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Table of Contents

  1. Editorial
  2. Drake Stutesman
  3. pp. 195-197
  4. restricted access
  1. Erice's Songs: Nature as Music/Music as Nature
  2. Linda C. Ehrlich, Celia Martínez García
  3. pp. 199-247
  4. DOI: https://doi.org/10.1353/frm.2010.a402487
  5. restricted access
  1. Artistic Testament or Final Exorcism?: Passion and Tragedy in Bergman's Saraband
  2. Miguel Lomillos
  3. pp. 248-272
  4. DOI: https://doi.org/10.1353/frm.2010.a402488
  5. restricted access
  1. World Women: Still Circulating Silent Era Film Prints
  2. Jane M. Gaines
  3. pp. 283-303
  4. DOI: https://doi.org/10.1353/frm.2010.a402490
  5. restricted access
  1. Women's Film History Project: Issues of Transnationalism
  2. Bryony Dixon
  3. pp. 304-309
  4. DOI: https://doi.org/10.1353/frm.2010.a402491
  5. restricted access
  1. On Frieda Klug, Pearl White, and Other Traveling Women Film Pioneers
  2. Monica Dall'Asta
  3. pp. 310-323
  4. DOI: https://doi.org/10.1353/frm.2010.a402492
  5. restricted access
  1. Women, Empire, and British Cinema History
  2. Emma Sandon
  3. pp. 324-333
  4. DOI: https://doi.org/10.1353/frm.2010.a402493
  5. restricted access
  1. Tackling Universal Women as a Research Problem: What Historiographic Sources Do and Don't Tell Us about "Gender" in the Silent Motion Picture Studio
  2. Mark Garrett Cooper
  3. pp. 334-342
  4. DOI: https://doi.org/10.1353/frm.2010.a402494
  5. restricted access
  1. A Historical Overview of NFTVA/BFI Collection Development Policies with Regard to Gender and Nation Questions
  2. Elaine Burrows
  3. pp. 343-349
  4. DOI: https://doi.org/10.1353/frm.2010.a402495
  5. restricted access
  1. Women Filmmakers and Postfeminism in the Age of Multimedia Reproduction: A Virtual Archive for Women's Cinema
  2. Rosanna Maule
  3. pp. 350-353
  4. DOI: https://doi.org/10.1353/frm.2010.a402496
  5. restricted access
  1. Women's Film History: Columbia University and the Museum of Modern Art, March 2010
  3. pp. 354-357
  4. DOI: https://doi.org/10.1353/frm.2010.a402497
  5. restricted access
  1. "Exit Flapper, Enter Woman," or Lois Weber in Jazz Age Hollywood
  2. Shelley Stamp
  3. pp. 358-387
  4. DOI: https://doi.org/10.1353/frm.2010.a402498
  5. restricted access
  1. A New Eroticism or Merely a New Woman?: Cecil B. DeMille's Adaptation of Alice Duer Miller's Manslaughter
  2. Anne Morey
  3. pp. 388-403
  4. DOI: https://doi.org/10.1353/frm.2010.a402499
  5. restricted access
  1. 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
  2. Tami Williams
  3. pp. 404-419
  4. DOI: https://doi.org/10.1353/frm.2010.a402500
  5. restricted access
  1. Screen Theory Goes to Australia
  2. Constantine Verevis
  3. pp. 420-437
  4. DOI: https://doi.org/10.1353/frm.2010.a402501
  5. restricted access
  1. Introduction: Transnationalizing Women's Film History
  2. Christine Gledhill
  3. pp. 275-282
  4. DOI: https://doi.org/10.1353/frm.2010.a402489
  5. restricted access