1. Elinor Glyn as Hollywood Labourer
  2. Anne Morey
  3. pp. 110-118
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  1. Presenting The Smalleys, 'Collaborators in Authorship and Direction'
  2. Shelley Stamp
  3. pp. 119-128
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  1. Making the 'Studio Girl': The Hollywood Studio Club and Industry Regulation of Female Labour
  2. Heidi Kenaga
  3. pp. 129-139
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  1. Fan Discourse in the Heartland: The Early 1910s
  2. Richard Abel
  3. pp. 140-153
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  1. The Woman Film Critic: Newspapers, Cinema and Iris Barry
  2. Haidee Wasson
  3. pp. 154-162
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  1. 'Melodrama of the Dear Old Kind': Sentimentalising British Action Heroines in the 1910s
  2. Jon Burrows
  3. pp. 163-173
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  1. Women in the Driver's Seat: The Auto-Erotics of Early Women's Films
  2. Jennifer Parchesky
  3. pp. 174-184
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  1. Imagining Sound in the Solax Films of Alice Guy Blache: Canned Harmony (1912) and Burstop Holmes' Murder Case (1913)
  2. Barbara McBane
  3. pp. 185-195
  4. DOI: 10.1353/fih.2006.0014
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  1. 'As You Desire Me': Reading 'The Divine Garbo' Through Movement, Silence and the Sublime
  2. Melinda Szaloky
  3. pp. 196-208
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  1. Reading Mabel Normand's Library
  2. Mark Lynn Anderson
  3. pp. 209-221
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  1. The Miscellany of Film History
  2. Amelie Hastie
  3. pp. 222-230
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  1. Introduction: Women and the Silent Screen: Cultural and Historical Practices
  2. Amelie Hastie, Shelley Stamp
  3. pp. 107-109
  4. DOI: 10.1353/fih.2006.0012
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