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Women and the Silent Screen VII: Performance and the Emotions

Presented by the Gender Studies Program at the University of Melbourne in association with VCAM and supported by the School of Culture and Communication, the Miegunyah Distinguished Fellow program and the

Macgeorge Bequest, the City of Melbourne, CoAsIt, the Ian Potter Foundation, the National Film and Sound Archive, and the New Zealand

Film Archive -Ng! Kaitiaki o Ng! Taonga Whiti!hua.

Sunday 29 September Registration: 3 – 3:30pm

Welcome and Opening of the Conference 3:30 – 4pm

Professor Barbara Creed (Cinema Studies), Professor Jeanette Hoorn (Director of Gender Studies), Dr. Victoria Duckett (VCA)

Opening Keynote Address 4 – 5pm

Pam Cook, University of Southampton

Natacha Rambova: Designing Culture, Staging Exoticism and Performing Identity in the 1920s

Reception 5-6pm Screening 1: 6 – 7.15pm

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Monday 30 September Registration: 9 – 9:30am

Keynote: 9.30

Richard Abel, University of Michigan

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Morning Tea 10:30 – 11am

Session 1: 11 – 1pm

1A: Feminisms and partnerships on the early

Australian screen

Room 1

1B: Displacing conventions: Reviewing

genre and gender in early film

Room 2

1C: Women writing

Room 3

Chair: Deb Verhoeven Ann-Marie Cook (Queensland University of Technology) (Re)Assessing the Demise of the McDonagh Sisters Margot Nash (University of Technology Sydney) Lottie Lyell: the silent work of an Australian film pioneer Virginia Fraser (Independent Researcher) Strategic Identity: Senora Spencer “the only lady operator in the world” Deb Verhoeven (Deakin University) Courting Independence: The sensational case of Señora Spencer, ‘The Only Lady Cinematograph Artist in the World’

Chair: Jeanette Hoorn Stephen Gaunson (RMIT) The Lady Bushranger: Bushwomen and bushranging Susan Potter (University of New England) Frame, Space, Sexuality: D.W. Griffith’s An Unseen Enemy (Biograph, 1912) Jacqueline Anderson (Pratt Institute) Rescuing Women, or Society? D.W. Griffith’s Broken Blossoms, Lois Weber’s Where are my Children? And Family Melodrama Jane Gaines (Columbia University) A Melodrama Theory of Feminist Film Historiography

Chair: Shelley Stamp Elisa Cuter (Freie Universitaet Berlin) “In the mood of our modern times”: The Problematic Relationship Between Capitalism and Women’s Liberation as Explored Through the Work of Emilie Altenloh Amelie Hastie (Amherst College) The Eye of the Star: Critical Writings by Louise Brooks Amy Shore (SUNY Oswego) Nell Shipman and the Nature of Cinema

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Lunch 1 – 2pm

Session 2: 2 – 3:30pm 2A: Social Reform,

Exploitation films and the fight for equality:

Explorations in women and social change

Room 1

2B: In dialogue with the past: Reinventing the

modern woman

Room 2

2C: Drama and Documentation

Chair: Barbara Creed Mark Lynn Anderson (University of Pittsburgh) The Unremarkable Film Authorship of Dorothy Davenport Reid and the Woman’s Voice in Late Silent Cinema Chika Kinoshita (Tokyo Metropolitan University) Something More Than a Seduction Story: Abortion and Entertainment in the 1930s Japanese Film Culture April Miller (Barrett College, Arizona State University): Madness, Murder, and the Anti-Pastoral in Victor Sjöstrom’s The Wind

Chair: Hilary Hallett Jacqueline Dutton (University of Melbourne) Femmes futuristes. Representing Parisiennes in early French futuristic films Felicity Chaplin (Monash University) La Parisienne on the Silent Screen: Charles Chaplin’s A Woman of Paris Patricia Di Risio (University of Melbourne) The New Woman in Early Silent Film

Chair: Jane Gaines Barbara Evans (York University) A Shetland Romance: The Films of Jenny Brown Kristin N. Harper (New York University) “Sweet Belles Jangled, Out of Tune”: Filming Female Hysteria and War Madness in The Great War

Afternoon Tea 3:30 – 4pm Screening 2: 4 – 5.40 pm

NFSA: The Girl of the Bush (Franklyn Barrett, 1921), 95 min La Fee aux Fleurs (Pathe) stencilled 90 secs

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Keynote Address: 6.30 – 7:30pm

Miegunyah Lecture: Mary Ann Doane, University of California, Berkeley

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Tuesday 1 October Registration: 9 – 9:15am

WIFI soft launch, Jane Gaines 9:15 – 9:30am

Keynote Address: 9.30 – 10:30am

Shelley Stamp, University of California, Santa Cruz

Feminist Media Historiography and the Work Ahead

Morning Tea 10:30 – 11am Session 3: 11 – 12.30pm

3A: Focus: Asian Cinema

Room 1

3B: Exploring Indigenous

Representations

Room 2

3C: Women and transnational cinema

Room 3

Chair: Audrey Yue Sean O’Reilly (Harvard University) Screening History: Japan’s First Bakumatsu Boom and the History Film, 1925-1945 Danny Ben-Moshe (Deakin University) Bollywood’s First Women: The Jewish Stars of India’s Silent Era Bindu Menon Mannil (Delhi University) Chronicles of a Disappearance: Caste and Gender in South Indian Silent Screen

Chair: Jane Landman Jani Wilson (University of Auckland) W!hine Wahang" (Silent M!ori Women): W!hine M!ori in Silent Feature Film Jane Landman (Victoria University) The silent women of the Australian South Seas colonial adventure Minette Hillyer (Victoria University) To Dance the Native Dance

Chair: Giuliana Muscio Louis Pelletier (Université de Montréal) Pauline Garon’s Transnational Career and French Canadian Identity Piotr Kulesza (Film Museum Lodz) Pola Negri. Legend of the cinema and first European movie star in Hollywood Caroline Eades (University of Maryland) A Turning-point in Alice Guy-Blaché’s Life and Work: from Paris to Fort Lee, N. J (1904-1914)

Lunch 12:30 – 1:15 pm

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Afternoon Tea 3 – 3.20 pm

Session 4: 3:20 – 5:20 pm

4A: Questions in National Cinemas

Room 1

4B: Leading Ladies: Divas, Stars, and Serial

Queens

Room 2

4C: The expanding screen: performance and

intermediality

Room 3

Chair: Richard Abel Katja Lee (McMaster University) No, our Mary: (Re) Claiming Mary Pickford for Canada Donna R. Casella (Minnesota State University) Women in Front and Behind the Camera in Irish Cinema of the Silent Period Michele Leigh (Southern Illinois University Carbondale) Leading Ladies and the Studio Bosses: The Representation of Women in Pre-Revolutionary Russian Studio Publications Giuliana Muscio (University of Padua) Historiography of Women and the Silent Screen: Europe/US/World

Chair: Monica Dall’Asta Emiliana Losma (Independent Researcher) Divas: Goddess of the silent screen Aviva Dove-Viebahn (Arizona State University) From Pauline’s Perils to Charlie’s Angels (and Back Again): Tracing the Past and Future of ‘Serial Queens’ Anna Gardner (La Trobe University) Colleen Moore: Star Auteur? Monica Dall’Asta (University of Bologna) Obscured by starlight: Women Comedians and sporting actresses in early Italian cinema

Chair: Victoria Duckett Eirik Frisvold Hanssen (Norwegian University of Science and Technology) “Measured in its emotional possibilities”: A Doll’s House and the Performance of Gender in American Silent Cinema Elena Mosconi & Maddalena Bodini (University of Pavia) On the stage. Mimì Aylmer’s public and private life as a performance Mary Simonson (Colgate University) Restaged Onscreen: Anna Pavlova, Rita Sacchetto, and “Dance Pictures”

Roundtable plenary with NFSA & NZFA: 5.20 – 6.10 pm

Gender and the Archives

Minette Hillyer (Victoria University of Wellington), Mark Sweeney (NZFA), Meg Labrum (NFSA), Helen Tully (NFSA), Deb Verhoeven (Deakin University)

Conference Dinner: 7:30pm onwards

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Wednesday 2 October Registration: 9 – 9:30am

Keynote Address: 9.30

Hilary Hallet, Columbia University

The Rise of Early Hollywood

Morning Tea 10:30 – 11am Session 5: 11 – 1 pm

5A: Doubles, copies, clones: reproducing women in early film

Room 1

5B: The subversions of language and sound

Room 2

5C: New Materials for Feminist Film History

Room 3

Chair: Mary Ann Doane Jeannette Delamoir (CQUniversity) All the Mary Pickfords Lisa Bode (University of Queensland) ‘Kisses on the screen!’: Silent Screen Actresses and the ‘Double Exposure’ Film Cycle of the 1910s Rachel Joseph (Arizona State University) Lulu’s Boxes: Screened Stages, Theatricality, and the Emergence of Monstrous Reproducibility in Pandora’s Box Paul Young (Vanderbilt University) Starring Mary Pickford as Unity: STELLA MARIS and the Early Classical Paradigm!

Chair: Elena Mosconi Maree Macmillan (RMIT) The many voices of Lulu: auditory interpretations of Louise Brooks’s Lulu in Pabst’s Pandora’s Box (1929) Tessa Dwyer (University of Melbourne) Female Stars, Foreign Accents and Unruly Voices: The Transition from Silence to Sound Yiman Wang (University of California, Santa Cruz) Speaking in a “Forked Tongue”: Anna May Wong’s Linguistic Cosmopolitanism

Chair: Susan Potter Emily O’Connor (Independent Scholar & Artist) The Killing of Sister George II Whitney Monaghan (Monash University) A “polyphonic play of features”: Bela Belazs, Louise Brooks and Tumblr Wendy Haslem (University of Melbourne) Spectral Colours, Temporalities and Sensation in Early Cinema

Lunch 1 – 2 pm, Hub Seminar Room WFHI meeting convened by Michele Leigh. All welcome to attend

2 – 2.30 pm Concluding Remarks

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Conference venue: The conference will predominantly be held on the VCAM/Southbank Campus of the University of Melbourne. We have secured use of Federation Hall, VCAM’s premier lecture theatre, as well as Cinema 2 lecture theatre and the Hub Seminar Room. Registration will be held in the foyer, and we will have location signs in place to make navigation of an unfamiliar campus as easy as possible. Maps and the general location of the Southbank Campus can be found here: http://maps.unimelb.edu.au/southbank Please note that for the keynote Miengunyah lecture by Professor Mary Ann Doane we will move to the Elizabeth Murdoch theatre on the Parkville Campus, an easy tram ride up the road. http://maps.unimelb.edu.au/parkville Please also note that Public Transport Victoria have introduced a new ticketing system in the last year called Myki, which cannot be bought on trams. Information on how to purchase a Myki card, which can then be loaded up with money for all public transport, please see http://ptv.vic.gov.au/tickets/myki/buying-your-myki/! Film Program Notes All screenings take place in Federation Hall at the Victorian College of Arts and Music. All screenings will be accompanied by Mauro Columbis.

Screening 1: 6 – 7.15pm, Sunday 29 September 2013 NZFA: Venus of the South Seas, dir. James R. Sullivan, New Zealand Dominion Productions, 1924, 47 mins. A story of girls and pearls, love and adventures, mermaids and wonders, of the South Seas. “The story concerns a lonely pearl-diver and his beautiful daughter, Shona. She is a child of nature, a goddess of the seas, and one moonlight night romance comes to her when she swims out to a strange boat and meets the hero. A rival pearl pirate, on the death of the old man, attempts villainy, but the young man pits himself against him, and, naturally, all ends well. Playing opposite Miss Kellerman is Mr Norman French, who does excellent acting, and makes a manly hero all through.” — Evening Post review, June 7, 1924. Australian born Annette Kellerman was a champion diver and swimmer who made headlines in 1907 when she was arrested in Boston for wearing a one piece bathing suit. In Hollywood she starred in Neptune’s Daughter (1914) and A Daughter of the Gods (1916). Venus of the South Seas is Kellerman’s only surviving feature film. Preceded by: Pathé News No. 67, 1924, 1.30 mins. This 1924 Fashion Review hints at the styles “in vogue” at the time of filming and predicts ideas for your wardrobe in 1950. Hamilton Shingle & Buster Competition, 1926, 3 mins. Fragments from the haircut competition organised in conjunction with the Strand Theatre, Hamilton, to find “The Winning Cut” which was judged by public vote. An intertitle implores the audience to temper their predisposition towards criticism: “In its screening there may be a few contestants who naturally appear unused to the camera. We New Zealanders are apt to be over critical. Let us judge fairly & give the palm of applause where it is due”.

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Motion Picture Bathing Beauty Contest, 1925, 1 min. Fragments, believed to be from the “Motion Picture Bathing Beauty Contest”. The contest set out to discover Auckland’s most beautiful bathing girl, with the film screening at the Grand Theatre, where voting papers were distributed to enable the audience to act as judges.

Screening 2: 4 – 5.40 pm. Monday 30 September 2013 NFSA: The Girl of the Bush (Franklyn Barrett, 1921), 95 min This drama’s main character Lorna Denver (Vera James) manages a prosperous sheep station and is pursued by a dissolute relative and a handsome surveyor who mistakes Lorna's good intentions in looking after an orphan baby. Misunderstandings, humour, murder and reconciliation draw the film to a satisfactory happy ending. Based on an original screenplay by director Franklyn Barrett, the film provides a significant portrait of the feisty squatter’s daughter ‘girl of the bush' character who featured on stage and in film for decades and who is the equal of the men in station matters (riding, branding, dipping sheep) but is also feminine and ultimately a wonderful potential wife and mother. Director and cinematographer Franklyn Barrett’s camerawork celebrates documentary realism within the context of the dramatic story. Station life at Kangaroo Flat was shot on location at Freemantle Station near Bathurst, NSW, and the dissolute two up game and police raid was filmed in Sydney backstreets as opposed to film set formalities. The film offered contemporary reviewers a fresh outdoor experience with natural performances. It is one of Barrett's two known surviving features, held by the National Film and Sound Archive. La Fee aux Fleurs (Pathe) stencilled 90 secs One of the many fantasy coloured films included in The Corrick Collection of very early cinema preserved by the National Film and Sound Archive of Australia The Flower Fairy is a short, charming film featuring Jeanne Antoinette Poisson, the Marquise de Pompadour, member of the French court and mistress of Louis XV, waving to the audience as hand stencilled coloured flowers bloom around her. Typical of the Pathe film catalogue of the day, it blends history with colour and effects and was used regularly by the Corrick Family Entertainers as part of their travelling performances which grew to over two hours as they incorporated not only their staple music, oratory and comedy, but an hour of the latest films of the day.

Screening 3: 1:15 – 3.00 pm, Tuesday 1 October 2013 NZFA: The Bush Cinderella, dir. & prod. Rudall Hayward, New Zealand, 1928, 85 mins. The Bush Cinderella was the fourth feature film produced by pioneer filmmaker Rudall Hayward. Released in 1928, the film is a mix of melodrama and high comedy. It was a runaway success with local audiences and it remains one of the great achievements of the early screen era in New Zealand. The heroine was played by Dale Austen, winner of the 1927 Miss New Zealand contest. Part of Austen’s prize was a trip to Hollywood, and a contract as a stock player at MGM. The Bush Cinderella was filmed soon after Austen’s return from Hollywood and freely cashed in on the fame of New Zealand’s beauty queen who “combines Hollywood experience and technique with a faultless photographic face” (The Sun, 27 August 1928). Hayward’s achievements with this film were due, in no small part, to the involvement of his wife Hilda. Hilda was also his creative partner and she worked side by side with him from the 1920s until the late 1930s, which makes her New Zealand’s earliest known female film pioneer. Hilda was involved in every aspect of his filmmaking, including casting, acting, editing and even processing the film. The couples’ daughter, Phillippa, appears in The Bush Cinderella as one of the Codlin children.!

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The conference organizers would like to acknowledge the generous support of the following organizations:

The School of Culture and Communication The Miegunyah Distinguished Visiting Fellowship Program The Macgeorge Bequest