Toward a Feminist Historiography of Early Cinema

Toward a Feminist Historiography of Early Cinema
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走向早期电影的女性主义史学

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发表时间:
2017
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通讯作者:
Eva Warth
Eva Warth
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文献类型:
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作者:
repeat.—Robyn Wiegman;F. Maas;Nell Shipman;Annette Förster;Eva Warth

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二十一世纪初是女性主义反思二十世纪初电影的关键时期。数字时代促进的历史材料的获取,国际电影档案馆()成员之间合作的日益准备,以及最近公共领域对无声电影的新兴趣的升级,都表明了早期女性制片人、导演、明星和编剧在年轻产业的形成中所发挥的巨大作用。人们争相发行《第一位女电影》的视频,与此同时,有线电视频道也推出了大量关于女性和早期电影院的纪录片。3 8月,在特纳经典电影上举行了为期一个月的《女性电影先驱》庆祝活动,这是这一倡议的一个显著标志,不仅是因为之前鲜为人知的早期电影在普通民众中得到了更高的知名度,也是因为简·盖恩斯和艾莉森·麦克马汉等女权主义学者获得了突出的地位,他们被列为介绍性和研究评论员。在黄金时段的电视上。4学术和公共场所的合并也塑造了在MAY的美国运动图像博物馆的电影节,其中包括梅布尔·诺曼德、费德里卡·马斯、内尔·希普曼和海伦·加德纳的职业生涯,以及两个开创性的国际会议--《性别与无声电影》
The early years of the twenty-first century are a critical period for feminist reflection on the cinema of the early twentieth century. The access to historical materials fostered by the digital age, the increased readiness for collaboration among themembers of theFédération Internationale desArchives du Film (), and the recent escalation in the public sphere of a qualitatively new interest in silent cinema has made visible the remarkable number of roles played by early women producers, directors, stars, and writers in the formation of the young industry. The rush to distribute videos featuring ‘‘First Movie Ladies’’ has been matched by a spate of cable-channel documentaries on women and early cinema.3 The monthlong celebration of ‘‘Women Film Pioneers’’ on Turner Classic Movies in August  is a notable signpost of this initiative, not only for the bolstered visibility of previously obscure early films to the general population, but also for the prominent position allotted to feminist scholars like Jane Gaines and Alison McMahan, who were included as introductory and research commentators, on prime-time television.4 The merger of academic and public venues also shaped the festival at the American Museum of the Moving Image inMay,which featured the careers ofMabelNormand, Federica Maas, Nell Shipman, and Helen Gardner, as well as two groundbreaking international conferences on ‘‘Gender and Silent Cinema’’—the