Doing Women’s Film History Panels
(At 31 January 2011 – NB: not in timetable order)

Please check names and titles and advise Lianne Hopper (wfhconference@sunderland.ac.uk) of any amendments. Where no title has been given we have identified your paper by topic. We have included institutional affiliation and where this seemed necessary place, but have omitted ‘University of.’
1: RE-WRITING FILM HISTORIES

  • KIM TOMADJOGLOU (Independent Curator, Washington): Her Great Adventure – Alice Guy Blaché
  • ROSANNA MAULE (Concordia, Montreal): Female, Singular: Women in French Cinephilia
  • SHELLEY STAMP (UC-Santa Cruz): Women’s Labor, Creative Control, and “Independence” in Early Hollywood; or, the Price of a Good Time

2: WOMEN’S CULTURAL PRACTICES V. REPRESSIVE REGIMES

  • VERONICA PRAVADELLI (Rome): The Politics of Female Friendship in Contemporary Women’s Cinema: The Case of “the Mediterranean”
  • ELIZABETH RAMIREZ (Warwick): Women Documentary Makers and the Narration of Pinochet dictatorship
  • ADELINA SANCHEZ-ESPINOSA (Granada): Reviewing the Neglected Past, Unveiling the Dubious Present, Visualizing Feminist Futures:  Creative “Back Rooms” During the Spanish “Naked Years”
  •  SUSANNE SKLEPEK (Nottingham): Vera Chytilova, Unveiler of Socialist Patriarchy

3: CASTING, DIRECTION, STARDOM & PERFORMANCE

  • SUSAN SMITH (Sunderland): Elizabeth Taylor (?)
  • FEDERICO VITELLA (Florence): The Rise of a Modern Star: Monica Vitti in L’avventura (Antonioni, 1960)
  • JOHN AYRES (Manchester):  Producing Outside the Box: Betty E. Box and Post-War British Cinema
  • CHRISTINE ETHERINGTON-WHITE (Portsmouth): Mike Leigh’s Female Protagonists: Exploring Agency and Performance in the Actor/Director Relationship

4: NEGOTIATING FEMINISM, FILM HISTORY, & HOLLYWOOD

  • ISABEL ARREDONDO (SUNY, Plattsburgh): “My Films Are not Feminist”: Relationships between Feminist History and Women’s History in the Case of Third-Wave Mexican Women Filmmakers”
  • EYLEM ATAKAV (East Anglia):  Feminism and Women’s Film History in Turkey: the 1980s
  • DAWN HALL (Western Kentucky): Opening a Space for the Female Filmmaker: Risk-Taking in Deepa Mehta’s Fire and Sally Potter’s Yes
  • KATARZYNA PASZKIEWICZ (Barcelona): Hollywood Transgressor or Hollywood Transvestite: The Reception of Kathryn Bigelow’s The Hurt Locker (2008)

5: RESEARCHING AUDIENCES & MOVIE-GOING

  • LISA STEAD (Exeter): “Carried away from this workaday world and its troubles”: Working Girl Female Audiences of British Silent Cinema
  • LESLIE MIDKIFF DEBAUCHE (Wisconsin, Stevens Point): Why Bertha Glennon Went to the Strand
  • CHERYL ROBERTS (Brighton): Dispelling the Myth: The Influence of Cinema on the Fashion of Young, Working-class Women in the 1930s.

6: ADAPTATION, FEMALE AUTHORSHIP AND THE WOMAN’S FILM

  • ALEXIS WEEDON (Bedfordshire): Adaptations: Examples from the Archive of Elinor Glyn
  • SHELLEY COBB (Southampton): Adapting Feminist Filmmaking: Women Directors, Literary Adaptations and the Postfeminist 1990s
  • SARAH-MAI DANG (Berlin): Emma, Elle & Elizabeth – The Contemporary ‘Woman’s Film’ as Aesthetic Modality of Experience

7: WOMEN & DOCUMENTARY: THE NEGLECTED FIELD

  • SARAH EASEN AND TOBY HAGGITH (ITN Source Television Archive/Imperial War Museum): British Women Filmmakers in the Non-Fiction Sector 1930-1960
  • BARBARA EVANS (York): Invisible Griersonians – Women in the British Documentary Film Movement of the 1930s
  • JO FOX (Durham, UK):  Women in British and Canadian Non-Fiction Film Production, 1939-45

8: WOMEN’S FILM HISTORIOGRAPHY IN AND OUT OF THE ARCHIVES

  • ANNETTE FÖRSTER (Independent Scholar, Amsterdam):  Rosa Porten and Feminist Film Historic Research
  • VICTORIA DUCKETT (Melbourne): The Corrick Collection: A Case Study for Feminist Film Historiography
  • NATHALIE MORRIS (BFI): Women in BFI Special Collections
  • DEBASHREE MUKHERJEE (New York): Notes on a Scandal: Writing Women’s Film History Against an Absent Archive

9: AESTHETICS AND WOMEN’S AVANT-GARDE PRACTICES

  • SU ANSELL (De Monfort): Mining Poetic Connection with Moving Image
  • CAMILLA PETERS (Falmouth): Margaret Tait (1918-1999)
  • ROSE HEPWORTH (Cambridge): Female and Filmic ‘Formlessness’
  • CECILE CHICH (Paris/London): Maria Klonaris & Katerina Thomadakis’ Cinema of The Body: a Critical Contribution to Cinema

10: RETHINKING CINEMA’S APPEALS FOR WOMEN

  • ESTHER SONNET (Portsmouth): Revisioning Hollywood Crime & Gangster Film History in the 1930s
  • HELEN HANSON (Exeter):  ‘B’ for Blane and ‘B’ for Budget: Female Adventures and Industry Strategies in the Hollywood Series Film
  • SARAH STREET (Bristol): Women and Colour Cinema

11: RESTORING WOMEN FILMMAKERS TO NATIONAL CINEMA HISTORIES – 1

  • ANA CATARINA PEREIRA (Beira, Portugal): Female directors in the History of Portuguese Cinema
  • URSULA- HELEN KASSAVETI (Athens): Searching for Greek “Women’s” Cinema in the 60s: the Case of Maria Plyta
  • SOMAYEH GHAZIZADEH (Iran): Post-Revolutionary Iranian Women Filmmakers and Feminism
  • KIRSTIE IMBER (Birkbeck College): Unveiling the Voice: The Use of Sound and Vocality in the Films of Shirin Neshat 

12: DISTRIBUTION/EXHIBITION AND NEW TECHNOLOGIES

  • JULIA KNIGHT (Sunderland): The Challenges of Theatrical Releases: the Example of Cinema of Women
  • DRAKE STUTESMAN (Women’s Film Preservation Fund, New York): Strategies for Archiving, Preservation & Exhibition of Women’s Films
  • LEZLI-AN BARRETT (Curtin, Australia): Making an Exhibition of Ourselves: Charting Journeys through Feminist Cinema Exhibition and Distribution into the Digital Age

13: EXHIBITION: PRESERVING WOMEN’S SPACES/CREATING NEW FORMS

  • KARINA AVEYARD (Griffith, Australia): “Our Place:” Women at the Cinema in Rural Australia
  • KAY ARMATAGE (Toronto, Canada): Making History: Directorial Authorship in the Met HD Broadcasts
  • EVELIN STERMITZ (Ljubljana, Slovenia):  ArtFem.TV: Art and Feminism ITV

14: PERFORMING WOMEN: RE-ENVISIONING FILM HISTORY

  • ELISA UFFREDUZZI (Florence): Salome, Modern Dance and Liberation of the Female Body in Early Cinema
  • VERA RYSHIK (St Andrews): The Silent v. Sound Actress: Gloria Swanson (1928) and Joan Crawford (1932) perform W. Somerset Maugham’s Sadie Thompson
  • GILLIAN MURRAY (Leicester): Women’s ‘Dual Role’ in Post-War Britain: Work and Pleasure in Moving Images
     

15: QUESTIONS OF POWER: WOMEN SCREENWRITERS

  • GIULIANA MUSCIO (Padova, Italy): American Women Screenwriters of the Silent Period
  • MICHELE TORRE (Southern Illinois): Not Just the Wife of the Studio Head: Antonina Khanzhonkova, Writer, Editor and Decision-Maker
  • JILL NELMES (East London): Screenwriter – Muriel Box
  • JENNIFER SMYTH (Warwick): Producing Women’s Historical Fictions: Edna Ferber and Lillian Hellman in Hollywood

 

16: NEW WOMEN, CINEMA & MODERNITY

  • CANAN BALAN (Istanbul): Ottoman Women as Movie-Goers, 1910s-1920s
  • LIZIANA DELVEROUDI (Crete): Film Critics International: Women, Cinema and Modernity through the Eyes of a Greek Film Critic in the 1920s.
  • RANITA CHATTERJEE (Westminster): Distant Voices: Women and Film in 1920s and 1930s Calcutta
  • EMILIANA LOSMA (Turin, Italy): Women Directors In Italy: Indifference, Prejudice And Hostility

 

17: WOMEN/WRITING/CINEMA

  • CLARE WATSON (Independent Scholar/WFHN-UK/Ireland):  ‘Our Correspondent’:  British Women Writers and International Film Journalism (1910s -1920s)
  • AMY SARGEANT (Queen Mary): Dorothy L. Sayers Before Dante
  • FIONA PHILIP (Leeds): Resisting the ‘tinned products of Hollywood’: Bryher’s Queer Feminist Film Criticism   
  • PER VESTERLUND (Gavle, Sweden): Elsa Brita Marcussen and Gerd Osten – Two Leading Film Critics in Post-war Sweden

 

18: RESTORING WOMEN FILMMAKERS TO NATIONAL CINEMA HISTORIES – 2

  • SI DA (Peking): Changing the Images of Woman in Contemporary Chinese Cinema: An Analysis based on Li Yu’s Four Films
  • ANA KARINA AVELLANA COSIO (Philippines): The Filipino Woman in the Indie by Filipino Women Filmmakers from 2004-2007
  • MICHAEL SMITH (Warwick): Kinuyo Tanaka:  Actress, Filmmaker
  • MONA MINGXIA LI (Western Scotland): A Female Filmmaker of the “Fifth Generation” in China: Li Shaohong’s Work and her Feminine Consciousness

 

 
19: WOMEN’S PRODUCTION ROLES IN CONTEXT

  • KERRIE WELSH (New York): Louise Tiranoff: The Women’s Movement, and the Archive in My Closet
  • VICKY BALL & MELANIE BELL (Sunderland/Newcastle): Women at Work in the British Film & Television Industries
  • MELANIE WILLIAMS (East Anglia): Considering Continuity: A Case Study of Barbara Cole and Maggie Unsworth’s Work with David Lean
  • FRANCES TEMPEST (Bournemouth): The Status of Costume Design in the British Film and Television Industry

 

20: HYSTERIOGRAPHY

  • LUCY REYNOLDS (Independent filmmaker): Resistant Forms: Situating Women’s Experimental Cinema
  • SARAH TURNER (Independent filmmaker): ‘Perestroika’
  • HELENA BLAKER (Independent filmmaker): Performance in Film: Life, Politics, Medium
    PLUS  20 minute extract from Perestroika (d. Sarah Turner, 2009
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