{"title":"At Home with Polly and Henry","authors":"Richard Abel","doi":"10.1525/fmh.2023.9.3.79","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.3.79","url":null,"abstract":"This essay addresses the question: what distinguished the popular Drew comedies (1915–1919)? First, in what essentially were situation comedies, Mr. and Mrs. Sidney Drew played a white middle-class couple who squabbled over issues or disagreements, usually minor but sometimes not, that were resolved through deft deceptions. Second, and most important, not only was Mrs. Drew (1890–1925) an accomplished comedienne, but she also scripted all of the films, directed or codirected nearly as many, and eventually became a producer. While on screen she may have played a seemingly conventional wife (but not always), behind the scenes she created stories that poked gentle fun at white middle-class domestic life and often challenged, however lightly transgressive, the prevailing patriarchy of the period.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"High-Touch Media","authors":"Cait McKinney, Dylan Mulvin","doi":"10.1525/fmh.2023.9.1.98","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.1.98","url":null,"abstract":"Disabled activists in the United States brought unique expertise to HIV/AIDS in the 1980s and ’90s, including understanding social stigma and health as social justice issues and approaching information as a complex access problem. Disproportionately affected Deaf communities mounted a response that carefully blended face-to-face caring practices with mediated information by and for deaf people grappling with HIV. San Francisco’s Deaf AIDS Information Center (DAIC) advocated for wider access to Telecommunications Device for the Deaf (TDD) in the AIDS service sector while also marking this text and modem-based machine’s inadequacies as a substitute for the high-touch, one-to-one interpretive work needed by many ASL users. Crossovers among media, AIDS, and disability justice histories are underdocumented and risk seeming minor. Through our analysis of the DAIC, we argue that this intersection is key to advancing knowledge of how HIV left an imprint on emerging communication technologies and how sexuality and disability factor in technological cultures.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41438308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"More Than Just a Memory","authors":"W. Sung","doi":"10.1525/fmh.2023.9.1.123","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.1.123","url":null,"abstract":"This article examines American Artist’s installation “Sandy Speaks,” a chatbot inspired by Sandra Bland’s media activism, as an analytical connective point to pathways of Black technological critique and histories of Black digitality and care. First connecting the work to its predigital antecedent The Negro Green Book, the article then argues that the typical aspirations of chatbot to approximate the human is disavowed in “Sandy Speaks,” enacting a Black technological critique of the human itself. Moreover, departing from celebratory discourses of Black technological innovation, the chatbot's low AI instantiates what the author calls a politics of technological refusal—a praxis of deliberate technological limitation as critique. This article asks what might happen when we seek potentialities of Black praxis in the slow, broken, old, technological forms, not as remedy, but as theory, critique, and an undoing of the recuperation of technological innovation as most legible mode of recognition.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41719590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Filling (Feeling) the Archival Void","authors":"Barbara Zecchi","doi":"10.1525/fmh.2023.9.4.14","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.4.14","url":null,"abstract":"The video essay “Filling (Feeling) the Archival Void” delves into the systematic erasure and archival dispossession of works by early women filmmakers, using the case study of Helena Cortesina and her lost film Flor de España (1922), which was falsely attributed to a male director. Through a counterhegemonic, provocative, “accented” approach, the video essay challenges established, patriarchal film histories and exposes the lies hidden within their seemingly rigorous discourse. First, it pays homage to the authorship of an almost forgotten filmmaker, Helena Cortesina, while also making her lost film visible, ensuring that at least some of its images are brought to light. Second, it explores the potential of the video essay as a feminist archive—a practice-based counterarchive, capable of producing counterhegemonic discourses that subvert the status quo. Third, by challenging the presumed “objectivity” of traditional film scholarship through openly poetic, subjective, and imaginative modes of expression, it establishes and validates a new epistemology.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136372695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“I Hope We Leave More of a Record”","authors":"Marika Cifor, C. McDonald","doi":"10.1525/fmh.2023.9.1.78","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.1.78","url":null,"abstract":"During the early years of the HIV/AIDS crisis, the provision of information was part of the necessary care work for people living and dying with HIV or AIDS. AIDS INFO BBS and the associated caregivers mailing list was a much-needed digital space for sharing the struggles and opportunities of AIDS care work. By charting the creation, contents, and afterlife of the caregivers mailing list digital archive, we examine the ways in which technologies facilitate powerful queer care relations. Through iterative qualitative coding of the archived messages, we examine (1) care networks, (2) novel medical care technologies, (3) and archiving as care work. Despite popular narratives that present the HIV/AIDS epidemic as a relic of the recent past, the HIV/AIDS crisis continues. By providing narratives of continuation from the archive, we uncover a richer understanding of HIV/AIDS histories and the ways in which care was and is provided during this pandemic.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48718064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Proto-Hollywood Novel","authors":"Charles Musser","doi":"10.1525/fmh.2023.9.3.50","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.3.50","url":null,"abstract":"Before the Hollywood novel emerged as a well-established literary genre in the early 1920s, various American authors were writing novels about moviemaking in both serial and book form. Not unlike the preclassical Hollywood movies of the 1910s, these “proto-Hollywood novels” were more than simple antecedents. Many were set in New York City and took their cues from novels about the theater world. Others were set in the Far West, including California, but before Hollywood had assumed its mythic identity. Of particular interest: most of these novels were feminist in their rhetoric and narratives. Some engaged issues of sexual harassment that would be picked up a century later by the #MeToo movement. This article focuses on the works of two male writers associated with the radical magazine The Masses—Robert Carlton Brown and James Oppenheim, and two women who were involved in screenwriting on the West Coast—B. M. Bower and Margaret Turnbull.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Convalescing Profiles","authors":"C. C. Jacobs","doi":"10.1525/fmh.2023.9.3.31","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.3.31","url":null,"abstract":"The influenza epidemic of 1918–20 was one of the deadliest events in recent human history, killing at least fifty million people worldwide and at least 675,000 Americans in just two years. Yet, because of government censorship during the pandemic and a lasting cultural silence about the flu, we still have a great deal to learn about this period. In the wake of the COVID-19 crisis, remembering the experience of the Spanish flu has become especially urgent. This essay argues that motion picture fan magazines, many of which are available digitally through the Media History Digital Library, are crucial archives of women’s experiences during the pandemic. Interactive sections of these publications gave readers—especially women and girls—rare opportunities to publicly share their own experiences with the flu. Celebrity “convalescing profiles” expressed anxieties and established expectations for women during the flu pandemic. Revisiting these publications today reveals the importance of celebrity and sites of fan engagement in forging ideas about illness and health.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cross-Generational Storytelling","authors":"Sarah Choi","doi":"10.1525/fmh.2023.9.4.135","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.4.135","url":null,"abstract":"Sarah Choi interviews Sasha Su-Ling Welland, chair and professor of Gender, Women, and Sexuality studies at University of Washington, Seattle, and Sabrina Craig, director of Community Engagement for South Side Home Movie Project in Chicago, to discuss their engagement in cross-generational storytelling. Acknowledging the vital role women’s shared memories have played in preserving historical knowledge, Welland and Craig make a connection between their pedagogical, ethnographic, and counterarchival practices, which situate cross-generational conversations at the heart of feminist historiography.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136372699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Distributed Authorship","authors":"K. Pearlman","doi":"10.1525/fmh.2023.9.2.87","DOIUrl":"https://doi.org/10.1525/fmh.2023.9.2.87","url":null,"abstract":"A general misapprehension of what filmmakers do and how films are made has obscured the creative and cognitive complexity of the work women have been doing in film for over one hundred years. Using clips from the multi-award-winning short documentary I Want to Make a Film about Women (Pearlman et al. 2020), the video essay Distributed Authorship: An et al. Proposal of Creative Practice, Cognition, and Feminist Film Histories argues that filmmaking is an instance of “distributed cognition” and offers a provocation about the mythologizing of film authors. It then proposes a small, very small, but significant, very significant, adjustment to the stories we tell about filmmakers. I call this adjustment “et al.” and suggest that these five characters and a space are shorthand for an urgently needed change to understandings of collaboration, creativity, and cognition.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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