Jane M Gaines
Biographic Data
| ID | 640226 |
|---|---|
| NAME | Jane M Gaines |
| GIVEN NAMES | Jane M |
| FAMILY NAME | Gaines |
| SIGNATURE | GAINES J M |
| AFFILIATIONS | Columbia University |
| VERIFIED | No |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 40 |
| AUTHOR COUNT | 22 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1980 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Nicholas Baer, Historical Turns: Weimar Cinema and the Crisis of Historicism
Love and duty (1931): Chinese melodrama and the “contradictions of modernity”
In 1930s Shanghai Love and Duty (Bu Wancang, Lianhua Co., 1931) resonated with Chinese viewers, launching the career of actress Ruan Lingyu. Today, in contemporary film venue screenings, this epic continues to move international viewers. Here I ask how this silent picture has effected its profound affective alignments as it crosses cultures and periods of time. Approaching Love and Duty as moving picture melodrama engages the critical tradition o…
Early Chinese cinema and two-way world flows
In 1925 more than one hundred motion picture film companies were registered in China. Over the next decade, Shanghai remained the major site of production (Fu 2019, 15, 17). Yet the larger job of p
Technics: Media in the Digital Age
The Key Debates series was launched in 2010 with the aim of revisiting "the central issues that continue to animate thinking about film and audiovisual media," which we have now done across ten volumes.All of these have followed a pattern of reexamining foundational texts and issues, while also investigating new lines of transmission and interpretation.Our book series' dual interest in foundations and novel lines of inquiry is demonstrated by the…
Antonia Dickson: The kineto-phonograph and the telephony of the future
We already know that Antonia Dickson co-wrote The Kinetograph, the Kinetoscope and the Kineto-phonograph (1895) with her inventor brother William Kennedy Laurie Dickson, published as a Raff and Gammon pamphlet and now considered the ‘first’ history of motion pictures. The late Paul Spehr was one of Antonia’s champions, and he suggested what a more careful reading of the prose style of that ‘history’ might reveal about the likely author. Also, a c…
Counterfactual Speculation
In the second wave of feminism it was enough to say that Antonia Dickson co-wrote History of The Kinetograph, the Kinetoscope and the Kineto-Phonograph (1895) with her inventor brother William Kennedy Laurie Dickson. But in a new moment, I utilize Catherine Gallagher’s concept of “counterfactual speculation” as a “thought experiment,” offering a fuller examination of the time between 1893 and 1896 when Antonia was involved in the experiments arou…
On Not Narrating the History of Feminism and Film
“On Not Narrating the History of Feminism and Film” poses two questions: What happened to women in the early silent film industries, and why don't we know about them? While the author and others have addressed the first question elsewhere at recent international conferences and in publication, the second remains largely unanswered and is taken up here. It is specific to the field of feminism and film and media studies, where in the 1970s moment o…
Sad Songs of Nitrate: Women's Work in the Silent Film Archive
Research Article| December 01 2007 Sad Songs of Nitrate: Women's Work in the Silent Film Archive Jane M. Gaines Jane M. Gaines Search for other works by this author on: This Site Google Camera Obscura (2007) 22 (3 (66)): 171–178. https://doi.org/10.1215/02705346-2007-018 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite I…
Early Cinema's Heyday of Copying: The too many copies of L'Arroseur arrosé ( The Waterer Watered )
Between 1895 and 1909, new American film entrepreneurs complained that ‘copying’ was out of control. Although ‘copying’ may have been widespread, and sometimes referred to as ‘theft’, it was more a worldwide industry practice than an extralegal operation. Before the 1909 US court case that decided the question of copyright in the motion picture, movie producers copied in an attempt to meet the demand for product. My discussion of the notion of ‘c…
In-and-out-of-race: The story of noble Johnson
(2005). In‐and‐out‐of‐race: The story of noble Johnson. Women & Performance: a journal of feminist theory: Vol. 15, No. 1, pp. 33-52
First Fictions
Feminist Reader in Early Cinema
Everyday Strangeness: Robert Ripley's International Oddities as Documentary Attractions
My alternative title is "Everyday Estrangement," emphasizing a very particular aspect of everyday life theory having to do with the critical capacity of the strange. While most theorists of everyday life are concerned with the ordinary and its uses, not all visit the problem of critique; if, like Michel de Certeau, they are interested in critique from below, at the level of ordinary people and ordinary practices, this outburst is diffuse and ofte…
Feminist Heterosexuality and Its Politically Incorrect Pleasures
Contested Culture: The Image, the Voice, and the Law
Journal Article Contested Culture: The Image, the Voice, and the Law. By Jane M. Gaines. (Chapel Hill: University of North Carolina Press, 1991. xx + 340 pp. Cloth, $39.95, ISBN 0-8078-1977-8. Paper, $14.95, ISBN 0-8078-4326-1.) Get access Susan Smulyan Susan Smulyan Brown University Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 79, Issue 4, March 1993, Pages 1693–1694, https://doi.or…
Classical Hollywood Narrative: The Paradigm Wars
Laura Mulvey, Visual and Other Pleasures; Constance Penley, The Future of an Illusion: Film, Feminism and Psychoanalysis; Lucy Fischer, Shot/Countershot: Film Tradition and Women's Cinema
Journal Article Laura Mulvey, Visual and Other Pleasures; Constance Penley, The Future of an Illusion: Film, Feminism and Psychoanalysis; Lucy Fischer, Shot/Countershot: Film Tradition and Women's Cinema Get access Laura Mulvey, Visual and Other Pleasures (Language, Discourse, Society Series). London: Macmillan, 1989, 201 pp. Constance Penley, The Future of an Illusion: Film, Feminism and PsychoanalysisLondon: Routledge, 1989, 207 pp. Lucy Fische…
The queen Christina tie‐ups: Convergence of show window and screen
1989). The queen Christina tie‐ups: Convergence of show window and screen. Quarterly Review of Film and Video: Vol. 11, Female Representation and Consumer Culture, pp. 35-60
Dead Ringer: Jacqueline Onassis and the Look-Alike
Research Article| April 01 1989 Dead Ringer: Jacqueline Onassis and the Look-Alike Jane Gaines Jane Gaines Search for other works by this author on: This Site Google South Atlantic Quarterly (1989) 88 (2): 461–486. https://doi.org/10.1215/00382876-88-2-461 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Jane Gaines; Dead Ringer: Jacqueline Onassis and the Look-Alike. South Atlantic Quarterly 1 Apr…
White Privilege and Looking Relations: Race and Gender in Feminist Film Theory
orn in Flames, a feminist science fiction film set ten years after a Social-Democratic revolution in the U.S., provides an abrupt reminder of the place of theory in the context of social change. Toward the end of the film, with the women's takeover of New York communications channels in progress, the voice of theory is heard over the image, insisting that women also need to take over the production of language. Although the film gives credence to…
The Scar of Shame: Skin Color and Caste in Black Silent Melodrama
When blacks began to finance and direct their own films in the teens and early 1920s, they consistently produced domestic melodramas. Some of these early productions have racial themes which reorganize the world in such a way that black heritage is rewarded over white paternity; they are schematic renunciations of the prevailing order of things in white American society where, historically, the discovery of black blood meant sudden reversal of fo…
White Privilege and Looking Relations: Race and Gender in Feminist Film Theory
orn in Flames, a feminist science fiction film set ten years after a Social-Democratic revolution in the U.S., provides an abrupt reminder of the place of theory in the context of social change. Toward the end of the film, with the women's takeover of New York communications channels in progress, the voice of theory is heard over the image, insisting that women also need to take over the production of language. Although the film gives credence to…
The Showgirl and the Wolf
Off duty, Tyrone Power, an American pilot enlisted in the British RAF, commandeers a reserved table up front and close to the show at the Regency House, all the better to get a load Betty Grable's singing and dancing. The classic construction of the sequence that follows in Yank in the RA.F. (Twentieth Century-Fox, 1941) is an alternation of shots of Grable in the show with shots of male onlookers either applauding or otherwise indicating enjoyme…
White Privilege and Looking Relations: Race and Gender in Feminist Film Theory
orn in Flames, a feminist science fiction film set ten years after a Social-Democratic revolution in the U.S., provides an abrupt reminder of the place of theory in the context of social change. Toward the end of the film, with the women's takeover of New York communications channels in progress, the voice of theory is heard over the image, insisting that women also need to take over the production of language. Although the film gives credence to…
White Privilege and Looking Relations: Race and Gender in Feminist Film Theory
orn in Flames, a feminist science fiction film set ten years after a Social-Democratic revolution in the U.S., provides an abrupt reminder of the place of theory in the context of social change. Toward the end of the film, with the women's takeover of New York communications channels in progress, the voice of theory is heard over the image, insisting that women also need to take over the production of language. Although the film gives credence to…
The queen Christina tie‐ups: Convergence of show window and screen
1989). The queen Christina tie‐ups: Convergence of show window and screen. Quarterly Review of Film and Video: Vol. 11, Female Representation and Consumer Culture, pp. 35-60
Feminist Heterosexuality and Its Politically Incorrect Pleasures
First Fictions
The Scar of Shame: Skin Color and Caste in Black Silent Melodrama
When blacks began to finance and direct their own films in the teens and early 1920s, they consistently produced domestic melodramas. Some of these early productions have racial themes which reorganize the world in such a way that black heritage is rewarded over white paternity; they are schematic renunciations of the prevailing order of things in white American society where, historically, the discovery of black blood meant sudden reversal of fo…
Sad Songs of Nitrate: Women's Work in the Silent Film Archive
Research Article| December 01 2007 Sad Songs of Nitrate: Women's Work in the Silent Film Archive Jane M. Gaines Jane M. Gaines Search for other works by this author on: This Site Google Camera Obscura (2007) 22 (3 (66)): 171–178. https://doi.org/10.1215/02705346-2007-018 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite I…
Laura Mulvey, Visual and Other Pleasures; Constance Penley, The Future of an Illusion: Film, Feminism and Psychoanalysis; Lucy Fischer, Shot/Countershot: Film Tradition and Women's Cinema
Journal Article Laura Mulvey, Visual and Other Pleasures; Constance Penley, The Future of an Illusion: Film, Feminism and Psychoanalysis; Lucy Fischer, Shot/Countershot: Film Tradition and Women's Cinema Get access Laura Mulvey, Visual and Other Pleasures (Language, Discourse, Society Series). London: Macmillan, 1989, 201 pp. Constance Penley, The Future of an Illusion: Film, Feminism and PsychoanalysisLondon: Routledge, 1989, 207 pp. Lucy Fische…
The Showgirl and the Wolf
Off duty, Tyrone Power, an American pilot enlisted in the British RAF, commandeers a reserved table up front and close to the show at the Regency House, all the better to get a load Betty Grable's singing and dancing. The classic construction of the sequence that follows in Yank in the RA.F. (Twentieth Century-Fox, 1941) is an alternation of shots of Grable in the show with shots of male onlookers either applauding or otherwise indicating enjoyme…
The Showgirl and the Wolf
Off duty, Tyrone Power, an American pilot enlisted in the British RAF, commandeers a reserved table up front and close to the show at the Regency House, all the better to get a load Betty Grable's singing and dancing. The classic construction of the sequence that follows in Yank in the RA.F. (Twentieth Century-Fox, 1941) is an alternation of shots of Grable in the show with shots of male onlookers either applauding or otherwise indicating enjoyme…
White Privilege and Looking Relations: Race and Gender in Feminist Film Theory
orn in Flames, a feminist science fiction film set ten years after a Social-Democratic revolution in the U.S., provides an abrupt reminder of the place of theory in the context of social change. Toward the end of the film, with the women's takeover of New York communications channels in progress, the voice of theory is heard over the image, insisting that women also need to take over the production of language. Although the film gives credence to…
The Scar of Shame: Skin Color and Caste in Black Silent Melodrama
When blacks began to finance and direct their own films in the teens and early 1920s, they consistently produced domestic melodramas. Some of these early productions have racial themes which reorganize the world in such a way that black heritage is rewarded over white paternity; they are schematic renunciations of the prevailing order of things in white American society where, historically, the discovery of black blood meant sudden reversal of fo…
White Privilege and Looking Relations: Race and Gender in Feminist Film Theory
orn in Flames, a feminist science fiction film set ten years after a Social-Democratic revolution in the U.S., provides an abrupt reminder of the place of theory in the context of social change. Toward the end of the film, with the women's takeover of New York communications channels in progress, the voice of theory is heard over the image, insisting that women also need to take over the production of language. Although the film gives credence to…
The queen Christina tie‐ups: Convergence of show window and screen
1989). The queen Christina tie‐ups: Convergence of show window and screen. Quarterly Review of Film and Video: Vol. 11, Female Representation and Consumer Culture, pp. 35-60
Dead Ringer: Jacqueline Onassis and the Look-Alike
Research Article| April 01 1989 Dead Ringer: Jacqueline Onassis and the Look-Alike Jane Gaines Jane Gaines Search for other works by this author on: This Site Google South Atlantic Quarterly (1989) 88 (2): 461–486. https://doi.org/10.1215/00382876-88-2-461 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Jane Gaines; Dead Ringer: Jacqueline Onassis and the Look-Alike. South Atlantic Quarterly 1 Apr…
Laura Mulvey, Visual and Other Pleasures; Constance Penley, The Future of an Illusion: Film, Feminism and Psychoanalysis; Lucy Fischer, Shot/Countershot: Film Tradition and Women's Cinema
Journal Article Laura Mulvey, Visual and Other Pleasures; Constance Penley, The Future of an Illusion: Film, Feminism and Psychoanalysis; Lucy Fischer, Shot/Countershot: Film Tradition and Women's Cinema Get access Laura Mulvey, Visual and Other Pleasures (Language, Discourse, Society Series). London: Macmillan, 1989, 201 pp. Constance Penley, The Future of an Illusion: Film, Feminism and PsychoanalysisLondon: Routledge, 1989, 207 pp. Lucy Fische…
Classical Hollywood Narrative: The Paradigm Wars
Contested Culture: The Image, the Voice, and the Law
Journal Article Contested Culture: The Image, the Voice, and the Law. By Jane M. Gaines. (Chapel Hill: University of North Carolina Press, 1991. xx + 340 pp. Cloth, $39.95, ISBN 0-8078-1977-8. Paper, $14.95, ISBN 0-8078-4326-1.) Get access Susan Smulyan Susan Smulyan Brown University Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 79, Issue 4, March 1993, Pages 1693–1694, https://doi.or…
Feminist Heterosexuality and Its Politically Incorrect Pleasures
Feminist Reader in Early Cinema
Everyday Strangeness: Robert Ripley's International Oddities as Documentary Attractions
My alternative title is "Everyday Estrangement," emphasizing a very particular aspect of everyday life theory having to do with the critical capacity of the strange. While most theorists of everyday life are concerned with the ordinary and its uses, not all visit the problem of critique; if, like Michel de Certeau, they are interested in critique from below, at the level of ordinary people and ordinary practices, this outburst is diffuse and ofte…
First Fictions
In-and-out-of-race: The story of noble Johnson
(2005). In‐and‐out‐of‐race: The story of noble Johnson. Women & Performance: a journal of feminist theory: Vol. 15, No. 1, pp. 33-52
Early Cinema's Heyday of Copying: The too many copies of L'Arroseur arrosé ( The Waterer Watered )
Between 1895 and 1909, new American film entrepreneurs complained that ‘copying’ was out of control. Although ‘copying’ may have been widespread, and sometimes referred to as ‘theft’, it was more a worldwide industry practice than an extralegal operation. Before the 1909 US court case that decided the question of copyright in the motion picture, movie producers copied in an attempt to meet the demand for product. My discussion of the notion of ‘c…
Sad Songs of Nitrate: Women's Work in the Silent Film Archive
Research Article| December 01 2007 Sad Songs of Nitrate: Women's Work in the Silent Film Archive Jane M. Gaines Jane M. Gaines Search for other works by this author on: This Site Google Camera Obscura (2007) 22 (3 (66)): 171–178. https://doi.org/10.1215/02705346-2007-018 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite I…
On Not Narrating the History of Feminism and Film
“On Not Narrating the History of Feminism and Film” poses two questions: What happened to women in the early silent film industries, and why don't we know about them? While the author and others have addressed the first question elsewhere at recent international conferences and in publication, the second remains largely unanswered and is taken up here. It is specific to the field of feminism and film and media studies, where in the 1970s moment o…
Counterfactual Speculation
In the second wave of feminism it was enough to say that Antonia Dickson co-wrote History of The Kinetograph, the Kinetoscope and the Kineto-Phonograph (1895) with her inventor brother William Kennedy Laurie Dickson. But in a new moment, I utilize Catherine Gallagher’s concept of “counterfactual speculation” as a “thought experiment,” offering a fuller examination of the time between 1893 and 1896 when Antonia was involved in the experiments arou…
Antonia Dickson: The kineto-phonograph and the telephony of the future
We already know that Antonia Dickson co-wrote The Kinetograph, the Kinetoscope and the Kineto-phonograph (1895) with her inventor brother William Kennedy Laurie Dickson, published as a Raff and Gammon pamphlet and now considered the ‘first’ history of motion pictures. The late Paul Spehr was one of Antonia’s champions, and he suggested what a more careful reading of the prose style of that ‘history’ might reveal about the likely author. Also, a c…
Love and duty (1931): Chinese melodrama and the “contradictions of modernity”
In 1930s Shanghai Love and Duty (Bu Wancang, Lianhua Co., 1931) resonated with Chinese viewers, launching the career of actress Ruan Lingyu. Today, in contemporary film venue screenings, this epic continues to move international viewers. Here I ask how this silent picture has effected its profound affective alignments as it crosses cultures and periods of time. Approaching Love and Duty as moving picture melodrama engages the critical tradition o…
Early Chinese cinema and two-way world flows
In 1925 more than one hundred motion picture film companies were registered in China. Over the next decade, Shanghai remained the major site of production (Fu 2019, 15, 17). Yet the larger job of p
Technics: Media in the Digital Age
The Key Debates series was launched in 2010 with the aim of revisiting "the central issues that continue to animate thinking about film and audiovisual media," which we have now done across ten volumes.All of these have followed a pattern of reexamining foundational texts and issues, while also investigating new lines of transmission and interpretation.Our book series' dual interest in foundations and novel lines of inquiry is demonstrated by the…
Nicholas Baer, Historical Turns: Weimar Cinema and the Crisis of Historicism
Art (15 works) · Cinema and Media Studies (14 works) · Sociology (13 works) · History (11 works) · Movie theater (10 works) · Art history (8 works) · Law (8 works) · Literature (8 works) · Political science (8 works) · Aesthetics (7 works)