Note from the Editor

Abstract

Editorial| April 01 2023 Note from the Editor: Producing Film History Jennifer M. Bean Jennifer M. Bean Jennifer M. Bean is the Robert Jolin Osborne Associate Professor of Cinema and Media Studies and adjunct associate professor in the Department of Gender, Women, and Sexuality Studies at the University of Washington, Seattle. Her publications include A Feminist Reader in Early Cinema (Duke University Press, 2002), Flickers of Desire: Movie Stars of the 1910s (Rutgers University Press, 2011), and the award-winning Silent Cinema and the Politics of Space (Indiana University Press, 2014). She is currently at work on a multimedia collection of essays on queer feminisms, affect, and early US cinema as well as a more traditional book study, Junking Modernity: Early Cinema and the Question of History. On January 1, 2020, she assumed the position of editor in chief of Feminist Media Histories. Search for other works by this author on: This Site PubMed Google Scholar Feminist Media Histories (2023) 9 (2): 1–7. https://doi.org/10.1525/fmh.2023.9.2.1 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Jennifer M. Bean; Note from the Editor: Producing Film History. Feminist Media Histories 1 April 2023; 9 (2): 1–7. doi: https://doi.org/10.1525/fmh.2023.9.2.1 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFeminist Media Histories Search It is June 2022. I am sitting in the middle row of a plush theater on the campus of Columbia University in New York City, surrounded by curators, collectors, scholars, artists, and educators gathered from diverse corners of the world. It is the final day of archival screenings at Women and the Silent Screen XI (WSSXI), a biannual conference organized under the auspices of Women and Film History International. The pianist flexes his hands while our hosts—Janes Gaines and Hilary Hallett—introduce a three-hour program composed of partially extant martial-art, espionage, and adventure films featuring gutsy female protagonists from Denmark, China, France, and the United States. I glimpse a technician near the edge of the stage helping Chonghwa Chung, lead researcher from the Korean film archive, set up for his presentation to follow the program. In the aisle behind me voices murmur in conversation, something about “queer kisses” in early cinema,... You do not currently have access to this content.