WOMEN & THE SILENT SCREEN
WestCoast Santa Cruz Hotel
&
The University of California – Santa Cruz
Santa Cruz, California
November 2-4, 2001
PRELIMINARY CONFERENCE PROGRAM
\
Friday,
November 2
WestCoast
Santa Cruz Hotel
9:00-9:30 am
Opening Remarks [12 Winds Room]
Amelie
Hastie and Shelley Stamp (University of California-Santa Cruz)
9:30-11:15
Women Writing Film History and Theory [12 Winds Room]
Richard
Able (Drake University)
"Fan
Discourse in the Heartland: Gertrude Price and the Des Moines News, 1912-14"
Haidee
Wasson (University of Minnesota)
"Film Criticism, Women's Work and Everyday Genres: Iris Barry"
Paula
Amad (University of Chicago)
"'These spectacles are never forgotten': Recovering and Reading Colette's
Writings on Cinema"
Amelie
Hastie (University of California-Santa Cruz)
"Circuits of Memory and History: The Memoirs of Alice Guy-Blaché"
11:15-11:30
Break
11:30-1:00
Concurrent Sessions
I)
Technologies of Cinema, Space, and Bodies [Bayview Room]
Kristen
Whissel (University of Michigan)
"On Something New: Nell Shipman, New Technologies and the New Woman in Motion"
Mark
Garret Cooper (Florida State University)
"How Gender Defines Space: From Comedienne to Heroine in Molly O'"
Gaylyn
Studlar (University of Michigan)
"Joan Crawford and Technologies of the Body: The Flapper from 'Silence' to
Sound"
II)
Screenwriters and Film Work [12 Winds Room]
Antonia
Lant (New York University)
"Writings about Cinema as a Job for Women"
Anne
Morey (Middlebury College)
"Elinor Glyn as Hollywood Laborer"
Thomas
Slater (Indiana University of Pennsylvania)
"Visionary, Professional, Scapegoat: June Mathis and the Productions of Ben-Hur
and Greed"
1:00-2:00
Lunch Break
2:00-3:45
Concurrent Sessions
I)
Making Movies Respectable: Reformers, Activists, Educators [Bayview Room]
Lee
Grieveson (King's College, University of London)
"Women, Reform and Early Cinema"
Martin
F. Norden (University of Massachusetts at Amherst)
"'You're a Woman--Won't You Help Me?': An Analysis of Margaret Sanger's Birth
Control"
Amy
Shore (New York University)
"Learning To See (Like) A Suffragist: An Analysis of the New York Woman Suffrage
Party's Film, Pageant of Protest"
Constance
Balides (Tulane University)
"Public Opinion, Public Space, and 'Sympathetic Knowledge': The Female Reformer
in Shoes, The Red Kimono, and Linda"
II)
Female Bodies in Motion: Flappers, Comedians and Serial Queens [12 Winds Room]
Jennifer
Bean (University of Washington)
"Early Cinema and the Philosophies of Laughter, or, Marie DresslerÕs Feature-Length
Female Body"
Jennifer
Parchesky (Texas Lutheran University)
"Women in the Driver's Seat: Automobiles and Adventure in Silent Film"
Scott
MacKenzie (University of East Anglia)
"Mobilizing the Female Star Across the 49th Parallel: Pearl White, Pearl
of the Army, and World War I"
Annette
Forster (Independent Scholar)
"Musidora in French Cinemas and Music Halls"
3:45-4:00
Break
4:00-5:30
Concurrent Sessions
I)
Germaine Dulac and Authorship Reconsidered [12 Winds Room]
Rosanna
Maule (Concordia University)
"Problems of WomenÕs Authorship"
Charles
Musser (Yale University)
"Looking Closely at Dulac's La Souriante Madame Beudet"
Tami
Williams (UCLA)
"Beyond Impressions: Tracing an ÔEvolutionaryÕ History of Germaine DulacÕs
Fiction Films"
II)
Acting, Performance and Gender [Bayview Room]
Lea
Jacobs (University of Wisconsin-Madison)
"Naturalism and the Diva: Francesca Bertini in Assunta Spina"
Charlie
Keil (University of Toronto)
"ÔActing Like a StarÕ: The Case of Florence Turner"
Sara
Ross (Hartford University)
"'ÕGood Little Bad GirlsÕ: Silent Comediennes and the Performance of Girlish
Sexuality
6:15
Keynote Address [Santa Cruz Room]
Jane
Gaines (Duke University)
"Women Film Pioneers: The Fantasy of Producing Fantasies"
8:00
Film Screening & Live Musical Accompaniment
Music
Recital Hall, University of California-Santa Cruz
La
Souriante Madame Beudet (Germaine Dulac, 1927)
World Premiere of a new score by composer Carolyn Yarnell
Performed by the New Music Ensemble, Nicole Paiement Conductor
Accompanied
by two short films
Algie
the Miner (Alice Guy-Blaché, 1913)
Hallroom
Girls (Lois Weber, 1914)
Saturday,
November 3
WestCoast
Santa Cruz Hotel
9:00-10:45 am Concurrent
Sessions
I)
Audiences and Intertexts [Seaview Room]
Jenny
Hammerton (British Pathé Pinewood Studios)
"For Ladies Only, Men May Glance: The Weekly Woman's Film in Britain, 1921-1933"
Priscilla
Barlow (University of Chicago)
"What's It All About: Elinor Glyn, It and Its Intertext"
Jon
Burrows (University of Warwick)
"'Melodrama of the Dear Old Kind': The Claims of Sentiment over Sensation
for British 'Serial Queens' in the 1910s"
Curtis
Marez (University of California-Santa Cruz)
"El Flapperismo in Film: Clara Bow and the Mexicanization of It."
II)
Female Filmmakers, Gender and Address [Bayview Room]
Susan
White (University of Arizona)
"Domestic Visions: Women, Home and Commodity Culture in Weber's Too Wise
Wives"
Tom
Trusky (Boise State University)
"A Little Hand for the Villains: Same-Gender Touching in the Feature Films
of Nell Shipman"
Alison
McMahan (University of Amsterdam)
"Multiple Address in Early Cross-Dressing Films"
Gretchen
Bisplinghoff (Northern Illinois University)
"Gene Gauntier: Creating the Cinematic Colleen"
10:45-11:00
Break
11:00-12:30
Concurrent Sessions
I)
Hollywood Labor [Seaview Room]
Heidi
Kenaga (University of Memphis)
"Making the 'Studio Girl': The Hollywood Studio Club and Industry Regulation
of Female Labor"
Denise
McKenna (New York University)
"Women, Welfare and Work: LA's Reformist Politics and the Early American Film
Industry"
Karen
Ward Mahar (Sienna College)
"Why Mary Pickford Wasn't Andrew Carnegie: Masculine Corporate Culture and
the Female Star Producer, 1916-23"
II)
Silents and Sound [Bayview Room]
Barbara
McBane (University of California-Santa Cruz)
"Sound Technologies in the 'Silent' Films of Alice Guy-Blaché: Canned
Harmony (1912) and Burstop Holmes Murder Case (1914)"
Mary
Beltrán, (University of Texas at Austin)
"Latin Lovers and American Accents: Dolores Del Rio in the Transition to Sound
Film"
Mary
Beth Haralovich (University of Arizona)
"From Flappers to Shopgirls: Joan Crawford and Anita Page at the Cusp of Silent
and Sound"
12:30-1:30
Lunch Break
1:30-3:15
Concurrent Sessions
I)
Reading Star Discourse [Bayview Room]
Mark
Lynn Anderson (Hobart and William Smith Colleges)
"Reading Mabel Normand's Library"
Anne
Burri Wolverton (University of Chicago)
"The Good Daughter: Mary Pickford, Charlotte Pickford and the Question of
Maternal Authority in the Silent Film Era"
Melinda
Szaloky (UCLA)
"'As You Desire Me': The Otherness of Greta Garbo"
Shelley
Stamp (University of California-Santa Cruz)
"The Smalleys, Collaborators in Authorship and Direction"
II)
Film Screening for Workshop on Race, Ethnicity and Gender [Seaview Room]
Tentative
screening list:
Watermelon
Patch (Edwin S. Porter, 1905)
Laughing
Gas (Edison, 1907)
The
Redman and the Child (D. W. Griffith, 1908)
The
Girls and Daddy (D.W. Griffith, 190?)
A
Japanese Idyll (Lois Weber, 1912)
3:30-4:30
Workshop: Representation of Race, Ethnicity and Gender in
the "Transitional" Period, c. 1907-1915 [Seaview Room]
Lauren
Rabinovitz (University of Iowa)
Jacqueline
Stewart (University of Chicago)
Susan
Courtney (University of South Carolina)
Sabine
Haenni (University of Chicago)
Linda
Williams (University of California-Berkeley)
8:00
Film Screening with live musical accompaniment
Media Theater, University of California-Santa Cruz
Heart
o´ the Hills (Joseph De Grasse and Sidney A. Franklin, 1919)
Courtesy
of the Mary Pickford Foundation
Composer
Maria Newman will conduct her original score for the film
Accompanied
by the short film Trail of the North Wind (Nell Shipman, 1923)
Sunday,
November 4
WestCoast
Santa Cruz Hotel
9:00-10:15 am Keynote Address:
Cari
Beauchamp (Independent Scholar)
"Resurrecting Frances Marion: A Personal Journey"
10:15
Break
10:30-12:15
Concurrent Sessions
I)
Modernity and Femininity [Bayview Room]
Angela
Dalle Vacche (Georgia Institute of Technology)
"The Italian Diva: Contradictory Goddess of Modernity"
Diane
Negra (University of North Texas)
"Modernity, Public Space and the Irish Heroine of Silent Cinema"
Lori
Landay (Berklee College of Music)
"Modernism, Femininity and Comedy: Looking at the Flapper Film"
II)
Historiographies [12 Winds Room]
Gwendolyn
Audrey Foster (University of Nebraska)
"The Lost Films of Alice Guy Blaché"
Giuliana
Muscio (Padua University)
"The Problematic Issues of the Biographies of American Women Screenwriters
in Silent Cinema"
Kay
Armatage (University of Toronto)
"The Grain of Nell Shipman's Voice"
Eva
Warth (Ruhr-Universitaet Bochum)
"Observations on the 1999 Gender and Silent Cinema conference in Utrecht"
12:15
Closing Remarks [12 Winds Room]
Amelie
Hastie and Shelley Stamp
