests encompasses not only different kinds of
filmmaking--mainstream fiction, experimental, and documentary--but
also practices--publicity, journalism, distribution and
exhibition--seldom explored in the past. Cutting-edge and
inclusive, Doing Women's Film History ventures into topics in the
United States and Europe while also moving beyond to explore the
influence of women on the cinemas of India, Chile, Turkey, Russia,
and Australia. Contributors grapple with historiographic questions
that cover film history from the pioneering era to the present day.
Yet the writers also address the very mission of practicing
scholarship. Essays explore essential issues like identifying
women's participation in their cinema cultures, locating previously
unconsidered sources of evidence, developing methodologies and
analytical concepts to reveal the impact of gender on film
production, distribution and reception, and reframing film history
to accommodate new questions and approaches. Contributors include:
Kay Armatage, Eylem Atakav, Karina Aveyard, Canan Balan, Cecile
Chich, Monica Dall'Asta, Eliza Anna Delveroudi, Jane M. Gaines,
Christine Gledhill, Julia Knight, Neepa Majumdar, Michele Leigh,
Luke McKernan, Debashree Mukherjee, Giuliana Muscio, Katarzyna
Paszkiewicz, Rashmi Sawhney, Elizabeth Ramirez Soto, Sarah Street,
and Kimberly Tomadjoglou.
A nickelodeon screening a Charlie Chaplin silent classic, the
downtown arthouse cinemas that made Antonioni and Cassavetes
household names, the modern suburban megaplex and its sold-out
Friday night blockbuster: "how" American and global audiences have
viewed movies is as rich a part of cinematic history as "what"
we've seen on the silver screen. "Going to the Movies" considers
the implications of this social and cultural history through an
analysis of the diverse historical and geographical circumstances
in which audiences have viewed American cinema. Featuring a
distinguished group of film scholars--including Richard Abel,
Annette Kuhn, Jane Gaines, and Thomas Doherty--whose interests
range broadly across time and place, this volume analyzes the role
of movie theatres in local communities, the links between film and
other entertainment media, non-theatrical exhibition, and trends
arising from the globalization of audiences. Emphasizing moviegoing
outside of the northeastern United States, as well as the
complexities of race in relation to cinema attendance, "Going to
the Movies "appeals to the global citizen of cinema--locating the
moviegoing experience in its appeal to the heart and mind of the
audience, whether it's located in a South African shanty town or
the screening room of a Hollywood production lot.
Research into and around women's participation in cinematic history
has enjoyed dynamic growth over the past decade. A broadening of
scope and interests encompasses not only different kinds of
filmmaking--mainstream fiction, experimental, and documentary--but
also practices--publicity, journalism, distribution and
exhibition--seldom explored in the past. Cutting-edge and
inclusive, Doing Women's Film History ventures into topics in the
United States and Europe while also moving beyond to explore the
influence of women on the cinemas of India, Chile, Turkey, Russia,
and Australia. Contributors grapple with historiographic questions
that cover film history from the pioneering era to the present day.
Yet the writers also address the very mission of practicing
scholarship. Essays explore essential issues like identifying
women's participation in their cinema cultures, locating previously
unconsidered sources of evidence, developing methodologies and
analytical concepts to reveal the impact of gender on film
production, distribution and reception, and reframing film history
to accommodate new questions and approaches. Contributors include:
Kay Armatage, Eylem Atakav, Karina Aveyard, Canan Balan, Cecile
Chich, Monica Dall'Asta, Eliza Anna Delveroudi, Jane M. Gaines,
Christine Gledhill, Julia Knight, Neepa Majumdar, Michele Leigh,
Luke McKernan, Debashree Mukherjee, Giuliana Muscio, Katarzyna
Paszkiewicz, Rashmi Sawhney, Elizabeth Ramirez Soto, Sarah Street,
and Kimberly Tomadjoglou.
This provocative book examines the phenomenon of images as
property, specifically mechanically produced visual and audio
images from popular culture. By looking at legal texts - such as
judicial opinions and stars' contracts - as cultural artifacts in
their own right, and by offering a poststructualist analysis of
these texts, Jane Gaines explores not only the legal but the
cultural status of these icons. She discusses such legal questions
as individual authorship of an image versus its corporate ownership
and the right to privacy versus the right to publicity.
Women held more positions of power in the silent film era than at
any other time in American motion picture history. Marion Leonard
broke from acting to cofound a feature film company. Gene Gauntier,
the face of Kalem Films, also wrote the first script of Ben-Hur.
Helen Holmes choreographed her own breathtaking on-camera stunt
work. Yet they and the other pioneering filmmaking women vanished
from memory. Using individual careers as a point of departure, Jane
M. Gaines charts how women first fell out of the limelight and then
out of the film history itself. A more perplexing event cemented
their obscurity: the failure of 1970s feminist historiography to
rediscover them. Gaines examines how it happened against a backdrop
of feminist theory and her own meditation on the limits that
historiography imposes on scholars. Pondering how silent era women
have become absent in the abstract while present in reality, Gaines
sees a need for a theory of these artists' pasts that relates their
aspirations to those of contemporary women. A bold journey through
history and memory, Pink-Slipped pursues the still-elusive fate of
the influential women in the early years of film.
A nickelodeon screening a Charlie Chaplin silent classic, the
downtown arthouse cinemas that made Antonioni and Cassavetes
household names, the modern suburban megaplex and its sold-out
Friday night blockbuster: "how" American and global audiences have
viewed movies is as rich a part of cinematic history as "what"
we've seen on the silver screen. "Going to the Movies" considers
the implications of this social and cultural history through an
analysis of the diverse historical and geographical circumstances
in which audiences have viewed American cinema. Featuring a
distinguished group of film scholars--including Richard Abel,
Annette Kuhn, Jane Gaines, and Thomas Doherty--whose interests
range broadly across time and place, this volume analyzes the role
of movie theatres in local communities, the links between film and
other entertainment media, non-theatrical exhibition, and trends
arising from the globalization of audiences. Emphasizing moviegoing
outside of the northeastern United States, as well as the
complexities of race in relation to cinema attendance, "Going to
the Movies "appeals to the global citizen of cinema--locating the
moviegoing experience in its appeal to the heart and mind of the
audience, whether it's located in a South African shanty town or
the screening room of a Hollywood production lot.
Since the 1970s film studies has been dominated by a basic
paradigm--the concept of classical Hollywood cinema--that is, the
protagonist-driven narrative, valued for the way it achieves
closure by neatly answering all of the enigmas it raises. It has
been held to be a form so powerful that its aesthetic devices
reinforce gender positions in society. In a variety of ways, the
essays collected here--representing the work of some of the most
innovative theorists writing today--challenge this paradigm.
Significantly expanded from a special issue of South Atlantic
Quarterly (Spring 1989), these essays confront the extent to which
formalism has continued to dominate film theory, reexamine the role
of melodrama in cinematic development, revise notions of
patriarchal cinema, and assert the importance of television and
video to cinema studies. A range of topics are discussed, from the
films of D. W. Griffith to sexuality in avant-garde film to
television's Dynasty.
Classical Hollywood Narrative invites students of film, television,
and video to reevaluate the basic tenets of the field and
introduces film studies to literary scholars.
Contributors. Rick Altman, Richard Dienst, Jane Feuer, Jane Gaines,
Christine Gledhill, Miriam Hansen, Norman N. Holland, Fredric
Jameson, Bill Nichols, Janey Staiger, Chris Straayer, John O.
Thompson
Women held more positions of power in the silent film era than at
any other time in American motion picture history. Marion Leonard
broke from acting to cofound a feature film company. Gene Gauntier,
the face of Kalem Films, also wrote the first script of Ben-Hur.
Helen Holmes choreographed her own breathtaking on-camera stunt
work. Yet they and the other pioneering filmmaking women vanished
from memory. Using individual careers as a point of departure, Jane
M. Gaines charts how women first fell out of the limelight and then
out of the film history itself. A more perplexing event cemented
their obscurity: the failure of 1970s feminist historiography to
rediscover them. Gaines examines how it happened against a backdrop
of feminist theory and her own meditation on the limits that
historiography imposes on scholars. Pondering how silent era women
have become absent in the abstract while present in reality, Gaines
sees a need for a theory of these artists' pasts that relates their
aspirations to those of contemporary women. A bold journey through
history and memory, Pink-Slipped pursues the still-elusive fate of
the influential women in the early years of film.
This book celebrates the achievements of Alice Guy Blache
(1873-1968), the first woman motion picture director and producer.
From 1896 to 1907, she created films for Gaumont in Paris. In 1907,
she moved to the United States and established her own film
company, Solax. From 1914 to 1920, Guy Blache was an independent
director for a number of film companies. Despite her immensely
productive and creative career, Guy Blache's indispensable
contribution to film history has been overlooked. She entered the
world of filmmaking at its nascent stage, when films were seen
primarily as a medium in the service of science or as an adjunct to
selling cameras. Working with Gaumont cameramen and cameras and the
new technical advances for the projection of film, she became one
of the film pioneers ushering in the new era of motion pictures as
a narrative form. Written by cinema history experts and curators,
this handsome volume brings to light a critical new mass of Guy
Blache's film oeuvre in an effort to restore her to her rightful
place in film history. Published in association with the Whitney
Museum of American Art Exhibition Schedule: Whitney Museum of
American Art, New York (11/6/09 - 1/24/10)
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