1A The Sound of the Silents 1
| Wordlessness | |
| Jane Marie Gaines |
| Eurhythmy or the Sound of an Arabesque? The Musicality of Gesture and Bodily Expression in Germaine Dulac’s Early Silent Films | |
| Tami Michelle Williams |
| Music and Images in the Cinema of Elvira Notari | |
| Kim Tomadjoglou |
| Screen Actresses and the Stanislavskij System of Acting in Russian Cinema of the 1910s | |
| Lauri Piispa |
1B Cinephilia
| Women's Cinephilia and the Reframing of Female Subjectivity in Film | |
| Rosanna Maule |
| Exit Flapper, or Lois Weber’s Critique of Jazz Age Hollywood | |
| Shelley Stamp |
| "Opportunities for Women": British Film Publicists | |
| Nathalie Morris |
| “The Feminine Touch”: Elsie Codd and Transnational Film Journalism | |
| Clare Watson |
| A Female Touch or a Role Model? Dutch Filmcritic Elisabeth de Roos and the International Film Avant Garde | |
| Anna van Beusekom |
| The Smartest Spectator: Angelina Buracci and the Italian Cinema of the 1910s | |
| Luca Mazzei |
1C Case Studies in Gender Film Criticism
| Re-Reading the Codes: The Queer History of the Serial-Queen | |
| Theresa L. Geller |
| Lois Weber’s Uneasy Progressive Politics: The Articulation of Class and Gender in Where Are My Children? | |
| Veronica Pravadelli |
| “A Most Charming Boy”: The Appeal of the Female Boy in US Silent Film | |
| Laura Evelyn Horak |
| "Who Dressed A.B. Like a Girl?" Leatrice Joy's Performances of Gender in "The Clinging Vine" (1926) | |
| Johanna Schmertz |
| Silent Leading Women: Female Agency and the Construction of Masculinity in Lois Weber's *The Blot* | |
| Meryl Shriver-Rice |
2A Movie Fan Scrapbooks: New Resources for Writing Women's Cinema History
| Edna Vercoe’s Scrapbook "Romance with the Movies" (1914-1915) | |
| Richard Abel |
| Who Is This Fan? Fandom and Fan Identity As Seen Through the Works of a Lil Dagover and Henny Porten Fan | |
| Maj Eimers |
| Scrapbook as Public Sphere: The Women's Club Year in Review | |
| Jennifer Horne |
| Movies in the Lives of American Girls: Interrogating the Evidence Found in High School Memory Books | |
| Leslie DeBauche |
2B Screenwriters
| Behind the Typewriter: The Role of Women in the Development of the Screenwriting Profession | |
| Maria Fosheim Lund, Livia Bloom, Daniela Bajar |
| Mary Pickford as Written by Frances Marion | |
| Claus Tieber |
| Woman, Wife, Screenwriter: Renée de Liot and the Screenplay in the Silent Era | |
| Micaela Veronesi |
| Masochism in/and Italian Diva Films | |
| Valeria Festinese |
| Sickness Becomes Woman: Diva and Love-Sick | |
| Elena Ezechielli |
| Marie Epstein as a Scenarist: A Case Study | |
| Chiara Tognolotti |
2C Stardom and Masochism
| “From Boudoir to Street”: Naturalism and the Suffering Female in International Silent Cinema | |
| Robert L. Singer |
| Starlets to Secretaries: the Suicide Gesture in the Silent Era | |
| Kerry L McElroy |
3A Women of Chinese Cinema
| Voiceless Smiles and the Limits of Gesture in Shanghai Silent Film | |
| Menghsin Cindy Horng |
| Pearl White and the New Female Image in Chinese Silent Cinema | |
| Xiqing Qin |
| Ruan Lingyu: Star of Chinese Cinema | |
| Cristina Colet |
| Ambivalence of the Camera: The Representation of the Female Body and Identity in Chinese Silent Cinema of the 1930s | |
| Funing Tang |
3B The Sound of the Silents 2
| Bruised and Confused: Helen Morgan on Stage on Screen | |
| Amy Lawrence |
| Metropolitan Women: Geraldine Farrar and Marion Talley Silence Opera on Screen | |
| Jennifer Fleeger |
| Feminine Stars and the Cultural Heritage of the Opera in Early Italian Cinema | |
| Elena Mosconi |
| The Italian Tradition of 'bel canto' in Early International Cinema | |
| Victoria Duckett |
3C Not Just Divas 1
| Elenonora Duse, Grazia Deledda and Friends: A Feminine Collaboration in the Country of Melodrama | |
| Elena Dagrada |
| Women, Bullfighters and Identity in Spanish Silent Cinema: Musidora (1889-1957) | |
| María A. Camí-Vela |
| A Studio of Her Own: Women Producers at First National, 1918 - 1928 | |
| Hugh Munro Neely |
| Nazimova’s Salomè: Silent Monument | |
| Dolores Christine McElroy |
4A New Women and the Modern
| Lighting Garbo: Modern Photography and the New Woman | |
| Patrick Keating |
| Distant Dreams – Flapper movies and Finnish Film Culture | |
| Jaakko Seppälä |
| The Reinvention of the Cosmopolitan Heroine: Dimitri Buchowetski's Contribution to Swedish Silent Cinema | |
| Jan Olsson |
4B Filming Ethnic Difference
| The Commercial Value of Indo and Afro-Colombian Bodies: Romelli’s Gold Platinum (1937) | |
| Isabel Arredondo |
| The Black Female Body from Silence to Sound in Race Films | |
| Nina Cartier |
| Native and Narration: Josephine Baker and the Cinema of Métissage | |
| Katherine Groo |
4C Stardom and Fashion
| Fading Stars and the Ruined Commodity Form: Star Discourses of Loss in Fan Magazines, 1914-1929 | |
| Mary R. Desjardins |
| If It Works For Mary...: Advice from America's Sweetheart | |
| Anke Brouwers |
| The German Diva Brigitte Helm as a Fashion Icon of the 1920s | |
| Mila Ganeva |
5C Not Just Divas 2
| Carmen Santos and the Starlight | |
| Ana Maria Pessoa dos Santos |
| Alexander Khanzhonkov and his Queens of the Screen | |
| Michele Leigh Torre |
| Rediscovering Bianca Virginia Camagni | |
| Emiliana Losma |
5A Professions 1
| "She Has a Sense of Humour": Alva Lundin’s Art-Titles in Mauritz Stiller's *Erotikon* | |
| Sofia Bull |
| Looking at Herself: Cinema as Dream Screen – Le Mystère des Roches de Kador | |
| Astrid Söderbergh Widding |
| Little Girls in Empire Dresses: The Influence from Women Children’s Book Illustrators on Early Art Titles | |
| Tom Paulus, Vito Adriaensens |
| Colouring the Figures. A First Survey on the Relations Between Working Women and Hand Colouring in Italy | |
| Federico Pierotti |
5B Acting as Creation
| “More woman than a woman” : Oyama’s Femininity and Actress’s modernization in 1910s Japanese film | |
| Sawako Ogawa |
| Sources and Creation in Francesca Bertini’s Acting | |
| Nancy Irela Nuñez |
| Homage to the Female Creator: Maria Gasparini and _La ribalta_ (1913) | |
| Stella Dagna |
6A Creating and Critiquing Hollywood's New Women
| School of Scandal: Alice Duer Miller, Scandal, and the New Woman | |
| Anne Morey |
| "Not Even a Word of Farewell - Only a Smile”: Melancholic Endings and Wistful Musings on the Demise of Mabel Normand and the New Woman | |
| Vicki Callahan |
| Re-reading Hollywood's First Sexual Scandal: Virginia Rappe, New Western Women, and the Bohemian Movie Colony | |
| Hilary Anne Hallett |
6B Studies in National Cinemas
| How to Research the Exception. The Power of the Unknown, Women and the Spanish Silent Cinema | |
| Begoña Soto Vázquez |
| Women and Nationalism in Indigenous Irish Filmmaking of the Silent Period | |
| Donna R. Casella |
| Three Women Pioneers of Egyptian Cinema | |
| Ouissal Mejri |
| Moviegoing in São Paulo in the 1920s | |
| Sheila Schvarzman |
6C Analyzing and Theorizing Films
| Our Delinquent Daughters: Reforming Adolescence in Cecil B. DeMille’s *The Godless Girl* and G. W. Pabst’s *Diary of a Lost Girl* | |
| April Miller |
| Freud, Marx, and *Fräulein Else*: The Psyche, the Social, and the Problem of Unrepresentability | |
| Althea Wasow |
7B Excentric Bodies
| Silent Comediennes and "The Tragedy of Being Funny" | |
| Kristen Anderson Wagner |
| However Odd: Elsa Lanchester | |
| Amy Sargeant |
| A Lass and A Lack: Women and Comedy in British Silent Cinema | |
| Laraine Dawn Porter |
| Lea Giunchi: The Story of a Lost Comical Body | |
| Marzia Ruta |
7A Asta Nielsen
| The Emergence of the Star System in Germany, 1911: Asta Nielsen, Monopolfilm, Audience Attraction, and Investment | |
| Martin Loiperdinger |
| Asta Nielsen’s (Re-)turn to the Stage in the 1920’s: A Paradox or a Consistent Choice? | |
| Annette Forster |
| “Drawn Across the Sea”: Asta Nielsen in America, 1912-1914 | |
| Jennifer M. Bean |
7C Professions 2
| Living Out Loud: From Silent Cinema to Baltimore Punk Rock An Oral History of Alice Stringer (1912-1999) | |
| Kerrie (Carolyn) Welsh |
| Fade In: Rediscovering Katharine Hilliker Through Choices in Historical and Digital Research | |
| Bethany Czerny |
| Riding Horses and Writing Scripts | |
| Viktoria Paranyuk |
8A Socio-political Issues
| Women, Prisons, and the Silent Screen | |
| Alison Margaret Griffiths |
| In the Family Way: Early Female Stars and Parenthood | |
| Tricia Welsch |
| Alice Guy-Blaché, Rose Pastor Stokes, and the Birth-Control Film That Never Was | |
| Martin F. Norden |
| Women on Strike: The Figure of the Suffragette in Silent Comedies | |
| Madeleine Bernstorff |
| The Image of an Old Revolutionary in Soviet Propaganda: Vera Figner and the Women's Liberation Movement in "The Fall of the Romanov Dynasty" | |
| Dunja Dogo |
8B Representations
| Sirens: Female Images and Roles in Neapolitan Cinema | |
| Lucia Di Girolamo |
| Female and Formal Ambiguity in the Serial Queen Melodrama: Fatal Testcase for Feminist Film Theory? | |
| Jana Ostyn |
| Movie Prologues: Cinema, Theatre and Female Types on Stage at Rio de Janeiro Cinelândia | |
| Luciana Correa de Araujo |
| Cabiria’s Masters and Slaves: Race, Libidinal Investment and the New Roman Empire | |
| Shelleen Greene |
| Rescue Me: An Analysis of the "Damsel in Distress" in Early Pirate Films | |
| Lynne Elizabeth Bond |
8C Problems in Historiography
| Griffith’s female underlings or independent achievers? | |
| David Mayer |
| Alice Guy and the Transition from Kine-Attractography to Institutional Cinema: The Example of "The Birth, the Life and the Death of Christ". | |
| Philippe Gauthier, André Gaudreault |
| The History that Will Be: Lesbian Cinematic Representation Before Cinema | |
| Susan Potter |
| Leni Riefenstahl's "The Blue Light" and the Politics of Hyper-Visibility | |
| Margaret Hennefeld |
| Her Reputation Precedes Her, or The Impossible Films of Vera, Countess of Cathcart | |
| Mark Lynn Anderson |
Plenary Session
| Amateur Filmmaking Amidst the Institutions, the Case of Claudia Lea Phelps | |
| Mark Garrett Cooper |
| The Lady Vanishes – on the Archive Drive for a Feminist Ethnic Cinema | |
| Yiman Wang |
| The Historiography of Early African-American Filmmakers | |
| Aimee Dixon |
| The Archive Gone Viral | |
| Kay Armatage |
| Multiple Sources for Women’s Film History | |
| Giuliana Muscio |
| Reframing Women in British Cinema Culture in 1910s and 1920s: Issues and Problems | |
| Christine Gledhill |