This essay addresses the question: what distinguished the popular Drew comedies (1915–1919)? First, in what essentially were situation comedies, Mr. and Mrs. Sidney Drew played a white middle-class couple who squabbled over issues or disagreements, usually minor but sometimes not, that were resolved through deft deceptions. Second, and most important, not only was Mrs. Drew (1890–1925) an accomplished comedienne, but she also scripted all of the films, directed or codirected nearly as many, and eventually became a producer. While on screen she may have played a seemingly conventional wife (but not always), behind the scenes she created stories that poked gentle fun at white middle-class domestic life and often challenged, however lightly transgressive, the prevailing patriarchy of the period.
{"title":"At Home with Polly and Henry","authors":"Richard Abel","doi":"10.1525/fmh.2023.9.3.79","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.3.79","url":null,"abstract":"This essay addresses the question: what distinguished the popular Drew comedies (1915–1919)? First, in what essentially were situation comedies, Mr. and Mrs. Sidney Drew played a white middle-class couple who squabbled over issues or disagreements, usually minor but sometimes not, that were resolved through deft deceptions. Second, and most important, not only was Mrs. Drew (1890–1925) an accomplished comedienne, but she also scripted all of the films, directed or codirected nearly as many, and eventually became a producer. While on screen she may have played a seemingly conventional wife (but not always), behind the scenes she created stories that poked gentle fun at white middle-class domestic life and often challenged, however lightly transgressive, the prevailing patriarchy of the period.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Disabled activists in the United States brought unique expertise to HIV/AIDS in the 1980s and ’90s, including understanding social stigma and health as social justice issues and approaching information as a complex access problem. Disproportionately affected Deaf communities mounted a response that carefully blended face-to-face caring practices with mediated information by and for deaf people grappling with HIV. San Francisco’s Deaf AIDS Information Center (DAIC) advocated for wider access to Telecommunications Device for the Deaf (TDD) in the AIDS service sector while also marking this text and modem-based machine’s inadequacies as a substitute for the high-touch, one-to-one interpretive work needed by many ASL users. Crossovers among media, AIDS, and disability justice histories are underdocumented and risk seeming minor. Through our analysis of the DAIC, we argue that this intersection is key to advancing knowledge of how HIV left an imprint on emerging communication technologies and how sexuality and disability factor in technological cultures.
{"title":"High-Touch Media","authors":"Cait McKinney, Dylan Mulvin","doi":"10.1525/fmh.2023.9.1.98","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.1.98","url":null,"abstract":"Disabled activists in the United States brought unique expertise to HIV/AIDS in the 1980s and ’90s, including understanding social stigma and health as social justice issues and approaching information as a complex access problem. Disproportionately affected Deaf communities mounted a response that carefully blended face-to-face caring practices with mediated information by and for deaf people grappling with HIV. San Francisco’s Deaf AIDS Information Center (DAIC) advocated for wider access to Telecommunications Device for the Deaf (TDD) in the AIDS service sector while also marking this text and modem-based machine’s inadequacies as a substitute for the high-touch, one-to-one interpretive work needed by many ASL users. Crossovers among media, AIDS, and disability justice histories are underdocumented and risk seeming minor. Through our analysis of the DAIC, we argue that this intersection is key to advancing knowledge of how HIV left an imprint on emerging communication technologies and how sexuality and disability factor in technological cultures.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41438308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1525/fmh.2023.9.1.123
W. Sung
This article examines American Artist’s installation “Sandy Speaks,” a chatbot inspired by Sandra Bland’s media activism, as an analytical connective point to pathways of Black technological critique and histories of Black digitality and care. First connecting the work to its predigital antecedent The Negro Green Book, the article then argues that the typical aspirations of chatbot to approximate the human is disavowed in “Sandy Speaks,” enacting a Black technological critique of the human itself. Moreover, departing from celebratory discourses of Black technological innovation, the chatbot's low AI instantiates what the author calls a politics of technological refusal—a praxis of deliberate technological limitation as critique. This article asks what might happen when we seek potentialities of Black praxis in the slow, broken, old, technological forms, not as remedy, but as theory, critique, and an undoing of the recuperation of technological innovation as most legible mode of recognition.
{"title":"More Than Just a Memory","authors":"W. Sung","doi":"10.1525/fmh.2023.9.1.123","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.1.123","url":null,"abstract":"This article examines American Artist’s installation “Sandy Speaks,” a chatbot inspired by Sandra Bland’s media activism, as an analytical connective point to pathways of Black technological critique and histories of Black digitality and care. First connecting the work to its predigital antecedent The Negro Green Book, the article then argues that the typical aspirations of chatbot to approximate the human is disavowed in “Sandy Speaks,” enacting a Black technological critique of the human itself. Moreover, departing from celebratory discourses of Black technological innovation, the chatbot's low AI instantiates what the author calls a politics of technological refusal—a praxis of deliberate technological limitation as critique. This article asks what might happen when we seek potentialities of Black praxis in the slow, broken, old, technological forms, not as remedy, but as theory, critique, and an undoing of the recuperation of technological innovation as most legible mode of recognition.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41719590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The video essay “Filling (Feeling) the Archival Void” delves into the systematic erasure and archival dispossession of works by early women filmmakers, using the case study of Helena Cortesina and her lost film Flor de España (1922), which was falsely attributed to a male director. Through a counterhegemonic, provocative, “accented” approach, the video essay challenges established, patriarchal film histories and exposes the lies hidden within their seemingly rigorous discourse. First, it pays homage to the authorship of an almost forgotten filmmaker, Helena Cortesina, while also making her lost film visible, ensuring that at least some of its images are brought to light. Second, it explores the potential of the video essay as a feminist archive—a practice-based counterarchive, capable of producing counterhegemonic discourses that subvert the status quo. Third, by challenging the presumed “objectivity” of traditional film scholarship through openly poetic, subjective, and imaginative modes of expression, it establishes and validates a new epistemology.
视频文章《填补(感受)档案空白》(Filling (Feeling) The archive Void)探讨了早期女性电影人对作品的系统性抹除和档案剥夺，并以海伦娜·科尔特西娜(Helena Cortesina)和她丢失的电影《地板España》(Flor de España, 1922)为例进行了研究，这部电影被错误地归因于一位男性导演。通过一种反霸权的、挑衅的、“重音”的方式，视频文章挑战了既定的、父权制的电影历史，并揭露了隐藏在其看似严谨的话语中的谎言。首先，它向一位几乎被遗忘的电影制作人海伦娜·科尔特西娜(Helena Cortesina)的作者致敬，同时也让她丢失的电影得以展示，确保至少有一些图像得以曝光。其次，它探索了视频文章作为女权主义档案的潜力——一种基于实践的反档案，能够产生颠覆现状的反霸权话语。第三，通过公开诗意、主观和想象的表达方式挑战传统电影学术假定的“客观性”，它建立并验证了一种新的认识论。
{"title":"Filling (Feeling) the Archival Void","authors":"Barbara Zecchi","doi":"10.1525/fmh.2023.9.4.14","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.4.14","url":null,"abstract":"The video essay “Filling (Feeling) the Archival Void” delves into the systematic erasure and archival dispossession of works by early women filmmakers, using the case study of Helena Cortesina and her lost film Flor de España (1922), which was falsely attributed to a male director. Through a counterhegemonic, provocative, “accented” approach, the video essay challenges established, patriarchal film histories and exposes the lies hidden within their seemingly rigorous discourse. First, it pays homage to the authorship of an almost forgotten filmmaker, Helena Cortesina, while also making her lost film visible, ensuring that at least some of its images are brought to light. Second, it explores the potential of the video essay as a feminist archive—a practice-based counterarchive, capable of producing counterhegemonic discourses that subvert the status quo. Third, by challenging the presumed “objectivity” of traditional film scholarship through openly poetic, subjective, and imaginative modes of expression, it establishes and validates a new epistemology.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136372695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the early years of the HIV/AIDS crisis, the provision of information was part of the necessary care work for people living and dying with HIV or AIDS. AIDS INFO BBS and the associated caregivers mailing list was a much-needed digital space for sharing the struggles and opportunities of AIDS care work. By charting the creation, contents, and afterlife of the caregivers mailing list digital archive, we examine the ways in which technologies facilitate powerful queer care relations. Through iterative qualitative coding of the archived messages, we examine (1) care networks, (2) novel medical care technologies, (3) and archiving as care work. Despite popular narratives that present the HIV/AIDS epidemic as a relic of the recent past, the HIV/AIDS crisis continues. By providing narratives of continuation from the archive, we uncover a richer understanding of HIV/AIDS histories and the ways in which care was and is provided during this pandemic.
{"title":"“I Hope We Leave More of a Record”","authors":"Marika Cifor, C. McDonald","doi":"10.1525/fmh.2023.9.1.78","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.1.78","url":null,"abstract":"During the early years of the HIV/AIDS crisis, the provision of information was part of the necessary care work for people living and dying with HIV or AIDS. AIDS INFO BBS and the associated caregivers mailing list was a much-needed digital space for sharing the struggles and opportunities of AIDS care work. By charting the creation, contents, and afterlife of the caregivers mailing list digital archive, we examine the ways in which technologies facilitate powerful queer care relations. Through iterative qualitative coding of the archived messages, we examine (1) care networks, (2) novel medical care technologies, (3) and archiving as care work. Despite popular narratives that present the HIV/AIDS epidemic as a relic of the recent past, the HIV/AIDS crisis continues. By providing narratives of continuation from the archive, we uncover a richer understanding of HIV/AIDS histories and the ways in which care was and is provided during this pandemic.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48718064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Before the Hollywood novel emerged as a well-established literary genre in the early 1920s, various American authors were writing novels about moviemaking in both serial and book form. Not unlike the preclassical Hollywood movies of the 1910s, these “proto-Hollywood novels” were more than simple antecedents. Many were set in New York City and took their cues from novels about the theater world. Others were set in the Far West, including California, but before Hollywood had assumed its mythic identity. Of particular interest: most of these novels were feminist in their rhetoric and narratives. Some engaged issues of sexual harassment that would be picked up a century later by the #MeToo movement. This article focuses on the works of two male writers associated with the radical magazine The Masses—Robert Carlton Brown and James Oppenheim, and two women who were involved in screenwriting on the West Coast—B. M. Bower and Margaret Turnbull.
{"title":"The Proto-Hollywood Novel","authors":"Charles Musser","doi":"10.1525/fmh.2023.9.3.50","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.3.50","url":null,"abstract":"Before the Hollywood novel emerged as a well-established literary genre in the early 1920s, various American authors were writing novels about moviemaking in both serial and book form. Not unlike the preclassical Hollywood movies of the 1910s, these “proto-Hollywood novels” were more than simple antecedents. Many were set in New York City and took their cues from novels about the theater world. Others were set in the Far West, including California, but before Hollywood had assumed its mythic identity. Of particular interest: most of these novels were feminist in their rhetoric and narratives. Some engaged issues of sexual harassment that would be picked up a century later by the #MeToo movement. This article focuses on the works of two male writers associated with the radical magazine The Masses—Robert Carlton Brown and James Oppenheim, and two women who were involved in screenwriting on the West Coast—B. M. Bower and Margaret Turnbull.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The influenza epidemic of 1918–20 was one of the deadliest events in recent human history, killing at least fifty million people worldwide and at least 675,000 Americans in just two years. Yet, because of government censorship during the pandemic and a lasting cultural silence about the flu, we still have a great deal to learn about this period. In the wake of the COVID-19 crisis, remembering the experience of the Spanish flu has become especially urgent. This essay argues that motion picture fan magazines, many of which are available digitally through the Media History Digital Library, are crucial archives of women’s experiences during the pandemic. Interactive sections of these publications gave readers—especially women and girls—rare opportunities to publicly share their own experiences with the flu. Celebrity “convalescing profiles” expressed anxieties and established expectations for women during the flu pandemic. Revisiting these publications today reveals the importance of celebrity and sites of fan engagement in forging ideas about illness and health.
{"title":"Convalescing Profiles","authors":"C. C. Jacobs","doi":"10.1525/fmh.2023.9.3.31","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.3.31","url":null,"abstract":"The influenza epidemic of 1918–20 was one of the deadliest events in recent human history, killing at least fifty million people worldwide and at least 675,000 Americans in just two years. Yet, because of government censorship during the pandemic and a lasting cultural silence about the flu, we still have a great deal to learn about this period. In the wake of the COVID-19 crisis, remembering the experience of the Spanish flu has become especially urgent. This essay argues that motion picture fan magazines, many of which are available digitally through the Media History Digital Library, are crucial archives of women’s experiences during the pandemic. Interactive sections of these publications gave readers—especially women and girls—rare opportunities to publicly share their own experiences with the flu. Celebrity “convalescing profiles” expressed anxieties and established expectations for women during the flu pandemic. Revisiting these publications today reveals the importance of celebrity and sites of fan engagement in forging ideas about illness and health.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1525/fmh.2023.9.4.135
Sarah Choi
Sarah Choi interviews Sasha Su-Ling Welland, chair and professor of Gender, Women, and Sexuality studies at University of Washington, Seattle, and Sabrina Craig, director of Community Engagement for South Side Home Movie Project in Chicago, to discuss their engagement in cross-generational storytelling. Acknowledging the vital role women’s shared memories have played in preserving historical knowledge, Welland and Craig make a connection between their pedagogical, ethnographic, and counterarchival practices, which situate cross-generational conversations at the heart of feminist historiography.
Sarah Choi采访了西雅图华盛顿大学性别、女性和性研究主席兼教授Sasha Su-Ling Welland，以及芝加哥南区家庭电影项目社区参与主任Sabrina Craig，讨论了他们在跨代叙事中的参与。认识到女性的共同记忆在保存历史知识方面发挥的重要作用，韦兰和克雷格将她们的教学、民族志和反档案实践联系起来，将跨代对话置于女权主义史学的核心。
{"title":"Cross-Generational Storytelling","authors":"Sarah Choi","doi":"10.1525/fmh.2023.9.4.135","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.4.135","url":null,"abstract":"Sarah Choi interviews Sasha Su-Ling Welland, chair and professor of Gender, Women, and Sexuality studies at University of Washington, Seattle, and Sabrina Craig, director of Community Engagement for South Side Home Movie Project in Chicago, to discuss their engagement in cross-generational storytelling. Acknowledging the vital role women’s shared memories have played in preserving historical knowledge, Welland and Craig make a connection between their pedagogical, ethnographic, and counterarchival practices, which situate cross-generational conversations at the heart of feminist historiography.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136372699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A general misapprehension of what filmmakers do and how films are made has obscured the creative and cognitive complexity of the work women have been doing in film for over one hundred years. Using clips from the multi-award-winning short documentary I Want to Make a Film about Women (Pearlman et al. 2020), the video essay Distributed Authorship: An et al. Proposal of Creative Practice, Cognition, and Feminist Film Histories argues that filmmaking is an instance of “distributed cognition” and offers a provocation about the mythologizing of film authors. It then proposes a small, very small, but significant, very significant, adjustment to the stories we tell about filmmakers. I call this adjustment “et al.” and suggest that these five characters and a space are shorthand for an urgently needed change to understandings of collaboration, creativity, and cognition.
人们对电影制作人的工作和电影的制作方式普遍存在误解，这种误解掩盖了一百多年来女性在电影领域所做工作的创造性和认知复杂性。视频文章《分布式作者:An et al.》使用了多次获奖的短纪录片《我想拍一部关于女性的电影》(Pearlman et al. 2020)中的片段。《创作实践、认知和女性主义电影史的建议》认为，电影制作是“分布式认知”的一个例子，并对电影作者的神话化提出了质疑。然后，它提出了一个很小的，非常小的，但非常重要的，非常重要的，对我们讲述的电影制作人的故事的调整。我把这种调整称为“等人”，并认为这五个字符和一个空格是对协作、创造力和认知的理解迫切需要改变的简写。
{"title":"Distributed Authorship","authors":"K. Pearlman","doi":"10.1525/fmh.2023.9.2.87","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.2.87","url":null,"abstract":"A general misapprehension of what filmmakers do and how films are made has obscured the creative and cognitive complexity of the work women have been doing in film for over one hundred years. Using clips from the multi-award-winning short documentary I Want to Make a Film about Women (Pearlman et al. 2020), the video essay Distributed Authorship: An et al. Proposal of Creative Practice, Cognition, and Feminist Film Histories argues that filmmaking is an instance of “distributed cognition” and offers a provocation about the mythologizing of film authors. It then proposes a small, very small, but significant, very significant, adjustment to the stories we tell about filmmakers. I call this adjustment “et al.” and suggest that these five characters and a space are shorthand for an urgently needed change to understandings of collaboration, creativity, and cognition.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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