Pub Date : 2022-01-01DOI: 10.1525/fmh.2022.8.3.178
Kiki Loveday
The Kiss (1896) is among the most iconic artifacts of American cinema; yet, the film has long puzzled film scholars. At the advent of cinema, why did audiences respond to this seemingly simple kiss with extreme visceral reactions such as hysterical laughter or condemnation of the film as pornography? This paper reconsiders The Kiss in light of the recently rediscovered Something Good—Negro Kiss (1898) placing both these films in relation to actor-director Olga Nethersole’s queer influence on turn-of-the-twentieth-century popular culture. Leaning on foundational texts by Charles Musser, Linda Williams, and Siobhan Somerville and drawing on recent work by Susan Potter, Allyson Nadia Field, and Jacqueline Najuma Stewart, this paper intervenes in the “presumed innocent” discourse of sexuality during the novelty film period. I argue that The Kiss was so controversial because the sex act it stood in for was a queer act, a lesbian kiss.
{"title":"The Kiss","authors":"Kiki Loveday","doi":"10.1525/fmh.2022.8.3.178","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.3.178","url":null,"abstract":"The Kiss (1896) is among the most iconic artifacts of American cinema; yet, the film has long puzzled film scholars. At the advent of cinema, why did audiences respond to this seemingly simple kiss with extreme visceral reactions such as hysterical laughter or condemnation of the film as pornography? This paper reconsiders The Kiss in light of the recently rediscovered Something Good—Negro Kiss (1898) placing both these films in relation to actor-director Olga Nethersole’s queer influence on turn-of-the-twentieth-century popular culture. Leaning on foundational texts by Charles Musser, Linda Williams, and Siobhan Somerville and drawing on recent work by Susan Potter, Allyson Nadia Field, and Jacqueline Najuma Stewart, this paper intervenes in the “presumed innocent” discourse of sexuality during the novelty film period. I argue that The Kiss was so controversial because the sex act it stood in for was a queer act, a lesbian kiss.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"49 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946364","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 : 2022-01-01DOI: 10.1525/fmh.2022.8.2.208
L. Czach
In this article, the author recounts her efforts to locate archival materials pertaining to women’s participation in travel-lecture filmmaking. Encountering an archival absence, she refuses this lacuna and speculates that some of these films and their paratexts have survived. Undertaking a form of speculative archival detective work the author summarizes the various clues and avenues she pursued to locate the work of a prominent travel-lecture filmmaking couple. She argues for an understanding of speculative archival work as encompassing not the work a researcher does with extant materials in an archive, but the work of research entailed to bring a collection to an archive.
{"title":"Researching as Searching","authors":"L. Czach","doi":"10.1525/fmh.2022.8.2.208","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.2.208","url":null,"abstract":"In this article, the author recounts her efforts to locate archival materials pertaining to women’s participation in travel-lecture filmmaking. Encountering an archival absence, she refuses this lacuna and speculates that some of these films and their paratexts have survived. Undertaking a form of speculative archival detective work the author summarizes the various clues and avenues she pursued to locate the work of a prominent travel-lecture filmmaking couple. She argues for an understanding of speculative archival work as encompassing not the work a researcher does with extant materials in an archive, but the work of research entailed to bring a collection to an archive.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946578","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}
In the second wave of feminism it was enough to say that Antonia Dickson co-wrote History of The Kinetograph, the Kinetoscope and the Kineto-Phonograph (1895) with her inventor brother William Kennedy Laurie Dickson. But in a new moment, I utilize Catherine Gallagher’s concept of “counterfactual speculation” as a “thought experiment,” offering a fuller examination of the time between 1893 and 1896 when Antonia was involved in the experiments around the “projecting” Kinetoscope. “What if Antonia Dickson Had Invented the Kinetoscope?” raises the question of historical outcome, empirical evidence, and causality, offering a way around uncritical reliance on the traditions of historical narrative and testing a new methodology for feminism and film.
{"title":"Counterfactual Speculation","authors":"Jane M. Gaines","doi":"10.1525/fmh.2022.8.3.8","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.3.8","url":null,"abstract":"In the second wave of feminism it was enough to say that Antonia Dickson co-wrote History of The Kinetograph, the Kinetoscope and the Kineto-Phonograph (1895) with her inventor brother William Kennedy Laurie Dickson. But in a new moment, I utilize Catherine Gallagher’s concept of “counterfactual speculation” as a “thought experiment,” offering a fuller examination of the time between 1893 and 1896 when Antonia was involved in the experiments around the “projecting” Kinetoscope. “What if Antonia Dickson Had Invented the Kinetoscope?” raises the question of historical outcome, empirical evidence, and causality, offering a way around uncritical reliance on the traditions of historical narrative and testing a new methodology for feminism and film.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946999","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 : 2021-10-01DOI: 10.1525/fmh.2021.7.4.107
M. D. L. Torre, Christine Marín
In this photo essay, we center Chicana radio and television broadcasting trailblazer Graciela Gil Olivarez who, with a microphone in hand, amplified Mexicana and Chicana voices and stories across the Southwest from 1951 to the mid-1960s and again in the 1980s. Olivarez bridged her broadcasting work with an impressive career in government organizations that made her the highest-ranking Latina during President Jimmy Carter’s term. Through a series of photographs of Olivarez’s life and career trajectory, we mark the place of the first woman disc jockey in Phoenix, Arizona, and later owner of her own Spanish-language television network, KLUZ, in Albuquerque, New Mexico, as a key figure in Latina media histories. This photo essay mines the visual archive—photographs that span Olivarez’s early career in radio and television broadcasting and subsequent political work—in order to establish how Chicanas innovated media production to center their voices and narratives.
{"title":"Amazing Grace Keeps the Platters Spinning","authors":"M. D. L. Torre, Christine Marín","doi":"10.1525/fmh.2021.7.4.107","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.4.107","url":null,"abstract":"In this photo essay, we center Chicana radio and television broadcasting trailblazer Graciela Gil Olivarez who, with a microphone in hand, amplified Mexicana and Chicana voices and stories across the Southwest from 1951 to the mid-1960s and again in the 1980s. Olivarez bridged her broadcasting work with an impressive career in government organizations that made her the highest-ranking Latina during President Jimmy Carter’s term. Through a series of photographs of Olivarez’s life and career trajectory, we mark the place of the first woman disc jockey in Phoenix, Arizona, and later owner of her own Spanish-language television network, KLUZ, in Albuquerque, New Mexico, as a key figure in Latina media histories. This photo essay mines the visual archive—photographs that span Olivarez’s early career in radio and television broadcasting and subsequent political work—in order to establish how Chicanas innovated media production to center their voices and narratives.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45591614","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}
This essay explores the production, content, and reception of Nickelodeon’s sitcom Taina (2000–01). Created by Maria Perez-Brown, a Latina pioneer in cable television, Taina ran for two seasons and foregrounded a Puerto Rican teenage girl at a performing arts high school in New York City. Guided by an intersectional feminist media studies analysis, I argue that Taina presages the rise of girls’ tween and teen shows on cable television and paved the way for contemporary representations of Latina girlhood in mainstream broadcast, cable, and streaming television. Taina is rarely cited in the history of Latina/o television or children’s television. This essay re-centers Taina as a critical intervention into children’s television and as a leading forerunner in Latina television production. I also highlight the labor of fans in shedding light on Taina’s obscured history, creating new ways of engagement with television of the past, and demanding new representations of Latinas.
{"title":"“I Know I Can’t Wait to See My Name in Lights”","authors":"Jillian M. Báez","doi":"10.1525/fmh.2021.7.4.7","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.4.7","url":null,"abstract":"This essay explores the production, content, and reception of Nickelodeon’s sitcom Taina (2000–01). Created by Maria Perez-Brown, a Latina pioneer in cable television, Taina ran for two seasons and foregrounded a Puerto Rican teenage girl at a performing arts high school in New York City. Guided by an intersectional feminist media studies analysis, I argue that Taina presages the rise of girls’ tween and teen shows on cable television and paved the way for contemporary representations of Latina girlhood in mainstream broadcast, cable, and streaming television. Taina is rarely cited in the history of Latina/o television or children’s television. This essay re-centers Taina as a critical intervention into children’s television and as a leading forerunner in Latina television production. I also highlight the labor of fans in shedding light on Taina’s obscured history, creating new ways of engagement with television of the past, and demanding new representations of Latinas.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45492324","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}
Characterized by ambiguous sexual energy and resistance to male domination and objectification, the visual idiom of punk rock communicated feminist prospects through the performance of fashion. This essay interprets the creative agency of Alice Bag, Marina “Del Rey” Muhlfriedel, Trudie “Plunger” Arguelles-Barret, and Helen “Hellin Killer” Roessler as Latina and Hispanic sono-spatial artists in the early days of L.A.’s punk subculture. Situating the performance practices of Hispana (Iberian) women alongside the Latina (hemispheric Latin American) artists, L.A. punk is situated within a Spanish-American borderlands matrix of meaning, where non–Western European roots of women in punk gain coherence as a specifically bordered set of historical circumstances. By embodying musical performativity as creators of a relational theatre of musical experience, the study asserts that women punk fans redefined how alternative music was generated, circulated, and consumed.
{"title":"Sighting the Sound","authors":"Paloma Martínez-Cruz","doi":"10.1525/fmh.2021.7.4.27","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.4.27","url":null,"abstract":"Characterized by ambiguous sexual energy and resistance to male domination and objectification, the visual idiom of punk rock communicated feminist prospects through the performance of fashion. This essay interprets the creative agency of Alice Bag, Marina “Del Rey” Muhlfriedel, Trudie “Plunger” Arguelles-Barret, and Helen “Hellin Killer” Roessler as Latina and Hispanic sono-spatial artists in the early days of L.A.’s punk subculture. Situating the performance practices of Hispana (Iberian) women alongside the Latina (hemispheric Latin American) artists, L.A. punk is situated within a Spanish-American borderlands matrix of meaning, where non–Western European roots of women in punk gain coherence as a specifically bordered set of historical circumstances. By embodying musical performativity as creators of a relational theatre of musical experience, the study asserts that women punk fans redefined how alternative music was generated, circulated, and consumed.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45591671","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}
{"title":"Editors’ Introduction","authors":"Mary C. Beltran, Mirasol Enríquez","doi":"10.1525/fmh.2021.7.4.1","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.4.1","url":null,"abstract":"","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43012477","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}
In 2016, Buzzfeed announced the creation of Pero Like, a Facebook page and YouTube channel that would “look at the myriad identities under the ‘Latinx umbrella,’” including “[B]laxicans in LA, Tejanos in Corpus Christi, Cubans in Miami (and their abuelitas), and everyone who’s been told they don’t ‘look Latina.’” Pero Like followed the footsteps of mitú, a new media multi-channel network created in 2012 to target younger, bicultural Latinx audiences who are avid internet users and overlooked by legacy media. This article analyzes how Latina millennial digital content creators negotiate, mediate, and contest Latinidad through social media entertainment. It focuses on four of the most popular Latina creators featured on mitú and Pero Like: Jenny Lorenzo, Kat Lazo, Julissa Calderon, and Maya Murillo. In doing so, the article explores how these creators articulate the politics of Latinx millenniality through a focus on cultural specificity, panethnicity, generational differences, language practices, race and racism, and beauty standards.
{"title":"Pero Like and mitú","authors":"Arcelia Gutiérrez","doi":"10.1525/fmh.2021.7.4.80","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.4.80","url":null,"abstract":"In 2016, Buzzfeed announced the creation of Pero Like, a Facebook page and YouTube channel that would “look at the myriad identities under the ‘Latinx umbrella,’” including “[B]laxicans in LA, Tejanos in Corpus Christi, Cubans in Miami (and their abuelitas), and everyone who’s been told they don’t ‘look Latina.’” Pero Like followed the footsteps of mitú, a new media multi-channel network created in 2012 to target younger, bicultural Latinx audiences who are avid internet users and overlooked by legacy media. This article analyzes how Latina millennial digital content creators negotiate, mediate, and contest Latinidad through social media entertainment. It focuses on four of the most popular Latina creators featured on mitú and Pero Like: Jenny Lorenzo, Kat Lazo, Julissa Calderon, and Maya Murillo. In doing so, the article explores how these creators articulate the politics of Latinx millenniality through a focus on cultural specificity, panethnicity, generational differences, language practices, race and racism, and beauty standards.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43801809","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}
Conceptualized as a comedy that would explore culturally specific experiences of three Latina characters, the screenplay Papi Chulo underwent a tumultuous development process before becoming what audiences know as Chasing Papi (2003). Midway through development, changes in studio management led to significant changes in their approach to the project. Rather than depict cultural nuances of the U.S. Latina/o experience, an unusually large number of writers transformed the script to appeal to a panethnic form of Latina/o identity and a broader audience. Marketed as “the first major studio comedy to reflect the Hispanic cultural experience in America,” the film’s credits include writer/producer Laura Angélica Simón, director Linda Mendoza, and associate producer Christy Haubegger. The film was a critical and financial disappointment, and this study illustrates the detrimental effects studio regime changes can have on the creative process, and the negative effects misunderstanding film authorship can have for Latina/os in the industry.
{"title":"Trying to Sell Ketchup in a Salsa Bottle","authors":"Mirasol Enríquez","doi":"10.1525/fmh.2021.7.4.55","DOIUrl":"https://doi.org/10.1525/fmh.2021.7.4.55","url":null,"abstract":"Conceptualized as a comedy that would explore culturally specific experiences of three Latina characters, the screenplay Papi Chulo underwent a tumultuous development process before becoming what audiences know as Chasing Papi (2003). Midway through development, changes in studio management led to significant changes in their approach to the project. Rather than depict cultural nuances of the U.S. Latina/o experience, an unusually large number of writers transformed the script to appeal to a panethnic form of Latina/o identity and a broader audience.\u0000 Marketed as “the first major studio comedy to reflect the Hispanic cultural experience in America,” the film’s credits include writer/producer Laura Angélica Simón, director Linda Mendoza, and associate producer Christy Haubegger. The film was a critical and financial disappointment, and this study illustrates the detrimental effects studio regime changes can have on the creative process, and the negative effects misunderstanding film authorship can have for Latina/os in the industry.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46678489","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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