restricted access   Volume 51, Number 2, Fall 2010

Table of Contents


pp. 195-197

Erice's Songs: Nature as Music/Music as Nature

pp. 199-247

Artistic Testament or Final Exorcism?: Passion and Tragedy in Bergman's Saraband

pp. 248-272

Dossier: Transnationalizing Women's Film History

Introduction: Transnationalizing Women's Film History

pp. 275-282

World Women: Still Circulating Silent Era Film Prints

pp. 283-303

Women's Film History Project: Issues of Transnationalism

pp. 304-309

On Frieda Klug, Pearl White, and Other Traveling Women Film Pioneers

pp. 310-323

Women, Empire, and British Cinema History

pp. 324-333

Tackling Universal Women as a Research Problem: What Historiographic Sources Do and Don't Tell Us about "Gender" in the Silent Motion Picture Studio

pp. 334-342

A Historical Overview of NFTVA/BFI Collection Development Policies with Regard to Gender and Nation Questions

pp. 343-349

Women Filmmakers and Postfeminism in the Age of Multimedia Reproduction: A Virtual Archive for Women's Cinema

pp. 350-353

Women's Film History: Columbia University and the Museum of Modern Art, March 2010

pp. 354-357

"Exit Flapper, Enter Woman," or Lois Weber in Jazz Age Hollywood

pp. 358-387

A New Eroticism or Merely a New Woman?: Cecil B. DeMille's Adaptation of Alice Duer Miller's Manslaughter

pp. 388-403

Toward the Development of a Modern "Impressionist" Cinema: Germaine Dulac's La Belle Dame sans merci (1921) and the Deconstruction of the Femme Fatale Archetype

pp. 404-419

Screen Theory Goes to Australia

pp. 420-437