A License to Project
Bibliographic Data
| ID | 22124997 |
|---|---|
| Authors | José Castro (0000-0003-4987-8175, corresponding author), Jasmyn Castro |
| Year | 2025 |
| Volume | 11 |
| Issue | 2 |
| Pages | 9-24 |
| Publication date | 2025-04-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Feminist Media Histories (JOURNAL) |
| Journal identifiers | ISSN: 2373-7492 • E-ISSN: 2373-7492 |
| Publisher | University of California Press (PUBLISHER • US) |
| DOI | 10.1525/fmh.2025.11.2.9 |
| OpenAlex | W4409740635 |
| Language | EN |
During World War II, African American WACs (Women’s Army Corps) served as “motion picture operators,” representing a significant yet overlooked history at the intersection of nontheatrical film studies, African American studies, and women’s studies. This essay explores the success African American WACs experienced at Fort Huachuca in Arizona, and the challenging assumptions and beliefs that affected the trajectory of Black women in technical film trades. Although Black women faced both racial and gender-based discrimination, they countered stereotypes by demonstrating technical proficiency as the first documented African American female projectionists in the United States. The neglected history of African American WAC projectionists underscores the need for a broader examination of the relationship between race, gender, and technology
Business · License · Operating system · Computer Science · Engineering Education and Curriculum Development
| Citation velocity | historical |
|---|---|
| Highly cited | No |