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.

A methodological approach to quality assurance of programs in an independent school

This paper reports on ways in which one Australian independent school seeks to develop and sustain best practice and academic integrity in its programs through a quality assurance system of ongoing program reviews, and findings of a study that we conducted into staff perceptions of the different program reviews. First, we outline the overarching methodological and conceptual approaches used in the school’s program reviews. Second, we present and discuss the findings of the study.

A review of program evaluations in an Australian independent school: participants’ perspectives

This paper reports on ways in which one Australian independent school seeks to develop and sustain best practice and academic integrity in its programs through a system of ongoing program evaluation, involving a systematic, cyclical appraisal of the school’s suite of six faculties. A number of different evaluation methods have been and continue to be used, each developed to best suit the particular program under evaluation. In order to gain an understanding of the effectiveness of this process, we conducted a study into participants’ perceptions of the strengths and weaknesses of the four program evaluations undertaken between 2009 and 2011. Drawing on documentary analysis of the evaluation reports and analysis of questionnaire data from the study participants, a number of findings were generated. These findings are provided and discussed, together with suggestions about ways in which the conceptualisation and conduct of school program evaluations might be enhanced.

Kinomatics: a global study into cinema data

This paper describes a creative industries research project that has applied quantitative approaches commonly used in scientific research to the study of international cinema performance. Using film screening data collected over a two year period, this paper discusses analysis of a global dataset using Appadurai's "-scapes" framework. We have identified several of these "-scapes" that help us investigate film industry behaviour. Concentrating on Appadurai's "Technoscape" an investigation into the geographic spread and distribution of a new and emerging technology, High Frame Rate cinema, has been made. HFR films have screened around the world to mixed reviews. Geographic distribution of HFR technologies and change in this distribution has also been uneven.

Australian films at large: expanding the evidence about Australian cinema performance

International markets have in recent years become a critical component of the business model for Hollywood cinema, opening up a renewed interest in the global dimensions of film diffusion. Smaller film-producing nations such as Denmark have similarly emphasised global distribution as a key component of the industry's success. Typically, however, claims for Australian film industry success rely almost exclusively on a film's domestic box office performance. This paper considers the possibilities for an expanded approach to measuring success and failure in the Australian film industry. Adopting analytic methods from cinema studies, cultural economics and geo-spatial sciences, this paper will examine the international theatrical circulation of Australian films using a unique global database of cinema showtimes. This data set captures all formal film screenings in 47 countries over an 18-month period ending 1 June 2014 and enables detailed empirical study of the locations visited by Australian-produced films. In conjunction with relevant box office data and contextual critical commentary, we propose a revised and expanded ‘film impact rating’ for assessing the reported performance of Australian films.