WestCoast Santa Cruz Hotel


The University of California – Santa Cruz

Santa Cruz, California

November 2-4, 2001







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 Dressler’s 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 Women’s Authorship"

Charles Musser (Yale University)
"Looking Closely at Dulac's La Souriante Madame Beudet"

Tami Williams (UCLA)
"Beyond Impressions: Tracing an ‘Evolutionary’ History of Germaine Dulac’s 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)
"‘Acting Like a Star’: The Case of Florence Turner"

Sara Ross (Hartford University)
"'’Good Little Bad Girls’: 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