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Not So Silent: Women in Cinema Before Sound Stockholm Studies in Film History 1

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Not So Silent: Women in Cinema Before Sound Stockholm Studies in Film History 1 ACTA UNIVERSITATIS STOCKHOLMIENSIS Not so Silent: Women in Cinema before Sound Stockholm Studies in Film History 1 Not so Silent Women in Cinema before Sound Edited by Sofia Bull and Astrid Söderbergh Widding ©Sofia Bull, Astrid Söderbergh Widding and Acta Universitatis Stockholmiensis, Stockholm 2010 Cover page design by Bart van der Gaag. Original photograph of Alice Terry. ISBN 978-91-86071-40-0 Printed in Sweden by US-AB, Stockholm 2010. Distributor eddy.se ab, Visby, Sweden. Acknowledgements Producing a proceedings volume is always a collective enterprise. First and foremost, we wish to thank all the contributors to the fifth Women and the Silent Screen conference in Stockholm 2008, who have taken the trouble to turn their papers into articles and submitted them to review for this proceed- ings volume. Margareta Fathli, secretary of the Acta Universitatis Stockholmiensis, de- serves a particular mention for her engagement in establishing the new series Stockholm Studies in Film History; an ideal framework for this publication. A particular thanks goes to Lawrence Webb, who has copy–edited the book with a seemingly never–ending patience. We also owe many thanks to Bart van der Gaag for making the cover as well as for invaluable assistance in the production process. Finally, we are most grateful to the Holger and Thyra Lauritzen Foundation for a generous grant, as well as to the Department of Cinema Studies which has also contributed generously to funding this volume. Stockholm 30 April 2010 Sofia Bull & Astrid Söderbergh Widding 5 Contributors Marcela de Souza Amaral is Professor at UFF (Universidade Federal Fluminense––UFF) in Brazil since 2006. Her main field of study is film directing and mise–en–scène. For her ex- perience in the practical field, where she works as Assistant Director and Film Editor, she has also developed research projects at the university evolving those two main areas (film direct- ing and film editing), creating research groups with the students. Her research on Alice Guy– Blaché is one of the first studies she has written within this project. She is currently editing her documentary about the UFF Film School, for its 40th anniversary. Kristen Anderson Wagner received her Ph.D. in Critical Studies from the University of Southern California School of Cinematic Arts. Her dissertation, “Comic Venus: Women and Comedy in American Silent Film” explores the often–overlooked work of silent–era comedi- ennes. Her current project is a study of how the mythology of Los Angeles was shaped by the early film industry. Therése Andersson, PhD Cinema Studies, currently at the Department of History, Stockholm University. Andersson, born in 1974, defended her thesis in 2006 with the dissertation “Beauty Box: Film Stars and Beauty Culture in Early 20th Century Sweden”. She has recently finished a post–doctoral project on Sofia Coppola’s Marie Antoinette, funded by the Anna Ahlström and Ellen Terserus Foundation. In 2010, together with fellow researchers Eva Knuts and Viveka Berggren Torell, she will begin a new research project called “Velcro, Button, and Zip: Power and Materiality during Styling and Dressing”, funded by the Bank of Sweden Tercentenary Foundation. Muriel Andrin teaches at the University of Brussels and lectures at the Belgian Royal Ar- chives. She is responsible for the new Gender Unit Research of the ULB (SAGES). Her PhD thesis was published in 2005 at the P.I.E. Peter Lang under the title Maléfiques. Le Mélo- drame filmique américain et ses héroïnes (1940–1953). She is the author of articles on women’s representation in melodramas, ’cyber films’, women directors and new forms of interactions between cinema and contemporary art. She is currently co–publishing with Do- minique Nasta the proceedings of the first international conference "Melodrama Revisited" organized at the ULB in 2009. Luigia Annunziata received her PhD in Visual Representation: History, Theory and Produc- tion of Arts and Images from University of Siena, Italy in 2010. Her work focuses on Italian silent cinema and the relationship between cinema and the other arts. Her research interests include also African cinema and studies on Race, Ethnicity and Identity. She has authored several publications on women and cinema, including a recent article in Cinemascope about Orientalism and women in Italian silent cinema. 6 Ansje van Beusekom studied Art History at the Free University in Amsterdam and wrote her dissertation on the reception of film as a new medium in The Netherlands (1998). As Assis- tant Professor she teaches film studies at Utrecht University. Her publications include: “Early and silent cinema and movie going: the lecturer and inter titles”, “Cinema and the other arts and media: the other arts in films and film represented in the other arts and media” and “The history of ideas on film as art beyond the Dutch Film Liga.” Her research interests also in- clude classical film theory. Anke Brouwers is a doctoral researcher employed by the Flemish Research Fund and is attached to the University of Antwerp. Her academic work concentrates on American silent film, film and the emotions, and melodrama and the woman’s film of the thirties and forties. She is currently finishing her doctoral thesis entitled “Making a Scene: Sentimentalism in the Silent Cinema of Mary Pickford and Frances Marion.” She has contributed an article on the comedy of Mary Pickford’s features for the forthcoming AFI Reader on Slapstick Comedy (2010) and has written articles for Film International and Quarterly Review of Film and Video. Sofia Bull is a Ph.D. student at the Department of Cinema, Stockholm University. Her thesis project is on the representation of the body in forensic crime dramas on television, but she also nurtures a soft spot for doing research on women in silent cinema. She was the coordina- tor of the Fifth International Women and the Silent Screen Conference and is part of The Women Film Pioneers Project and The Women’s Film History Network––UK/Ireland. She is a contributor to the forthcoming Women Film Pioneers Sourcebook: Volume II. Nina Cartier is a Doctoral Candidate at Northwestern University. She studies the representa- tions of blackness in film and changes in narration, particularly in blaxploitation, early cin- ema, and race films. Her most recent research projects include “Reel Niggas: Examining White Constructions of Urban Blackness in Blaxploitation Films” and “Do the Robot: Black Modernity, the Spectacle of Dancing, and Early Cinema.” She is currently working on her dissertation, which explores the changes blaxploitation wrought upon the representations of the black body in time and space and the narrational strategies the genre utilized. Yuan Chen has an MA in Film Studies from Columbia University. She is part of the Women Film Pioneers Project. Monica Dall’Asta is an Associate Professor of Film and Television at the University of Bo- logna. She has published extensively on the origins of serial cinema, the history of film theo- ries, and women in silent cinema. She is the editor of a recent Italian reissue of Alice Guy’s memoirs. She is working with Jane Gaines on completing Volume II of the Women Film Pioneers Sourcebook. 7 Mary Desjardins is Associate Professor of Film and Media Studies at Dartmouth College in Hanover, New Hampshire, USA. She is co–editor of Dietrich Icon, a collection of essays about Marlene Dietrich, author of the forthcoming Recycled Stars: Female Stardom in the Age of Television and Video and of many articles in book collections and journals. Victoria Duckett received her Ph. D. from UCLA and has taught Screen Studies in the Uni- versity of Manchester, UK, and in the Department of Media and Performing Arts at the Uni- versità Cattolica, Milan. She is currently a Fellow in Cinema Studies in the School of Culture and Communication, University of Melbourne. A specialist in early film, she has published widely on the intersection between film and the other arts. She was curator of the series ’Per- forming Passions: Sarah Bernhardt and the Silent Screen’ for Cinema Ritrovato in Bologna 2006, and is currently completing a book about early film and disciplinary exchange (’A Little Too Much is Enough for Me’: Sarah Bernhardt and Silent Cinema). Hélène Fleckinger is a PhD Candidate at University of Paris I Panthéon–Sorbonne, under the supervision of Nicole Brenez. She is Associate Lecturer (ATER) at University of Paris–Est Marne–la–Vallée, Department of Film and Audiovisual Studies. Her research interests con- cern French cinema, especially women’s, feminist and political cinema. She is also interested in issues of video history and social uses. Together with David Faroult she has recently edited a journal issue on the cinema of May 68 (Documentaires, no 22, 2010). Annette Förster (Dr.) is an independent scholar and film curator from the Netherlands, spe- cialized in histories of women’s filmmaking, in silent cinema and the popular stage, and in feminist film criticism. She received her PhD from Utrecht University in 2005. She organized (together with Eva Warth) the international workshop “Gender and Silent Cinema” at Utrecht University in 1999, which initiated the series of Women and the Silent Screen Conferences. Her current research topic concerns the stage career of Asta Nielsen in Germany in the 1920s. Jane Gaines is Professor of Film, School of the Arts, Columbia University, New York. She is the award–winning author of Fire and Desire: Mixed Race Movies in the Silent Era and Con- tested Culture: The Image, the Voice, and the Law. With Monica Dall’Asta and Radha Vatsal she edits the Women Film Pioneers Project online resource. Fictioning Histories: Women Film Pioneers and The Documentary Destiny of Cinema are forthcoming. Mila Ganeva (PhD 2000, Chicago, German Studies) is Associate Professor of German at Miami University of Ohio in the USA.
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