Vicki Callahan is associate professor at the Peck School of the Arts at the University of Wisconsin-Milwaukee and visiting faculty at the Institute for Multimedia Literacy at the University of Southern California. She is the author of Zones of Anxiety: Movement, Musidora, and the Crime Serials of Louis Feuillade (Wayne State University Press, 2004).
Reclaiming the Archive: Feminism and Film Historyby Vicki Callahan, Victoria Duckett, Anna Everett, Sandy Flitterman-Lewis, Terri Simone Francis
Reclaiming the Archive: Feminism and Film History brings together a diverse group of international feminist scholars to examine the intersections of feminism, history, and feminist theory in film. Editor Vicki Callahan has assembled essays that reflect a range of methodological approaches—including archival work, visual culture, reception studies,
Reclaiming the Archive: Feminism and Film History brings together a diverse group of international feminist scholars to examine the intersections of feminism, history, and feminist theory in film. Editor Vicki Callahan has assembled essays that reflect a range of methodological approaches—including archival work, visual culture, reception studies, biography, ethno-historical studies, historiography, and textual analysis—by a diverse group of film and media studies scholars to prove that feminist theory, film history, and social practice are inevitably and productively intertwined.
Essays in Reclaiming the Archive investigate the different models available in feminist film history and how those feminist strategies might serve as paradigmatic for other sites of feminist intervention. Chapters have an international focus and range chronologically from early cinema to post-feminist texts, organized around the key areas of reception, stars, and authorship. A final section examines the very definitions of feminism (post-feminism), cinema (transmedia), and archives (virtual and online) in place today.
The essays in Reclaiming the Archive prove that a significant heritage of film studies lies in the study of feminism in film and feminist film theory. Scholars of film history and feminist studies will appreciate the breadth of work in this volume.
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This book was assigned for a Women and Films class at community college. I'm a person who likes to read quite a bit, but I found this book very difficult to read. This anthology consists of compiled essays written about the subject of feminism and film. While it is informative, the run-on sentences (which can be up to a paragraph long) make the flow of the reading staggered, confusing, and dry. I feel that this book is not appropriate as a teaching tool and definitely should not be used for a community college level course.