FAQ

Modernist Women and Cinema

Publication date: 2014

Arts & Cultural Studies Review, 2014, Issue 3 (21) , pp. 285 - 299

https://doi.org/10.4467/20843860PK.13.025.3183

Authors

Maggie Humm
Emeritus Professor, School of Arts and Digital Industries, University of East London
All publications →

Titles

Modernist Women and Cinema

Abstract

Matching the ever-increasing numbers of female participants in the commercial venues of department stores and cinemas in the 1920s, modernist women writers enjoyed a new visibility in the intellectual world of cinema journalism. Yet cinema modernism, like literary modernism, was veined by masculinity in the 1920s. The paper argues that modernist women writers, including Colette, H.D., Dorothy Richardson, and Virginia Woolf, created a feminist standpoint. By replacing the prescriptive male gaze with a feminist aesthetics: identifying with stars and women viewers and by describing audiences as socially constituted and gendered.
 

References

Butler J., Bodies That Matter, Routledge, London 1993.
Carter H., The New Spirit in the Cinema, Harold Shayler, London 1930.
Cixous H., The Character of “Character”, “New Literary History” 1974, no. 5 (2).
Collins P.H., Black Feminist Thought, Unwin Hyman, London 1990.
Cornell D., What Is Ethical Feminism?, [in:] S. Benhabib (ed.), Feminist Contentions, Routledge, London 1995.
Doolittle H., An Appreciation, “Close Up” 1929, no. 4 (3).
Doolittle H., Conrad Veidt, “Close Up” 1927, no. 3.
Doolittle H., Joan of Arc, “Close Up” 1928, no. 3 (1).
Doolittle H., The Cinema and the Classics: Beauty, “Close Up” 1927, no. 1.
Edmunds S., Out of Line: History, Psychoanalysis and Montage in H.D.’s Long Poems, Stanford University Press, Stanford 1994.
Eisenstein S., The Dramaturgy of Film Form, [in:] S.M. Eisenstein, Selected Works, vol. 1: 1922–34, ed. and transl. R. Taylor, BFI, London 1988.
Eliot T.S., Studies in Contemporary Criticism, “Egoist” 1918, no. 5 (9), p. 113.
Felski R., The Gender of Modernity, Harvard University Press, Cambridge, MA 1995.
Friedberg A., Window Shopping: Cinema and the Postmodern, University of California Press, Ber-
keley 1993.
Hansen M.B., America, Paris, the Alps: Kracauer (and Benjamin) on Cinema and Modernity,
[in:] L. Charney, V.R. Schwartz (eds.), Cinema and the Invention of Modern Life, University of California Press, Berkeley 1995.
Hekman S., Truth and Method: Feminist Standpoint Theory Revisited, “Signs” 1997, no. 22 (2).
Huyssen A., After the Great Divide: Modernism, Mass Culture, Postmodernism, Indiana University Press, Bloomington 1986.
Kaufmann M., Virginia Woolf’s TLS Reviews and Eliotic Modernism, [in:] B.C. Rosenberg, J. Dubino (eds.), Virginia Woolf and the Essay, Macmillan, Basingstoke 1997.
Kristeva J., Women’s Time, [in:] N.O. Keohane (ed.), Feminist Theory, Harvester, Brighton 1982.
Laity C., H.D. and the Victorian Fin de Siecle, Cambridge University Press, Cambridge 1996.
Leyda J., Kino: A History of the Russian and Soviet Film, Macmillan, New York 1960.
Low R., The History of the British Film 1918–1929, George Allen and Unwin, London 1971.
Macpherson D. (ed.), Traditions of Independence, BFI, London 1980.
Marcus L., Introduction, [in:] J. Donald, A. Friedberg, L. Marcus (eds.), Close Up 1927–1933: Cinema and Modernism, Cassell, London 1998.
Mulvey L., Visual Pleasure and Narrative Cinema, “Screen” 1975, no. 16 (3).
O’Pray M. (ed.), British Avant-garde Film 1926–1995, University of Luton Press, Luton 1996.
Radford J., Dorothy Richardson, Indiana University Press, Bloomington 1991.
Read H., Towards a Film Aesthetic, “Cinema Quarterly” 1932, no. 1 (1).
Richardson D., Continuous Performance, “Close Up” 1927, no. 1.
Richardson D., Continuous Performance VIII – [Animal Impudens], “Close Up” 1928, no. 2 (3).
Richardson D., Continuous Performance IX – The Thoroughly Popular Film, “Close Up” 1928,
no. 2 (4).
Richardson D., Continuous Performance: The Film Gone Male, “Close Up” 1932, no. 9 (1).
Rotha P., The Film Till Now: A Survey of World Cinema, Vision Press, London 1949.
Rowbotham S., Dreams and Dilemmas, Virago, London 1983.
Smith D., The Everyday World as Problematic: A Feminist Sociology, Northeastern University Press, Boston 1987.
Smith S.W.R. (ed.), Colette at the Movies: Criticism and Screenplays, transl. A. Virmaux, O. Virmaux, Frederick Ungar, New York 1980.
Tickner L., Modern Life and Modern Subjects: British Art in the Early Twentieth-Century, Yale University Press, New Haven 2000.
Vanacker S., Autobiography and Orality: The Work of Modernist Women Writers, [in:] T.L. Boughton, L. Anderson (eds.), Women’s Lives/Women’s Times: New Essays on Autobiography, State University of New York, Albany 1997.
Virmaux A., Virmaux O., Introduction, [in:] S.W.R. Smith (ed.), Colette at the Movies: Criticism and Screenplays, transl. A. Virmaux, O. Virmaux, Frederick Ungar, New York 1980.
Woolf V., Leave the Letters Till We’re Dead: The Letters of Virginia Woolf, vol. 6: 1936–41,
ed. N. Nicolson, J. Trautmann Banks, Hogarth Press, London 1980.
Woolf V., The Cinema, [in:] A. McNeillie (ed.), The Essays of Virginia Woolf, vol. 4: 1925–1928, Hogarth Press, London 1994.
Woolf V., The Diary of Virginia Woolf, vol. 4: 1931–35, ed. A.O. Bell, Hogarth Press, London 1982.
Woolf V., The Diary of Virginia Woolf, vol. 5: 1936–41, eds. A.O. Bell, A. McNeillie, Hogarth Press, London 1984.
Woolf V., The Sickle Side of the Moon: The Letters of Virginia Woolf, vol. 5: 1932–35, eds. N. Nicolson, J. Trautmann Banks, Hogarth Press, London 1979.

Information

Information: Arts & Cultural Studies Review, 2014, Issue 3 (21) , pp. 285 - 299

Article type: Original article

Titles:

Polish:

Modernist Women and Cinema

English:

Modernist Women and Cinema

Authors

Emeritus Professor, School of Arts and Digital Industries, University of East London

Published at: 2014

Article status: Open

Licence: None

Percentage share of authors:

Maggie Humm (Author) - 100%

Article corrections:

-

Publication languages:

English

View count: 3145

Number of downloads: 2753

<p> Modernist Women and Cinema</p>