... Copyright © 1990 by The Johns Hopkins University Press 1989 Miriam Hansen 169 It was indeed Valentino who first made me think about female spec- tatorship in a more systematic way. More precisely, it was watching The Eagle and Blood...

... billion images in the past four years alone. The writings of media theorist Mark Hansen offer a provocative starting point to explore how a desire for racial neutrality can lead to the unintentional repression of important forms of cultural difference. Two models of ethics, grounded in the writings...

...Enno Patalas; Miriam Hansen © 1986 by Camera Obscura 1986 Metropolis, Scene 103 Enno Patalas You may remember: “Within easy reach of the city’s guiding hand stood a strange house.” “The man who lived there-Rotwang-had worked thirty years to bring true the great dream...

...Miriam Hansen Copyright © 1990 by The Johns Hopkins University Press 1990 Adventures of Goldilocks: Spectatorship, Consumerism and Public Life Miriam Hansen In the weeks following Valentino’s death in August 1926, millions of American women went to see The Son of the Sheik...

... allow. It may be that the “structural instability of the female spectator position in mainstream cinema,” as Miriam Hansen puts it in her work on Rudolph Valentino (1986, 9), can be read in a more “optimistic” light than is implied by Mulvey’s or Doane’s formulations...

....” While the term classical cinema tends to be reserved for Naruse Mikio’s Silent Films  •  59 Hollywood in most film-studies discourse, Miriam Hansen has recently proposed a slightly different understanding of the term that may help to identify the terms...

..., Katrin Hansen, on the CBS network program Mama. She told the audience about her memories of her girlhood, her family's house on Steiner Street, and her experiences there with her big brother Nels, her little sister Dagmar, her Papa, and her Mama-"most of all," she said, "when I remember that San...

... Modleski’s work on soap opera and on mass culture, Miriam Hansen’s analyses of early silent cinema and her essay on Valentino’s films, Patrice Petro’s study of female spectatorship in Wei- mar Germany and Heide Schliipmann’s readings of pre-war German mass cultural criticism. To the preceding, I...

... primary research into the intel- lectual and journalistic literature published in China, Japan, and the US, in conjunction with detailed film analyses, the essays in this collection forcefully fill in the details of the vernacular mod- ernism proposed by Zhang Zhen and Miriam Hansen.7 The the- ory...

.... Three articles, by Miriam Hansen, Heide Schlupmann and Ben Singer, deal with films addressed to women in the period between 1906 and the end of the teens. Responding to arguments that the classical cinema privileges a male spectator in the organization of vision and narrative, these essays...

... on Mark B. N. Hansen’s optimistic argument that digital spaces can reveal “the contemporary bankruptcy of the image.”12 Through British artist Keith Piper’s exhibition Relocating the Remains (1997), Hansen reads the raced avatar as empty and ultimately irreconcil- able with the player’s affective...

... and dispersion seem to have been re- stored to current discussions of female spectatorship. Miriam Hansen, for example, contends that “the difference of female spectatorship involves more than the opposition of activity and passivity, that it had to be con- ceptualized in terms of a greater...

... [sic] that surpasses with an overwhelming plurality, the vogue of any of Filmdom’s feature stars.”11 To that list I would add Irene Castle, Margeurite Courtot, Grace Darmond, Marie Dressler, Helen Gibson, Texas Guinan, Juanita Hansen, Alice Joyce, Annette Kellerman, Doris Kenyon, Mollie King, Anita...

..., as Miriam Hansen does in her prize-winning study of Rudolph Valentino (1986),the result is long on psychoanalysis and short on history. Unlike most film critics, Hansen does cite a few historical works but she deals briefly and in generalities with the status of women...

... feminism. To be sure, feminist historians, among them Miriam Hansen and Gaylyn Studlar, have already engaged early stardom in productive ways, notably by directing their atten- tion to the construction of male star personae.2 The essays col- lected here demonstrate the usefulness of undertaking...

... appeared in The Spectator, Camera Obscura, The Canadian ]ournal of Political and Social Theory, and The Journal of Popular Culture. In association with Satori Productions, she is currently completing a documentary on Canadian women’s abortion expe- riences. Miriam Hansen is Professor...

... encounters with Warhol in Los Angeles: at former Warhol super­ star Bibbe Hansen’s downtown café/club; at the punk rock store Retail Slut; and, finally, at “this snooty Beverly Hills art gallery” for an opening of an exhibition of Interview magazine cover photos. Davis notes as well the inclusion...

... symbolic and short-lived, the reenactment and transformation of the lived experience of the first generation of film actresses on the silver screen carry the weight of a particular historical indexicality and concreteness. Notes I wish to thank Miriam Hansen, Tom Gunning, Judith Zeitlin, Anna...

..., a psychoanalytic study of popular film. Miriam Hansen teaches film and literature in the English Department at Rut- gers University and is an editor of New German Critique. Currently she is com- pleting a book on spectatorship and sexual difference in American silent film. Her...

.... At the same time, Lucas was authentic with regard to her task. She did not pretend or promise that cooking was easy. As Signe Hansen writes of today’s programs, “Cooking as a profes- sional chef is the antithesis of easy and fun, and thus one of the distinctions that food TV often succeeds...