Mostly Lost 7: Registration Information and Call for Material
The Library of Congress National Audio-Visual Conservation Center, Packard Campus presents “Mostly Lost 7: A Film Identification Workshop” in Culpeper, Virginia.
June 13-16, 2018
From the event page: “’Mostly Lost’ will feature the screenings of unidentified, under-identified or misidentified silent and early sound films. Beginning with an opening reception the evening of Wednesday June 13th, the event continues until the evening of Saturday June 16th.
Early film experts and archivists are encouraged to attend, but the workshop is also open to anyone willing to actively help identify and research the films showcased at the workshop. In addition to films from the Library of Congress’s collections, ‘Mostly Lost’ features material from other film archives around the world. Throughout the event there will also be presentations, and live musical accompaniment during the workshop and evening presentations of silent films will also be featured.”
March 14: Presentation submissions due
April 2: Registration begins
April 14: Must receive items that need to be digitized (16mm, nitrate or pre-print)
May 14: Must receive items to be screened as is (35mm safety print, video and digital)
May 14: Unidentified stills due
May 31: Last date to request a refund for a canceled registration
CFP: New Histories of Women in the Entertainment Industry
Call for Book Proposals: New Histories of Women in the Entertainment Industry
New Histories of Women in the Entertainment Industry is a new series from Peter Lang Publishing focused on excavating, articulating, theorizing, and positioning new histories of women working “behind the screens” in the entertainment industries from 1960 to the present.
We actively invite book proposals for monographs or edited collections—desired manuscript length of 250-300 pages—on women’s labor in the entertainment industries from 1960 on. The series conceptualizes ‘entertainment industries’ broadly, and is inclusive of film, television, support industries, gaming, streaming platforms, digital content, etc. Similarly, although the series title singles out women and women-identified workers, projects that focus on trans and non-binary labor histories are very welcome.
Please be aware that the scope of the series does not include histories of laborers who work(ed) in front of the screen, nor does it include histories whose primarily chronology is pre-1960.
Please contact series editor, Dr. Alicia Kozma (firstname.lastname@example.org) with questions and/or for proposal guidelines.
Women held more positions of power in the silent film era than at any other time in American motion picture history. Marion Leonard broke from acting to cofound a feature film company. Gene Gauntier, the face of Kalem Films, also wrote the first script of Ben-Hur. Helen Holmes choreographed her own breathtaking on-camera stunt work. Yet they and the other pioneering filmmaking women vanished from memory.
Using individual careers as a point of departure, Jane M. Gaines charts how women first fell out of the limelight and then out of the film history itself. A more perplexing event cemented their obscurity: the failure of 1970s feminist historiography to rediscover them. Gaines examines how it happened against a backdrop of feminist theory and her own meditation on the limits that historiography imposes on scholars. Pondering how silent-era women have become absent in the abstract while present in reality, Gaines sees a need for a theory of these artists’ pasts that relates their aspirations to those of contemporary women.
A bold journey through history and memory, Pink-Slipped pursues the still-elusive fate of the influential women in the early years of film.
“An eye-opening look at these innovative film pioneers and their relevance today, supported by extensive research and in-depth presentation and an insightful examination of the historiographical process itself. This scholarly narrative is an informative addition to film, cultural, and feminist history collections, prompting additional study and discussions.”– Library Journal
“A preeminent and provocative feminist historian of early cinema, Jane Gaines has always balanced empirical research with philosophical interrogation of how ‘history’ as an object of knowledge is itself historically conceived, practiced, and legitimated. She goes even further in Pink-Slipped, developing a ‘melodramatic theory of historical time’ that should be read by every historian, whatever their focus. A groundbreaking and brilliant book!”–Vivian Sobchack, author of Carnal Thoughts: Embodiment and Moving Image Culture
”This is not simply a book about the historiography of early film history or women’s place in it. Gaines’s larger argument is more ambitious, as she attempts to trouble, complicate, and inject some skepticism into the historical project in which she and others are engaged.”–Patrice Petro, author of Idols of Modernity: Movie Stars of the 1920s
”Jane Gaines has been our great pioneer of feminist film history, blazing a trail into the neglected terrain of women filmmakers, particularly during the silent era. In this complex new work she traces a path into controversial areas of the theory of history and the goals of feminist film studies. This is a book that questions assumptions and will agitate our field.”–Tom Gunning, author of D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph