Women Filmmakers in Early Hollywood

Notes

Notes Abbreviations AMPAS The Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles BFI British Film Institute, London CUOHC Columbia University, Oral History Collection, New York City FTA-UCLA Film and Television Archive, University of California at Los Angeles LACMNH Seaver Center for Western History, Los Angeles County Museum of Natural History LHJ Ladies’ Home Journal MD-LC Manuscripts Division, Library of Congress, Washington, DC MOMA Museum of Modern Art Film Library, New York City MPBRSD-LC Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress, Washington, DC MPN Motion Picture News MPW Moving Picture World NYPL-MD New York Public Library, Manuscript Division, New York City NYPL-PA New York Public Library for the Performing Arts, Lincoln Center, New York City NYT New York Times SC-UCLA Special Collections, University of California at Los Angeles SC-USC Special Collections, University of Southern California, Los Angeles WBA Warner Bros. Archives, University of Southern California, Los Angeles WHC Woman’s Home Companion Introduction. Making Movies and Incorporating Gender Epigraph 1. Robert Grau, “Woman’s Conquest in Filmdom,” Motion Picture Supplement , Sept. 1915, 41. Epigraph 2. Mlle. Chic, “The Dual Personality of Cleo Madison,” Moving Picture Weekly, July 1, 1916, 24. 1. Although the term actress is no longer in current usage, I use it rather than the gender-neutral actor in this study to clarify that the work in question was performed by a woman. Clara Beranger, “Feminine Sphere in the Field of Movies,” Moving Picture World [MPW], Aug. 2, 1919, 662; Mlle. Chic, “The Dual Personality of Cleo Madison,” Moving Picture Weekly, July 1, 1916, 24; Henry MacMahon, “Women Directors of Plays and Pictures,” LHJ, Dec. 1920, 140; E. Leslie Gilliams, “Will Woman’s Leadership Change the Movies?” Illustrated World, Feb. 1923, 38, 860, 956; Wendy Holliday, “Hollywood’s Modern Women: Screenwriting, Work Culture, and Feminism, 1910–1940” (PhD diss., New York University, 1995); Hugh C. Weir, “Behind the Scenes with Lois Weber,” Moving Picture Weekly, July 3, 1915, 28. 2. Henry MacMahon, “Women Directors of Plays and Pictures,” 140. 3. From Wid’s Year Book (Hollywood: Wid’s Film and Film Folks, 1918, 1919– 20, 1920–21, and 1921–22). 4. Amy L. Unterburger, ed., The St. James Women Filmmakers Encyclopedia: Women on the Other Side of the Camera (Boston: Visible Ink, 1999), xix–xx, 306–8, 346–49, 352–54,342–44,390–91,250–52;ElissaJ.Rashkin,WomenFilmmakersinMexico: The Country of Which We Dream (Austin: University of Texas Press, 2001), 35–40. 5. Charles S. Dunning, “The Gate Women Don’t Crash: The Story of Lois Weber , Famous Film Director, and Why There Aren’t More like Her,” Liberty, May 14, 1927, 33. 6. A few female directors were active between the end of the silent era and the 1970s, when a significant number of women began to appear among mainstream directors again. Ida Lupino, who directed films from 1949 to 1966, was by far the most successful. Virginia Van Upp was a mainstream producer (Columbia Pictures) active between 1934 and 1952, but she was the only woman producer working at a major studio at that time. A handful of other female producers were confined to small independents, and most made avant-garde films with limited distribution. See Ally Acker, Reel Women (New York: Continuum, 1991). 7. Judith Mayne, Directed by Dorothy Arzner (Bloomington: Indiana University Press, 1994); Alison McMahan, Alice Guy Blaché: Lost Visionary of the Cinema (New York: Continuum, 2002); Kay Armatage, The Girl from God’s Country: Nell Shipman and the Silent Cinema (Toronto: University of Toronto Press, 2003). Shelley Stamp’s biography on Lois Weber is forthcoming. 8. Figures based on Film Daily Yearbook of Motion Pictures (1951), 90; repr. in Richard Koszarski, An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915–1928 (Berkeley: University of California Press, 1994), 26. 210 Notes to Pages 1–4 9. Janet Staiger, “Authorship Approaches,” in Authorship and Film, ed. David A. Gerstner and Janet Staiger (New York: Routledge, 2003), 29. 10. Wid’s Film Yearbook (1919–20), n.p. 11. Amelie Hastie, “Circuits of Memory and History: The Memories of Alice Guy Blaché,” in A Feminist Reader in Early Cinema, ed. Jennifer M. Bean and Diane Negra (Durham, NC: Duke University Press, 2002), 29–59; Jane M. Gaines, “Of Cabbages and Authors,” in ibid., 103. 12. Nancy F. Cott, The Grounding of Modern Feminism (New Haven, CT...