Researching women in silent cinema: new findings and perspectives

This anthology exposes the richness and variety of interests that motivate feminist film research today. Exploring women’s contribution to silent cinema, scholars from across the globe address questions of performance, nationality, industry, technology, labor, and theory of feminist historiography. The volume builds on the thematic, methodological, and material diversity that characterized earlier efforts in women’s film history, and the originating context of the sixth Women and the Silent Screen conference (Bologna, 2010). Much emphasis is given to the transitional period of silent cinema (1910s to the early 1920s), which emerges as the field where feminist film scholars are beginning to claim their own theoretical and historical ‘place’. While giving a new impetus to the idea of transitional cinema, the collected essays also illuminate the importance of film’s transnational circulation. Questions of nation and nationhood, and women’s inclusion or exclusion within these terms, are examined in connection to issues of cultural globalization. How did American serial queens impact early Chinese film? How did the variety stage accommodate American films in Rio de Janeiro? Along what lines might we discuss women filmmakers who literally toured the world? These are just some of the issues that are discussed in the volume. Each investigation prompts us into distinct acts of cultural contextualization. A particular focus on acting and the agency of the actress is shared across the volume. The fundamental figure of the actress links multiple threads of scholarship, traversing different films and national cinemas. Alice Guy, Asta Nielsen, Florence Turner, Lois Weber, Mary Pickford, Esfir’ Shub, Pearl White, Vera Karalli, Aleksandra Khokhlova, Elsa Lanchester, Louise Fazenda, Sarah Bernhardt, Gemma Bellincioni, Angelina Buracci, Yin Mingzhu, Leni Riefensthal: these are but some of the names that are encountered across the essays in the collection. New findings are exposed and new research perspectives are opened through these and other figures, allowing us to uncover original ways of thinking about women’s visibility and agency on film.

Gender, sexuality and embodiment : access to and experience of healthcare by same-sex attracted women in Australia

This article identifies the way same-sex attracted women negotiate healthcare in a rural Australian setting. In-depth interviews were conducted with 10 women. Respondents choose general practitioners (GPs) carefully, `interviewing' them to see if they hold acceptable attitudes to same-sex attraction. However, sexuality is not the only evaluative criteria women use. Some women invoke gender-based discourse, evaluating GPs by how well they treat women's bodies. In other instances, women utilize a framework based on sexuality; good healthcare is associated with how the practitioner dealt with same-sex attraction. Sometimes women evaluated care by reference to a model of the body that did not implicate gender or sexuality and GPs are evaluated on the basis of clinical knowledge. This shows that women do not define themselves in a unitary way in relation to gender or sexuality. They selectively and strategically employ discourses of gender, sexuality and embodiment to structure and evaluate healthcare

Failure to thrive: mid-career women in higher education

Gender underrepresentation in higher education (HE) is a persistent global phenomenon. The purpose of this research was to re-examine it through symbolic interactionism (SI). Eight women aspiring to leadership were invited to participate in semi structured interviews after attending a leadership programme specifically designed to enhance their prospects. Analysis indicated ambiguities and contradictions surround notions of leadership, as well as opportunities for leadership. This was evidenced by their appraisal of the existing leadership, speculations regarding their leadership capacity, how the participants position themselves and are positioned in their workplace. Actively “paying it forward” was seen as facilitating promotion, and line managers’ familiarity with the work undertaken by aspirants. Formal leadership training was advocated rather than experiential processes. 

David Bowie: dancing with madness and proselytising the socio-political in art and life

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with individual agency. The notion of ‘agency’ here refers particularly to the ‘ability of people, individually and collectively to influence their own lives and the society in which they live’ (Germov and Poole, 2007: 7). That Bowie has influenced many lives is undeniable to his fans. He has long demonstrated an avid curiosity for the enduring patterns of social life which is reflected in his art. Bowie’s opus contains the elements of ideological narratives around sexual (mis)adventure, expressivity, and; resistance to ‘normative’ behaviour. He requisitions his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be ‘us’ and why we are here. Here, in this context, ‘dancing with madness’ assumes an intimate relationship, even if brief, where ideas and emotions come passionately together for the purpose of creative expression much like the intertwining and energetic performance of the partner dance Tango. As such, ‘dancing’ is argued here to be an appropriate descriptor for how Bowie has engaged with creative cultural forms but not meant to be self-conscious nor indicate superficiality or ignorance. The idea of madness for its part is a theme in many of his compositions, for example the original album cover for The Man Who Sold the World (1971)  depicts an asylum and includes the song ‘All The Madmen’ and Aladdin Sane (1973)—a lad insane--are but two examples. This paper argues that Bowie’s frequently astute contemplations, manifest through his art over a period now spanning more than forty years, continues to draw fans of like mind to his work with the result that he has a legitimate claim to influence and affect.