Cupboards of Curiosity: Women, Recollection, and Film History, Hastie, Amelie, V
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- ISBN
- 9780822336761
- Subject Area
- Performing Arts, Social Science
- Publication Name
- Cupboards of Curiosity : Women, Recollection, and Film History
- Publisher
- Duke University Press
- Item Length
- 9.8 in
- Subject
- Gender Studies, Film / Screenwriting, Film / History & Criticism
- Publication Year
- 2007
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.6 in
- Item Weight
- 7.8 Oz
- Item Width
- 5.9 in
- Number of Pages
- 256 Pages
關於產品
Product Identifiers
Publisher
Duke University Press
ISBN-10
0822336766
ISBN-13
9780822336761
eBay Product ID (ePID)
53723941
Product Key Features
Number of Pages
256 Pages
Publication Name
Cupboards of Curiosity : Women, Recollection, and Film History
Language
English
Publication Year
2007
Subject
Gender Studies, Film / Screenwriting, Film / History & Criticism
Type
Textbook
Subject Area
Performing Arts, Social Science
Format
Hardcover
Dimensions
Item Height
0.6 in
Item Weight
7.8 Oz
Item Length
9.8 in
Item Width
5.9 in
Additional Product Features
Intended Audience
College Audience
LCCN
2006-020437
Reviews
"In Amelie Hastie's meditative and original book, the era of silent film speaks through the writings and collections of the women who made the movies--stars, directors, writers--some forgotten, most remembered for their images, not their words. Hastie models her approach to writing and theorizing film history on the novel ways her subjects themselves made history: loving attention to the fleeting and the fragmentary illuminates theories of female agency within mass-mediated modernity."--Patricia White, author of Uninvited: Classical Hollywood Cinema and Lesbian Representability, “In Amelie Hastie’s meditative and original book, the era of silent film speaks through the writings and collections of the women who made the movies-stars, directors, writers-some forgotten, most remembered for their images, not their words. Hastie models her approach to writing and theorizing film history on the novel ways her subjects themselves made history: loving attention to the fleeting and the fragmentary illuminates theories of female agency within mass-mediated modernity.�-Patricia White, author of Uninvited: Classical Hollywood Cinema and Lesbian Representability, " Cupboards of Curiosity is an enormously significant and important study. Amelie Hastie's reevaluations of female authorship are brilliant, and her approach to the 'archive' encourages just the kind of rethinking of established ideas that one associates with the very best kind of academic work."-Judith Mayne, author of Framed: Lesbians, Feminists, and Media Culture, "In Amelie Hastie's meditative and original book, the era of silent film speaks through the writings and collections of the women who made the movies-stars, directors, writers-some forgotten, most remembered for their images, not their words. Hastie models her approach to writing and theorizing film history on the novel ways her subjects themselves made history: loving attention to the fleeting and the fragmentary illuminates theories of female agency within mass-mediated modernity."-Patricia White, author of Uninvited: Classical Hollywood Cinema and Lesbian Representability, "There is much to commend in Amelie Hastie's imaginative, innovative, and feminist study of the intersections between memory, film history, and critical theory. Above all, Cupboards of Curiosity reveals new possibilities for recovering the oeuvre of women engaged in the creation of American film." - Nancy J. Rosenbloom, Journal of American History, "[A] very interesting new book. . . . Vacillating between memoir and history, Hastie shows that these women's personal scrapbooks--often seen as tangential to film history--provide vital links between 'women and the margins of history into which they are often placed.' A look back you can look forward to." - Chris Watson, Santa Cruz Sentinel, "[A]n enjoyable read and important scholarly work. Where Hastie excels is in the interstices of chapters-the ways in which women by historical and cultural necessity have had to negotiate the slippage between collector-historian-critic to ultimately, through collaboration, emerge as expert." - Cara L. Cardinale, Women's Studies, "[A]n enjoyable read and important scholarly work. Where Hastie excels is in the interstices of chapters--the ways in which women by historical and cultural necessity have had to negotiate the slippage between collector-historian-critic to ultimately, through collaboration, emerge as expert." - Cara L. Cardinale, Women's Studies, "Cupboards of Curiosity is an enormously significant and important study. Amelie Hastie's reevaluations of female authorship are brilliant, and her approach to the 'archive' encourages just the kind of rethinking of established ideas that one associates with the very best kind of academic work."--Judith Mayne, author of Framed: Lesbians, Feminists, and Media Culture "In Amelie Hastie's meditative and original book, the era of silent film speaks through the writings and collections of the women who made the movies--stars, directors, writers--some forgotten, most remembered for their images, not their words. Hastie models her approach to writing and theorizing film history on the novel ways her subjects themselves made history: loving attention to the fleeting and the fragmentary illuminates theories of female agency within mass-mediated modernity."--Patricia White, author of Uninvited: Classical Hollywood Cinema and Lesbian Representability "In this illuminating and original study, Amelie Hastie examines the writing of film history. Cupboards of Curiosity focuses on how Colleen Moore, Louise Brooks and Alice Guy-Blach produced their own histories of early cinema, and also on their place in those histories, through different forms of recollection. Hastie builds a study of historiography around these engaging case studies, exploring the various traces that have been left and the different methods that have been used to reconstruct the past. Rather than offering a revised historical narrative, the book uncovers disparate voices and different approaches that have investigated and reconstructed cinema history. What emerges is a wider perspective on the ways in which the women who helped to shape the history of cinema also participated in the writing and interpretation of that history...Hastie demonstrates the value of exploring 'expanded boundaries of film history and film culture'... Hastie offers a model for interpretive and theoretical approaches to such writing, focusing on the relation of life writing to female authorship and the ways in which the place of women in film history has been constructed and reconstructed... it is an approach that is eager to explore the often fragmentary quality of cultural and cinematic history...This is a productive model for further study...Hastie's book is a substantial contribution to this study, both in the material it chooses to examine and in its elaboration of an expanded field of historical material. Moreover, Cupboards of Curiosity also points to an expansion of what might be examined with students in the teaching of these subjects." Kristian Moen, Screen 2008 , issue 49, " Cupboards of Curiosity is an enormously significant and important study. Amelie Hastie's reevaluations of female authorship are brilliant, and her approach to the 'archive' encourages just the kind of rethinking of established ideas that one associates with the very best kind of academic work."--Judith Mayne, author of Framed: Lesbians, Feminists, and Media Culture, "Feminist scholars have long been engaged in a project to recover lost female voices, and, obviously, this is especially challenging when looking at film actresses whose images were carefully manufactured by the Hollywood star system. Fortunately, these women left behind their own documents, as seemingly mundane as notes in the margin of a book, or as fantastical as a giant dollhouse. Their history resides in these records, and Hastie beautifully and respectfully lets them speak for themselves." - Julie Anne Taddeo, Journal of Popular Culture, "This book transports easily and reads entertainingly. It examines important ideas from a conventional setting, reinventing them through a fresh perspective in a light, anecdotal tone." - Maree Boyce, M/C Reviews, "Amelie Hastie's Cupboards of Curiosity: Women, Recollection, and Film History is agile and meticulous. Hastie ranges across materials and objects which have remained on the edge of most accounts of film history. In this way, Cupboards of Curiosity is engaging and revealing. . . . Hastie's curiosity about her topic is instilled in her reader who is asked to look inside the neglected cupboards of film history and, in doing so, herself become a collaborator." - Jane Simon, Media International Australia, "[A] very interesting new book. . . . Vacillating between memoir and history, Hastie shows that these women's personal scrapbooks-often seen as tangential to film history-provide vital links between 'women and the margins of history into which they are often placed.' A look back you can look forward to." - Chris Watson, Santa Cruz Sentinel, “ Cupboards of Curiosity is an enormously significant and important study. Amelie Hastie’s reevaluations of female authorship are brilliant, and her approach to the ‘archive’ encourages just the kind of rethinking of established ideas that one associates with the very best kind of academic work.�-Judith Mayne, author of Framed: Lesbians, Feminists, and Media Culture
Dewey Edition
22
Illustrated
Yes
Dewey Decimal
384/.80820979494
Table Of Content
Acknowledgments ix Introduction : The Collaborator: At the Cupboards of Film History 1 1. The Collector:Material Histories, Colleen Moore's Dollhouse, and Ephemeral Recollection 19 2. The Historian: Autobiography, Memory, and Film Form 72 3. The Critic: Louise Brooks, Star Witness 104 4. The Expert: Celebrity Knowledge and the How-tos of Film Studies 155 Notes 195 Bibliography 225 Index 239
Synopsis
In Cupboards of Curiosity Amelie Hastie rethinks female authorship within film history by expanding the historical archive to include dollhouses, scrapbooks, memoirs, cookbooks, and ephemera. Focusing on women who worked during the silent-film era, Hastie reveals how female stars, directors, and others appropriated personal or "domestic" cultural forms not only to publicize their own achievements but also to reflect on specific films and the broader film industry. Whether considering Colleen Moore's thirty-six scrapbooks or Dietrich's eccentric book Marlene Dietrich's ABC , Hastie emphasizes how these women spoke for themselves--as collectors, historians, critics, and experts--often explicitly contemplating the role their writings and material objects would play in subsequent constructions of history. Hastie pays particular attention to the actresses Colleen Moore and Louise Brooks and Hollywood's first female director, Alice Guy-Blaché. From the beginning of her career, Moore worked intently to preserve a lasting place for herself as a Hollywood star, amassing collections of photos, souvenirs, and clippings as well as a dollhouse so elaborate that it drew extensive public attention. Brooks's short essays reveal how she participated in the creation of her image as Lulu and later emerged as a critic of film stardom. The recovery of Blaché's role in film history by feminist critics in the 1970s and 1980s was made possible by the existence of the director's own autobiographical history. Broadening her analytical framework to include contemporary celebrities, Hastie turns to how-to manuals authored by female stars, from Zasu Pitts's cookbook Candy Hits to Christy Turlington's Living Yoga . She discusses how these assertions of celebrity expertise in realms seemingly unrelated to film and visual culture allow fans to prolong their experience of stardom., Amelie Hastie rethinks female authorship within film history by expanding the historical archive to include dollhouses, scrapbooks, memoirs, cookbooks, and ephemera., In Cupboards of Curiosity Amelie Hastie rethinks female authorship within film history by expanding the historical archive to include dollhouses, scrapbooks, memoirs, cookbooks, and ephemera. Focusing on women who worked during the silent-film era, Hastie reveals how female stars, directors, and others appropriated personal or "domestic" cultural forms not only to publicize their own achievements but also to reflect on specific films and the broader film industry. Whether considering Colleen Moore's thirty-six scrapbooks or Dietrich's eccentric book Marlene Dietrich's ABC , Hastie emphasizes how these women spoke for themselves--as collectors, historians, critics, and experts--often explicitly contemplating the role their writings and material objects would play in subsequent constructions of history. Hastie pays particular attention to the actresses Colleen Moore and Louise Brooks and Hollywood's first female director, Alice Guy-Blach . From the beginning of her career, Moore worked intently to preserve a lasting place for herself as a Hollywood star, amassing collections of photos, souvenirs, and clippings as well as a dollhouse so elaborate that it drew extensive public attention. Brooks's short essays reveal how she participated in the creation of her image as Lulu and later emerged as a critic of film stardom. The recovery of Blach 's role in film history by feminist critics in the 1970s and 1980s was made possible by the existence of the director's own autobiographical history. Broadening her analytical framework to include contemporary celebrities, Hastie turns to how-to manuals authored by female stars, from Zasu Pitts's cookbook Candy Hits to Christy Turlington's Living Yoga . She discusses how these assertions of celebrity expertise in realms seemingly unrelated to film and visual culture allow fans to prolong their experience of stardom.
LC Classification Number
PN1995.9.W6H37 2006
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