Jane Gaines | Columbia University (original) (raw)
Papers by Jane Gaines
University of California Press eBooks, Dec 31, 2023
Comparative Literature, Jun 1, 2023
The Minnesota Review, 1986
South Atlantic Quarterly, Apr 1, 1989
Canadian Journal of Film Studies, Mar 1, 1999
health sciences, history THE CANADIAN HISTORICAL REVIEW utpjournals.press/chr Offering a comprehe... more health sciences, history THE CANADIAN HISTORICAL REVIEW utpjournals.press/chr Offering a comprehensive analysis on the events that have shaped Canada, CHR publishes articles that examine Canadian history from both a multicultural and multidisciplinary perspective.
John Wiley & Sons, Inc. eBooks, Nov 26, 2018
Early Popular Visual Culture, Jan 2, 2023
Presses universitaires de Rennes eBooks, 2017
Duke University Press eBooks, Nov 21, 2002
Duke University Press eBooks, 1992
... Americans bring salvation, and emphasizes in-stead their corrupting influence'' (11... more ... Americans bring salvation, and emphasizes in-stead their corrupting influence'' (118)a message similar to that in Apess's ''An Indian's Looking-Glass for the White Man.'' In her fourth chapter, Wyss describes similar rhetorical reversals by Mohegans Joseph Johnson and Sam ...
University of California Press eBooks, Jun 6, 2023
Comunicacion Y Sociedad, 2017
This article takes up the challenge of the European-US Permanent Seminar on the Histories of Film... more This article takes up the challenge of the European-US Permanent Seminar on the Histories of Film Theories to think of ‘theories’ and ‘histories’ as plural. However, it also argues that this multiplicity needs to embrace “theories of history”. This is because of the very difficulty of thinking more than one historical moment at once at the juncture in which today’s emergent technologies demand new theories. Some theorists of history are introduced with emphasis on the way they use the concept of historical time, elaborated by some, disputed by others. We return to the moment of the 1895 history of the kinetograph, but in order to learn what, I want to know. Conceived as part of a tribute to Francesco Casetti, this article takes Casetti as a model of how media theorists need to get ahead of technological developments, participating in their conceptualization rather than passively waiting to find out ‘what it is that they are’.
Illinois University Press, 2015
What was the first feminist narrative of women and silent-era film?i Between the mid-1970s and th... more What was the first feminist narrative of women and silent-era film?i Between the mid-1970s and through the 1980s the academic narrative was that in the American silent-film industry \u201cthere were, effectively, no women.\u201dii By extension, there were no women in any other silent-era national film industry. As Alison Butler notes, however, by the 1990s there was new interest in historical research in silent cinema, new discoveries and publications such Anthony Slide\u2019s book documenting a surprising number of silent-era women filmmakers (Butler 2008, 398; Slide 1996b). Butler does not, however, refer to Slide\u2019s book of nearly twenty years earlier, in which he asserted, \u201cDuring the silent era, women might be said to have virtually controlled the film industry\u201d (Slide 1977, 9). In other words, in the 1990s it is less a matter of \u201cnew discoveries\u201d than of \u201cnew interest\u201d in and of \u201cnew questions\u201d put to Slide\u2019s narrative from 1977. The narrative in which women \u201ccontrolled\u201d the industry begins to be posed against the narrative that \u201cit controlled them.\u201d Why is the difference between these narratives an issue? It is an issue because we are not satisfied with a theory of historical revisionism whereby what we call \u201chistory\u201d (meaning the events as well as their narration) is continually being updated and called \u201chistory\u201d all over again.iii Are we attempting to \u201crevise\u201d the events themselves, or are we only adjusting our versions of these events? Yet, from today\u2019s historiographic perspective, what are the events of the past anyway, other than what we think we know of them and how we narrate them? \u201cNo women at all\u201d and \u201cmore women than at any other time\u201d are two competing versions of historical events. The contradiction between these two versions is too significant to ignore and deserves more study. Do we explain the difference between these narratives through a critical theoretical approach, or do we address this issue by writing yet another narration of empirical findings? If a historian of ideas were to study the field of feminism and film, he or she might find a source for these competing versions in the 1970s theoretical investment in women\u2019s \u201cabsence.\u201
University of California Press eBooks, Dec 31, 2023
Comparative Literature, Jun 1, 2023
The Minnesota Review, 1986
South Atlantic Quarterly, Apr 1, 1989
Canadian Journal of Film Studies, Mar 1, 1999
health sciences, history THE CANADIAN HISTORICAL REVIEW utpjournals.press/chr Offering a comprehe... more health sciences, history THE CANADIAN HISTORICAL REVIEW utpjournals.press/chr Offering a comprehensive analysis on the events that have shaped Canada, CHR publishes articles that examine Canadian history from both a multicultural and multidisciplinary perspective.
John Wiley & Sons, Inc. eBooks, Nov 26, 2018
Early Popular Visual Culture, Jan 2, 2023
Presses universitaires de Rennes eBooks, 2017
Duke University Press eBooks, Nov 21, 2002
Duke University Press eBooks, 1992
... Americans bring salvation, and emphasizes in-stead their corrupting influence'' (11... more ... Americans bring salvation, and emphasizes in-stead their corrupting influence'' (118)a message similar to that in Apess's ''An Indian's Looking-Glass for the White Man.'' In her fourth chapter, Wyss describes similar rhetorical reversals by Mohegans Joseph Johnson and Sam ...
University of California Press eBooks, Jun 6, 2023
Comunicacion Y Sociedad, 2017
This article takes up the challenge of the European-US Permanent Seminar on the Histories of Film... more This article takes up the challenge of the European-US Permanent Seminar on the Histories of Film Theories to think of ‘theories’ and ‘histories’ as plural. However, it also argues that this multiplicity needs to embrace “theories of history”. This is because of the very difficulty of thinking more than one historical moment at once at the juncture in which today’s emergent technologies demand new theories. Some theorists of history are introduced with emphasis on the way they use the concept of historical time, elaborated by some, disputed by others. We return to the moment of the 1895 history of the kinetograph, but in order to learn what, I want to know. Conceived as part of a tribute to Francesco Casetti, this article takes Casetti as a model of how media theorists need to get ahead of technological developments, participating in their conceptualization rather than passively waiting to find out ‘what it is that they are’.
Illinois University Press, 2015
What was the first feminist narrative of women and silent-era film?i Between the mid-1970s and th... more What was the first feminist narrative of women and silent-era film?i Between the mid-1970s and through the 1980s the academic narrative was that in the American silent-film industry \u201cthere were, effectively, no women.\u201dii By extension, there were no women in any other silent-era national film industry. As Alison Butler notes, however, by the 1990s there was new interest in historical research in silent cinema, new discoveries and publications such Anthony Slide\u2019s book documenting a surprising number of silent-era women filmmakers (Butler 2008, 398; Slide 1996b). Butler does not, however, refer to Slide\u2019s book of nearly twenty years earlier, in which he asserted, \u201cDuring the silent era, women might be said to have virtually controlled the film industry\u201d (Slide 1977, 9). In other words, in the 1990s it is less a matter of \u201cnew discoveries\u201d than of \u201cnew interest\u201d in and of \u201cnew questions\u201d put to Slide\u2019s narrative from 1977. The narrative in which women \u201ccontrolled\u201d the industry begins to be posed against the narrative that \u201cit controlled them.\u201d Why is the difference between these narratives an issue? It is an issue because we are not satisfied with a theory of historical revisionism whereby what we call \u201chistory\u201d (meaning the events as well as their narration) is continually being updated and called \u201chistory\u201d all over again.iii Are we attempting to \u201crevise\u201d the events themselves, or are we only adjusting our versions of these events? Yet, from today\u2019s historiographic perspective, what are the events of the past anyway, other than what we think we know of them and how we narrate them? \u201cNo women at all\u201d and \u201cmore women than at any other time\u201d are two competing versions of historical events. The contradiction between these two versions is too significant to ignore and deserves more study. Do we explain the difference between these narratives through a critical theoretical approach, or do we address this issue by writing yet another narration of empirical findings? If a historian of ideas were to study the field of feminism and film, he or she might find a source for these competing versions in the 1970s theoretical investment in women\u2019s \u201cabsence.\u201