In The Othering of Women in Silent Film: Cultural, Historical, and Literary Contexts, Barbara Tepa Lupackexplores the rampant racial and gender stereotyping depicted in early cinema, demonstrating how those stereotypes helped shape American attitudes and practices. Using social, cultural, literary, and cinema history as a focus, this book offers insights into issues of Othering, including discrimination, exclusion, and sexism, that are as timely today as they were a century ago. Lupack not only examines the ways that dominant cinema of the era imprinted indelible and pejorative images of women—including African Americans, Native Americans, Asians, Hispanics, and New Women/Suffragists—but also reveals the ways in which a number of pioneering early filmmakers and performers attempted to counter those depictions by challenging the imagery, interrogating the stereotypes, and re-politicizing the familiar narratives. Scholars of film, gender, history, and race studies will find this book of particular interest.

This magisterial book offers comprehensive accounts of the professional itineraries of three women in the silent film in the Netherlands, France and North America. Annette Förster presents a careful assessment of the long career of Dutch stage and film actress Adriënne Solser; an exploration of the stage and screen careers of French actress and filmmaker Musidora and Canadian-born actress and filmmaker Nell Shipman; an analysis of the interaction between the popular stage and the silent cinema from the perspective of women at work in both realms; fresh insights into Dutch stage and screen comedy, the French revue and the American Northwest drama of the 1910s; and much more, all grounded in a wealth of archival research.

The Coloniality of Animal Monstrous Othering in Children’s Books, Films, and Toys examines how the portrayal of animals as physically distorted, behaviorally depraved, and intellectually defective serves to justify their debasement, violation, and destruction in materials directed toward young consumers. The author argues that this animal monstrous Othering arises from the Eurocentric belief in humans’ natural superiority over animals and the right to categorize animals in accordance with a scale of worthiness that parallels the subjugation of racialized persons. The chapters examine a variety of canonical figures like the dissolute wolf of Red Riding Hood stories and the disfigured titular character of the Wonky Donkey picture book alongside non-canonical animals including reprobate pigs, degenerate sharks, self-centered flamingos, and wicked piranhas. To counter this animal debasement, Varga juxtaposes these readings with an examination of materials that articulate harmonious animal-human interrelationships without dependence on styles of anthropomorphism that diminish animality.

Research into and around women's participation in cinematic history has enjoyed dynamic growth over the past decade. A broadening of scope and interests encompasses not only different kinds of filmmaking--mainstream fiction, experimental, and documentary--but also practices--publicity, journalism, distribution and exhibition--seldom explored in the past. Cutting-edge and inclusive, Doing Women's Film History ventures into topics in the United States and Europe while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. Contributors grapple with historiographic questions that cover film history from the pioneering era to the present day. Yet the writers also address the very mission of practicing scholarship. Essays explore essential issues like identifying women's participation in their cinema cultures, locating previously unconsidered sources of evidence, developing methodologies and analytical concepts to reveal the impact of gender on film production, distribution and reception, and reframing film history to accommodate new questions and approaches. Contributors include: Kay Armatage, Eylem Atakav, Karina Aveyard, Canan Balan, Cécile Chich, Monica Dall'Asta, Eliza Anna Delveroudi, Jane M. Gaines, Christine Gledhill, Julia Knight, Neepa Majumdar, Michele Leigh, Luke McKernan, Debashree Mukherjee, Giuliana Muscio, Katarzyna Paszkiewicz, Rashmi Sawhney, Elizabeth Ramirez Soto, Sarah Street, and Kimberly Tomadjoglou.

Long before sound became an essential part of motion pictures, Westerns were an established genre. The men and women who brought to life cowboys, cowgirls, villains, sidekicks, distressed damsels and outraged townspeople often continued with their film careers, finding success and fame well into the sound era--always knowing that it was in silent Westerns that their careers began. More than a thousand of these once-silent Western players are featured in this fully indexed encyclopedic work. Each entry includes a detailed biography, covering both personal and professional milestones and a complete Western filmography. A foreword is supplied by Diana Serra Cary (formerly the child star "Baby Peggy"), who performed with many of the actors herein.

This book undertakes the theme of ‘othering’ as a broad set of practices and discourses. It includes as many perspectives as possible, while simultaneously providing a focused environment for discussions on how otherization is built across media genres and policy making through cultural and political articulations. The book includes a set of chapters that investigate how (and to what end) ‘others’ are manufactured and how they are anchored in the collective memory. Through an analysis of various media, such as film, news media, and social media, it sheds light on the institutional, political, social, and economic forces that form and transform the discourses and practices of othering.

"... Boisseau recontextualizes U.S. feminism in the cinematic 20th century. White Queen challenges the narratives we have told about ourselves and illuminates the imperialism and celebrity worship that lurks within American feminism yet today." --Lee Quinby, Harter Chair, Hobart and William Smith Colleges May French-Sheldon's improbable public career began with an expedition throughout East Africa in 1891. She led a large entourage dressed in a long, flowing white dress and blonde wig, with a sword and pistol strapped to her side. As the "first woman explorer of Africa," she claimed to have inspired both awe and trust in the Africans she encountered, and as her celebrity grew, she reinvented herself as a messenger of civilization and "racial uplift." Tracey Jean Boisseau's insightful reading of the "White Queen" exposes the intertwined connections between popular notions of American feminism, American national identity, and the reorientation of Euro-American imperialism at the turn of the century.