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]
Able (Drake University)
"Fan Discourse in the Heartland: Gertrude Price and the Des Moines News, 1912-14"
Wasson (University of Minnesota)
"Film Criticism, Women's Work and Everyday Genres: Iris Barry"
Amad (University of Chicago)
"'These spectacles are never forgotten': Recovering and Reading Colette's Writings on Cinema"
Hastie (University of California-Santa Cruz)
"Circuits of Memory and History: The Memoirs of Alice Guy-Blaché"
11:30-1:00 Concurrent Sessions
I) Technologies of Cinema, Space, and Bodies [Bayview Room]
Whissel (University of Michigan)
"On Something New: Nell Shipman, New Technologies and the New Woman in Motion"
Garret Cooper (Florida State University)
"How Gender Defines Space: From Comedienne to Heroine in Molly O'"
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]
Lant (New York University)
"Writings about Cinema as a Job for Women"
Morey (Middlebury College)
"Elinor Glyn as Hollywood Laborer"
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]
Grieveson (King's College, University of London)
"Women, Reform and Early Cinema"
F. Norden (University of Massachusetts at Amherst)
"'You're a Woman--Won't You Help Me?': An Analysis of Margaret Sanger's Birth Control"
Shore (New York University)
"Learning To See (Like) A Suffragist: An Analysis of the New York Woman Suffrage Party's Film, Pageant of Protest"
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]
Bean (University of Washington)
"Early Cinema and the Philosophies of Laughter, or, Marie Dressler’s Feature-Length Female Body"
Parchesky (Texas Lutheran University)
"Women in the Driver's Seat: Automobiles and Adventure in Silent Film"
MacKenzie (University of East Anglia)
"Mobilizing the Female Star Across the 49th Parallel: Pearl White, Pearl of the Army, and World War I"
Forster (Independent Scholar)
"Musidora in French Cinemas and Music Halls"
4:00-5:30 Concurrent Sessions
I) Germaine Dulac and Authorship Reconsidered [12 Winds Room]
Maule (Concordia University)
"Problems of Women’s Authorship"
Musser (Yale University)
"Looking Closely at Dulac's La Souriante Madame Beudet"
"Beyond Impressions: Tracing an ‘Evolutionary’ History of Germaine Dulac’s Fiction Films"
II) Acting, Performance and Gender [Bayview Room]
Jacobs (University of Wisconsin-Madison)
"Naturalism and the Diva: Francesca Bertini in Assunta Spina"
Keil (University of Toronto)
"‘Acting Like a Star’: The Case of Florence Turner"
Ross (Hartford University)
"'’Good Little Bad Girls’: Silent Comediennes and the Performance of Girlish Sexuality
6:15 Keynote Address [Santa Cruz Room]
Gaines (Duke University)
"Women Film Pioneers: The Fantasy of Producing Fantasies"
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]
Hammerton (British Pathé Pinewood Studios)
"For Ladies Only, Men May Glance: The Weekly Woman's Film in Britain, 1921-1933"
Barlow (University of Chicago)
"What's It All About: Elinor Glyn, It and Its Intertext"
Burrows (University of Warwick)
"'Melodrama of the Dear Old Kind': The Claims of Sentiment over Sensation for British 'Serial Queens' in the 1910s"
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]
White (University of Arizona)
"Domestic Visions: Women, Home and Commodity Culture in Weber's Too Wise Wives"
Trusky (Boise State University)
"A Little Hand for the Villains: Same-Gender Touching in the Feature Films of Nell Shipman"
McMahan (University of Amsterdam)
"Multiple Address in Early Cross-Dressing Films"
Bisplinghoff (Northern Illinois University)
"Gene Gauntier: Creating the Cinematic Colleen"
11:00-12:30 Concurrent Sessions
I) Hollywood Labor [Seaview Room]
Kenaga (University of Memphis)
"Making the 'Studio Girl': The Hollywood Studio Club and Industry Regulation of Female Labor"
McKenna (New York University)
"Women, Welfare and Work: LA's Reformist Politics and the Early American Film Industry"
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]
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)"
Beltrán, (University of Texas at Austin)
"Latin Lovers and American Accents: Dolores Del Rio in the Transition to Sound Film"
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]
Lynn Anderson (Hobart and William Smith Colleges)
"Reading Mabel Normand's Library"
Burri Wolverton (University of Chicago)
"The Good Daughter: Mary Pickford, Charlotte Pickford and the Question of Maternal Authority in the Silent Film Era"
"'As You Desire Me': The Otherness of Greta Garbo"
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 FoundationComposer 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"
10:30-12:15 Concurrent Sessions
I) Modernity and Femininity [Bayview Room]
Dalle Vacche (Georgia Institute of Technology)
"The Italian Diva: Contradictory Goddess of Modernity"
Negra (University of North Texas)
"Modernity, Public Space and the Irish Heroine of Silent Cinema"
Landay (Berklee College of Music)
"Modernism, Femininity and Comedy: Looking at the Flapper Film"
II) Historiographies [12 Winds Room]
Audrey Foster (University of Nebraska)
"The Lost Films of Alice Guy Blaché"
Muscio (Padua University)
"The Problematic Issues of the Biographies of American Women Screenwriters in Silent Cinema"
Armatage (University of Toronto)
"The Grain of Nell Shipman's Voice"
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