| Scheduled Conference | Title | |
| Women and the Silent Screen Conference | "Not Even a Word of Farewell - Only a Smile”: Melancholic Endings and Wistful Musings on the Demise of Mabel Normand and the New Woman | Abstract |
| Vicki Callahan | ||
| Women and the Silent Screen Conference | "Opportunities for Women": British Film Publicists | Abstract |
| Nathalie Morris | ||
| Women and the Silent Screen Conference | "Who Dressed A.B. Like a Girl?" Leatrice Joy's Performances of Gender in "The Clinging Vine" (1926) | Abstract |
| Johanna Schmertz | ||
| Women and the Silent Screen Conference | A Female Touch or a Role Model? Dutch Filmcritic Elisabeth de Roos and the International Film Avant Garde | Abstract |
| Anna van Beusekom | ||
| Women and the Silent Screen Conference | A Lass and A Lack: Women and Comedy in British Silent Cinema | Abstract |
| Laraine Dawn Porter | ||
| Women and the Silent Screen Conference | A Studio of Her Own: Women Producers at First National, 1918 - 1928 | Abstract |
| Hugh Munro Neely | ||
| Women and the Silent Screen Conference | Alexander Khanzhonkov and his Queens of the Screen | Abstract |
| Michele Leigh Torre | ||
| Women and the Silent Screen Conference | Alice Guy and the Transition from Kine-Attractography to Institutional Cinema: The Example of "The Birth, the Life and the Death of Christ". | Abstract |
| Philippe Gauthier, André Gaudreault | ||
| Women and the Silent Screen Conference | Alice Guy-Blaché, Rose Pastor Stokes, and the Birth-Control Film That Never Was | Abstract |
| Martin F. Norden | ||
| Women and the Silent Screen Conference | Alternative Sources | Abstract |
| Giuliana Muscio | ||
| Women and the Silent Screen Conference | Amateur Filmmaking Amidst the Institutions, the Case of Claudia Lea Phelps | Abstract |
| Mark Garrett Cooper | ||
| Women and the Silent Screen Conference | Ambivalence of the Camera: The Representation of the Female Body and Identity in Chinese Silent Cinema of the 1930s | Abstract |
| Funing Tang | ||
| Women and the Silent Screen Conference | Asta Nielsen’s (Re-)turn to the Stage in the 1920’s: A Paradox or a Consistent Choice? | Abstract |
| Annette Forster | ||
| Women and the Silent Screen Conference | ‘She Has a Sense of Humour’: Alva Lundin’s Erotikon Art-Titles | Abstract |
| Sofia Bull | ||
| Women and the Silent Screen Conference | “A Most Charming Boy”: The Appeal of the Female Boy in US Silent Film | Abstract |
| Laura Evelyn Horak | ||
| Women and the Silent Screen Conference | “Drawn Across the Sea”: Asta Nielsen in America, 1912-1914 | Abstract |
| Jennifer M. Bean | ||
| Women and the Silent Screen Conference | “From Boudoir to Street”: Naturalism and the Suffering Female in International Silent Cinema | Abstract |
| Robert L. Singer | ||
| Women and the Silent Screen Conference | “The Feminine Touch”: Elsie Codd and Transnational Film Journalism | Abstract |
| Clare Watson | ||
| Women and the Silent Screen Conference | Behind the Typewriter: The Role of Women in the Development of the Screenwriting Profession | Abstract |
| Maria Fosheim Lund, Livia Bloom, Daniela Bajar | ||
| Women and the Silent Screen Conference | Bruised and Confused: Helen Morgan on Stage on Screen | Abstract |
| Amy Lawrence | ||
| Women and the Silent Screen Conference | Cabiria’s Masters and Slaves: Race, Libidinal Investment and the New Roman Empire | Abstract |
| Shelleen Greene | ||
| Women and the Silent Screen Conference | Carmen Santos and the Starlight | Abstract |
| Ana Maria Pessoa dos Santos | ||
| Women and the Silent Screen Conference | Colouring the Figures. A First Survey on the Relations Between Working Women and Hand Colouring in Italy | Abstract |
| Federico Pierotti | ||
| Women and the Silent Screen Conference | Distant Dreams – Flapper movies and Finnish Film Culture | Abstract |
| Jaakko Seppälä | ||
| Women and the Silent Screen Conference | Edna Vercoe’s Scrapbook "Romance with the Movies" (1914-1915) | Abstract |
| Richard Abel | ||
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