{"title":"The Mother, the Mistress, and the Cover Girls","authors":"Jenny L. Blaylock","doi":"10.1525/fmh.2022.8.1.102","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.1.102","url":null,"abstract":"When Ghana Television began in 1965, its first director, Shirley Graham Du Bois, explicitly devised it as an anticolonial and pan-African indigenous television system. Likely the first Black woman to head a national station, Graham Du Bois’ prominence, along with Genoveva Marais as head of programing, suggests that in its nascency Ghana Television was an exceptional place for women. Yet each woman’s relationship with Kwame Nkrumah, the first president of Ghana, shadowed their professional lives and legacies. Rumors situated them along female archetypes with a powerful man firmly at the center: Graham Du Bois as Nkrumah’s mother and Marais as his mistress. In this article, I argue that while Graham Du Bois and Marais’ media practice rarely addressed gender inequality specifically, their work as female broadcast leaders set a precedent for decolonial feminist futures even as the coloniality of gender extended into Ghana broadcasting during the independence period.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46183132","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 Film Image of Bessie Smith","authors":"Cinta Pelejà","doi":"10.1525/fmh.2022.8.2.88","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.2.88","url":null,"abstract":"For decades, scholarly and popular literature have reproduced multiple stories about an alleged protest that the NAACP organized against the circulation and preservation of St. Louis Blues (1929), a Black-cast talkie that contains the only film image of Bessie Smith. This paper examines how these stories, as pervasive as they are unfounded, are versions of the same myth—one that I formulate as the NAACP protest myth and that, I speculatively argue, originates in the post-World War II years. From censorship boards’ repression of St. Louis Blues in Black movie theaters to Hollywood’s use of W.C. Handy’s 1914 song “St. Louis Blues,” the late 1940s produced a discursive field that promoted the emergence and persuasiveness of the NAACP protest myth. The location of this myth within its original historical context slowly uncovers new stances from which the social life of Smith’s film image can be retraced and examined.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946680","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":"Sensationalizing Industrial Food in Documentary Film","authors":"S. Khan","doi":"10.1525/fmh.2022.8.4.117","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.4.117","url":null,"abstract":"As a subset of food media meant to tantalize palates, food documentaries typically sensationalize the impoverished state of the entire food supply. This essay focuses on the food documentaries Hybrid (2000), King Corn (2007), Sunú (2015), and OMG OMG (2013), which variously treat “industrial food” as not an object of scorn but a useful category of resistance and engagement. When read through queer ecocritical and feminist materialist lenses, such films create an opening for ways of accounting for and living with the monstrosities of nature that typically arrest the gaze of sensationalism. These food films consider the family and the household not merely as units of passive consumption but as sites of considered provisioning that struggle to account for issues of food justice, food sovereignty, and ecological awareness in a world of ongoing environmental degradation.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946712","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":"Paula Strasberg’s Private Moment","authors":"Annie Berke","doi":"10.1525/fmh.2022.8.3.35","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.3.35","url":null,"abstract":"Paula Strasberg demands a Method reading. Wife of Lee Strasberg, coach to Marilyn Monroe, and victim of the Hollywood Blacklist, Paula Strasberg's life is only detectable through the stories of other (more famous) people, epitomizing the historical record’s indifference to women’s work. Those extant, conflicting traces of Strasberg—as crone, as radical, as overbearing Jewish mother—reveal how conceptions of art, femininity, and ethnicity circulated in the shadow of the postwar culture industries. In response, this speculative account, rooted in theatricality and play, reinstates Paula Strasberg into the history through critical-creative means.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946443","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 Vanishing Archive","authors":"Yasmin Desouki","doi":"10.1525/fmh.2022.8.2.70","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.2.70","url":null,"abstract":"Documentarian and writer Atteyat al-Abnoudy was a fierce proponent of Egypt’s working class and marginalized communities. She carved indelible, haunting images onto the national psyche through her work, which is more prescient than ever. This essay explores the ways in which it is possible to understand and interpret Al Abnoudy’s work processes and filmic legacy within the context of Egypt’s lack of archival practices. The larger context of Egyptian documentary filmmaking and the impact of post-colonial practices on the arts and culture sphere also inform the article.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946671","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 1976 Sojourner Truth Festival of the Arts","authors":"Hayley O’Malley","doi":"10.1525/fmh.2022.8.3.127","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.3.127","url":null,"abstract":"In 1976, a remarkable group of Black feminist artists organized the first ever Black women’s film festival, the Sojourner Truth Festival of the Arts, at the Women’s Interart Center in New York. Screening films by at least sixteen Black women directors, the festival was simultaneously a celebration of the emerging world of Black women’s filmmaking and a radical call for the kinds of socio-political and institutional changes necessary for a Black women’s film culture to thrive. This essay uses archival materials and personal interviews to reconstruct the festival, arguing that although it has long been overlooked, it represents a foundational moment for Black feminist film culture and epitomizes the cross-arts networks of influence that shaped Black feminist artmaking in the period. At the same time, engaging with a fragmentary archive, the essay reflects on the forms of speculation needed to reconstruct the events, lived experiences, and long-term legacies of the festival.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946282","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":"Expanded Cinema, Recycled Cinema","authors":"J. Scheible","doi":"10.1525/fmh.2022.8.2.180","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.2.180","url":null,"abstract":"VALIE EXPORT and Agnès Varda both made moving-image installations about ping pong (EXPORT’s 1968 Ping Pong and Varda’s 2006 “Ping Pong, Tong, et Camping”), a subject each returned to on multiple occasions in subsequent works across different media forms. Apprehending ping pong as a cinematic thing and gesture, this essay considers how EXPORT and Varda, each in her own way, unsettle and expand the rules of the game in ways shaped by their distinct, and distinctly feminist, politics. This essay explores these works and the artists’ repeated returns to ping pong by staging a “volley,” alternating between different scenes and iterations across Europe and the US, from the 1960s to the 2010s. Additional works discussed include EXPORT’s 1980s television documentary on avant-garde film, The Armed Eye, and Varda’s final two documentaries, Faces Places (2017) and Varda by Agnès (2019).","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946567","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":"Narrating Looted and Living Palestinian Archives","authors":"Kareem Estefan","doi":"10.1525/fmh.2022.8.2.43","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.2.43","url":null,"abstract":"After the Palestine Liberation Organization withdrew from Beirut as a result of Israel’s 1982 invasion of Lebanon, the most significant Palestinian film archive, comprising more than 100 documentaries, was nowhere to be found. This article examines Kings and Extras: Digging for a Palestinian Image (dir. Azza El-Hassan, 2004), a documentary that ostensibly chronicles the director’s search for the archive, but ultimately explores Palestinians’ recurrent efforts to narrate and visualize their historical reality in the face of archival appropriation and destruction. As El-Hassan travels between Lebanon, Syria, Jordan, and occupied Palestine, her journey becomes a quest for Palestinian freedom dreams, generating its own, living archive, uniquely Palestinian in its unauthorized, stateless, and itinerant form. Engaging Palestinian archival imaginaries alongside decolonial feminist critiques of positivist historiography, I propose “reparative fabulation” as an act of the radical narrative imagination that animates unrealized political potentialities glimpsed in the gaps endemic to violated archives.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946658","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":"Wandering around the ’70s","authors":"A. Hastie","doi":"10.1525/fmh.2022.8.3.61","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.3.61","url":null,"abstract":"Informed by three interlocking texts—Nathalie Sarraute’s Tropisms, Agnès Varda’s 1985 Vagabond, and Lesley Stern’s Dead and Alive: The Body as Cinematic Thing—this essay attends to a series of scenes from US films of the 1970s. Visually oriented and guided by movement, these analytic descriptions develop together a context of feminist associations that in turn runs counter to the mastery of textual analysis that is so often implicitly aligned with the “masterful” auteurs and works of the era. By moving between a series of cinematic images that home in on women’s experiences, the essay at once recognizes their shared resonances and imagines a counter narrative to dominant histories of the era and an alternative or extension to dominant theoretical fields that emerged from the era. This form of speculative criticism allows for readers to engage in acts of speculation themselves.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66946820","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 File on Theresa Harris, Black Star of the Archive","authors":"Catherine Russell","doi":"10.1525/fmh.2022.8.3.86","DOIUrl":"https://doi.org/10.1525/fmh.2022.8.3.86","url":null,"abstract":"The file on Black actor Theresa Harris includes 103 Hollywood films and TV shows for which she has screen credit, along with many that she does not, from 1929 to 1958. She was cast as an extra, a bit player, or a character actor with lines, most of the time as a maid. In this speculative history of her career, I examine a selection of her roles in films such as Baby Face (1933), Jezebel (1938), I Married a Zombie (1943), Out of the Past (1947), and Lady from Shanghai (1947) as if they were racial events. The act of critical viewing, of actually noticing Harris’s contribution to these and other films, can arguably alter the reading of the films in important ways. My reparative readings are inspired by the theoretical work of Eve Sedgwick and Christine Goding-Doty, and the historiographical work of Saidiya Hartman and Daphne Brooks.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66947012","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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