Contemporary Approaches to Film and Television Series A complete listing of the books in this series can be found online at wsupress.wayne.edu General Editor Barry Keith Grant Brock University Advisory Editors Peter X. Feng Patricia B. Erens University of Delaware School of the Art Institute of Chicago Lisa Parks Lucy Fischer University of California–Santa Barbara University of Pittsburgh Frances Gateward Caren J. Deming Ursinus College University of Arizona Walter Metz Robert J. Burgoyne Montana State University Wayne State University Thomas Leitch Tom Gunning University of Delaware University of Chicago Anna McCarthy New York University 00 Callahan FM.indd 2 1/13/10 11:28 AM the FeminisWmayn ea Stnated Un ivFerisiltym Pre ssH istory Detroit wayne state university press detroit 00 Callahan FM.indd 3 1/13/10 11:28 AM © 2010 by Wayne State University Press, Detroit, Michigan 48201. All rights reserved. No part of this book may be reproduced without formal permission. Manufactured in the United States of America. Library of Congress Cataloging-in-Publication Data Reclaiming the archive : feminism and film history / edited by Vicki Callahan. p. cm. — (Contemporary approaches to film and television series) Includes bibliographical references and index. ISBN 978-0-8143-3300-6 (pbk. : alk. paper) 1. Feminism and motion pictures. 2. Women in motion pictures. 3. Women in the motion picture industry. 4. Feminist film criticism. I. Callahan, Vicki. PN1995.9.W6R445 2010 791.43’651—dc22 2009041403 “Black and White: Mercedes de Acosta’s Glorious Enthusiasms” by Patricia White originally appeared in a longer format in Camera Obscura 45, vol. 15.3 (2001). Reprinted by permission. “On Cyberfeminism and Cyberwomanism: High-Tech Mediations of Feminism’s Discontents” by Anna Everett is adapted from her essay “Double Click: The Million Woman March on Television and the Internet” in Television after TV: Essays on a Medium in Transition, ed. Lynn Spigel and Jan Olsson (Durham, NC: Duke University Press, 2004), 224–41; it also appears in Digital Diaspora: A Race for Cyberspace, by Anna Everett (New York: SUNY Press, 2009). Reprinted by permission. An earlier version of “The Birth of the Local Feminist Sphere in the Global Era: Yeoseongjang and ‘Trans-cinema’” by Soyoung Kim appeared in Inter-Asia Cultural Studies 4.1 (2003), 10–24. Reprinted by permission. ISBN 978-0-8143-3687-8 (e-book) 00 Callahan FM.indd 4 1/13/10 11:28 AM 00 Callahan FM.indd 5 1/13/10 11:28 AM Contents Acknowledgments xi Introduction: Reclaiming the Archive: Archaeological Explorations toward a Feminism 3.0 1 Vicki Callahan I. Gazing Outward: The Spectrum of Feminist Reception History 9 Laura Mulvey 1. Unmasking the Gaze: Feminist Film Theory, History, and Film Studies 17 Janet Staiger 2. Les Belles Dames sans Merci, Femmes Fatales, Vampires, Vamps, and Gold Diggers: The Transformation and Narrative Value of Aggressive Fallen Women 32 Annette Kuhn 3. “I wanted life to be romantic, and I wanted to be thin”: Girls Growing Up with Cinema in the 1930s 58 Suzanne Leonard 4. The “True Love” of Elizabeth Taylor and Richard Burton 74 Terri Simone Francis 5. “She Will Never Look”: Film Spectatorship, Black Feminism, and Scary Subjectivities 98 vii 00 Callahan FM.indd 7 1/13/10 11:28 AM CONTENTS II. Rewriting Authorship 127 Shelley Stamp 6. Lois Weber, Star Maker 131 Ayako Saito 7. Reading as a Woman: The Collaboration of Ayako Wakao and Yasuzo Masumura 154 Geneviève Sellier 8. Women in the Nouvelle Vague: The Lost Continent? 176 Victoria Duckett 9. Investigating an Interval: Sarah Bernhardt, Hamlet, and the Paris Exposition of 1900 193 Yvonne Tasker 10. Vision and Visibility: Women Filmmakers, Contemporary Authorship, and Feminist Film Studies 213 Patricia White 11. Black and White: Mercedes de Acosta’s Glorious Enthusiasms 231 III. Excavating Early Cinema 259 Sumiko Higashi 12. Vitagraph Stardom: Constructing Personalities for “New” Middle-Class Consumption 264 Giuliana Muscio 13. Clara, Ouida, Beulah, et. al.: Women Screenwriters in American Silent Cinema 289 Amy Shore 14. Making More than a Spectacle of Themselves: Creating the Militant Suffragette in Votes for Women 309 Joanne Hershfield 15. Visualizing the Modern Mexican Woman: Santa and Cinematic Nation-Building 329 viii 00 Callahan FM.indd 8 1/13/10 11:28 AM CONTENTS Sandy Flitterman-Lewis 16. Sisters in Rebellion: The Unexpected Kinship of Germaine Dulac and Virginia Woolf 345 IV. Constructing a (Post)feminist Future 359 Michele Schreiber 17. “Misty Water-Colored Memories of the Way We Were . . .” Postfeminist Nostalgia in Contemporary Romance Narratives 364 Anna Everett 18. On Cyberfeminism and Cyberwomanism: High-Tech Mediations of Feminism’s Discontents 384 Soyoung Kim 19. The Birth of the Local Feminist Sphere in the Global Era: Yeoseongjang and “Trans-cinema” 399 Vicki Callahan 20. The Future of the Archive: An Interview with Lynn Hershman Leeson 418 Contributors 431 Index 435 ix 00 Callahan FM.indd 9 1/13/10 11:28 AM Acknowledgments Reclaiming the Archive: Feminism and Film History is truly a collaborative work that would not have been completed without the efforts and sup- port of many people. My desire to make the book as inclusive as possible produced issues of scope, size, and duration that required what seemed at times like an army of feminist volunteers to see it to completion. I am very grateful for the sustained help from a group of magnificent scholars who provided close readings, needed feedback and commentary, and especially enthusiasm and good cheer when at times the project seemed daunting and impossible. Several people served in a coediting capacity on the book but the vi- cissitudes of life and academia called them elsewhere as the project’s lifes- pan extended beyond the normal tour of duty. First and foremost, Alison McKee provided clarity, organization, and her incredible editing skills to the project when I was most in need of all three talents—simply put, this book would not have been completed without her labor and solid scholar- ship. Kelley Conway and Jennifer Holt both worked diligently in the early stages of the book to help map out the scope and define the parameters of the work. Jennifer’s early enthusiasm for the project launched the enter- prise and shaped the focus of the work particularly as a cross-generational venture. I am also grateful to several scholars who generously took time out from their busy schedules to read essays and introductions at various stages and give needed expertise: Sumiko Higashi, Janet Staiger, and Gregory Jay all pitched in on short notice with their impeccable analysis and al- ways honest and direct commentary. Sumiko and Janet have become for me especially wonderful and lively interlocutors on issues of feminism, media, and history, and I have enjoyed their friendship, intellectual rigor, and laughter over many meals (and in Janet’s case, museum tours). Su- xi 00 Callahan FM.indd 11 1/13/10 11:28 AM ACKNOWLEDGMENTS zanne Leonard deserves a special shout-out for her ongoing interventions as skillful editor and postfeminist scholar extraordinaire. I also would like to thank a group of feminist scholars who provided input or made sugges- tions on the project over the years and have greatly influenced how I have understood and shaped the work: Jane Gaines, Janet Bergstrom, Diane Negra, Yvonne Welbon, Rachel Raimist, Britta Sjogren, Catherine Grant, Vivian Sobchack, Lisa Nakamura, Nam Lee, and Anne Friedberg especially provided important ideas and commentary that I found invaluable. Although credited with the photos later in the book, a special thank- you goes to the Kobal Collection and Ricky Byrd, Shelley Stamp, Lynn Hershman Leeson, and Jeff Aldrich for their extra effort and generosity with the images they supplied. I must also acknowledge my contributors, who have been overwhelm- ingly supportive and enthusiastic about this book; they have truly sus- tained and inspired me. My graduate students from assorted feminist film studies seminars over the years also deserve special acknowledgment. I have been very fortunate to work with some amazing young scholars at UCLA, UC-Irvine, and UWM interested in media and gender issues, many of whom are now well on their way to outstanding careers of their own. Wayne State University Press has, as always, provided solid editorial support. Their commitment to this, at times, unwieldy and complicated project has been steadfast and spirited. Barry Keith Grant and assorted readers from the press gave incisive and crucial critical insights that ensured the book’s integrity and quality of scholarship. Jane Hoehner and Annie Martin were both relentlessly resilient and helpful throughout this long endeavor. Annie Martin has been a particularly important force behind this project. I can say without exaggeration every conversation and e-mail I had with Annie left me energized and with a clear sense of direction about how best to proceed. Carrie Downes Teefey deserves particular credit for her meticulous care and concern in the final editing stages. Lastly, I must thank my husband, John Callahan, who is probably upstairs right now formatting something or other for a project or class I am working on. He always identifies himself as the “sales guy” at parties, but he is undoubtedly one of best analytical readers I have encountered. John is also the center of calm and wisdom in the household and thus any bumps along the path of the book’s completion were always put into his usual Zen-like perspective. His unwavering support, energy, and passion- ate belief in the project from the very beginning to the last footnote make him an important contributor to this collection. xii 00 Callahan FM.indd 12 1/13/10 11:28 AM