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• W1987015931 abstract "Feminist cinema scholars are faced with a double historical question that requires both judicious explanation and inventive methodology. The first would seem to ask for traditional historical interpretation; second, for a theory of way in which theories come to power. The first question arises because an astonishing number of so-called lost women have recently been discovered. Recent research in archives of Federation of International Film Archives (FIAF) and in key library special collections has turned up film prints and documents pointing to existence of figures who eluded earlier generations of film historians. The evidence confirms significant participation of women in nearly all aspects of motion picture industry in silent era, from distribution and exhibition to directing and producing. In United States, enough women were visible as producers in 1917, for example, for Photoplay to remark on what it described as a her own company epidemic.' Early research on international cases indicates that women were crucially involved in creative development of other emerging national film industries as well. In fact, women working in what we would now understand as directing, producing, and screenwriting have been identified in twenty-two countries.2 Inevitably, question raised by these discoveries is why? Why did they succeed then? And why, in later stages of industrial development, did these women no longer exercise influence that they exerted at outset? I will return to this question as one of pressure to write the history of' these women and their struggles. The second question, although it would not appear to require exhaustive primary research of first, may be more difficult of two to answer in a way that is satisfying to field. And this is my point. For a historical explanation, really an interpretation, to be received as adequate to its moment, it must demonstrate comprehensive explanatory power. It must be received as a better version of an earlier explanation or fill a void that, for whatever reason, no version has yet filled. Such is case with question of why field, which both fostered and developed such a widely influential feminist theory of film, beginning in mid1970s, did not acknowledge this historical phenomenon, particular to silent era. To ask why these women were forgotten is also to ask why we forgot them. For they were both overlooked by first generation of traditional historians and not recognized by second generation of scholars. Recognized here implies both cognizance and acknowledgment. In an attempt to answer second question, perhaps more unanswerable than first, we would want to ask why a theory recognizes some research findings but not" @default.
• W1987015931 created "2016-06-24" @default.
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• W1987015931 date "2004-01-01" @default.
• W1987015931 modified "2023-10-14" @default.
• W1987015931 title "Film History and the Two Presents of Feminist Film Theory" @default.
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• W1987015931 doi "https://doi.org/10.1353/cj.2004.0045" @default.
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