In this study of Marie Dressler, MGM's most profitable movie star in the early 1930s, Victoria Sturtevant analyzes Dressler's use of her body to challenge Hollywood's standards for leading ladies. At five feet seven inches tall and two hundred pounds, Dressler often played ugly ducklings, old maids, doting mothers, and imperious dowagers. However, her body, her fearless physicality, and her athletic slapstick routines commanded the screen. Sturtevant interprets the meanings of Dressler's body by looking at her vaudeville career, her transgressive representation of an "unruly" yet sexual body...
In this study of Marie Dressler, MGM's most profitable movie star in the early 1930s, Victoria Sturtevant analyzes Dressler's use of her body to chall...
In the first book-length study of Marie Dressler, MGM's most profitable movie star in the early 1930s, Victoria Sturtevant analyzes Dressler's use of her body to challenge Hollywood's standards for leading ladies. At five feet seven inches tall and two hundred pounds, Dressler often played ugly ducklings, old maids, doting mothers, and imperious dowagers. However, her body, her fearless physicality, and her athletic slapstick routines commanded the screen. Sturtevant interprets the meanings of Dressler's body by looking at her vaudeville career, her transgressive representation of an "unruly"...
In the first book-length study of Marie Dressler, MGM's most profitable movie star in the early 1930s, Victoria Sturtevant analyzes Dressler's use of ...
Heide Schlupmann's classic study of early German cinema was published in German as Unheimlichkeit des Blicks: Das Drama des Fruhen deutschen Kinos in 1990. For the first time in English, this translation makes available her feminist examination of German cinema and Germany in the sociopolitical context of Wilhelmine society. By examining then-unknown pre-World War I narrative films, this study paints a picture of the conflicted early years of the German cinema. During this period cinema and film production were able to develop independently from the cultural bourgeoisie and relied on those...
Heide Schlupmann's classic study of early German cinema was published in German as Unheimlichkeit des Blicks: Das Drama des Fruhen deutschen Kinos in ...
Heide Schlupmann's classic study of early German cinema was published in German as Unheimlichkeit des Blicks: Das Drama des Fruhen deutschen Kinos in 1990. For the first time in English, this translation makes available her feminist examination of German cinema and Germany in the sociopolitical context of Wilhelmine society. By examining then-unknown pre-World War I narrative films, this study paints a picture of the conflicted early years of the German cinema. During this period cinema and film production were able to develop independently from the cultural bourgeoisie and relied on those...
Heide Schlupmann's classic study of early German cinema was published in German as Unheimlichkeit des Blicks: Das Drama des Fruhen deutschen Kinos ...
Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all of these directors had left Universal and only one still worked in the film industry at all. Two generations of cinema historians have either overlooked or been stymied by the mystery of why Universal first systematically supported and promoted women directors and then abruptly reversed that policy.
In this trailblazing study, Mark Garrett Cooper approaches the phenomenon as a case study in how corporate movie studios interpret and act on...
Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all o...
Exceptionally popular during their time, the spectacular American action film serials of the 1910s featured exciting stunts, film tricks, and effects set against the background of modern technology, often starring resourceful female heroines who displayed traditionally male qualities such as endurance, strength, and authority. The most renowned of these "serial queens" was Pearl White, whose career as the adventurous character Pauline developed during a transitional phase in the medium's evolving production strategies, distribution and advertising patterns, and fan culture. In this volume, an...
Exceptionally popular during their time, the spectacular American action film serials of the 1910s featured exciting stunts, film tricks, and effects ...
Best known for directing the Impressionist classic "The Smiling Madame Beudet" and the first Surrealist film "The Seashell and the Clergyman," Germaine Dulac, feminist and pioneer of 1920s French avant-garde cinema, made close to thirty fiction films as well as numerous documentaries and newsreels. Through her filmmaking, writing, and cine-club activism, Dulac s passionate defense of the cinema as a lyrical art and social practice had a major influence on twentieth century film history and theory.
In "Germaine Dulac: A Cinema of Sensations," Tami Williams makes unprecedented use of the...
Best known for directing the Impressionist classic "The Smiling Madame Beudet" and the first Surrealist film "The Seashell and the Clergyman," Germ...
Best known for directing the Impressionist classic "The Smiling Madame Beudet" and the first Surrealist film "The Seashell and the Clergyman," Germaine Dulac, feminist and pioneer of 1920s French avant-garde cinema, made close to thirty fiction films as well as numerous documentaries and newsreels. Through her filmmaking, writing, and cine-club activism, Dulac s passionate defense of the cinema as a lyrical art and social practice had a major influence on twentieth century film history and theory.
In "Germaine Dulac: A Cinema of Sensations," Tami Williams makes unprecedented use of the...
Best known for directing the Impressionist classic "The Smiling Madame Beudet" and the first Surrealist film "The Seashell and the Clergyman," Germ...
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...
Research into and around women's participation in cinematic history has enjoyed dynamic growth over the past decade. A broadening of scope and interes...
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...
Research into and around women's participation in cinematic history has enjoyed dynamic growth over the past decade. A broadening of scope and interes...
