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Ãöª`¦´Á¹q¼v¾ú¥vµo®iªº°ê»Ú¹q¼v´Á¥ZFilm History¦b2006¦~²Ä18¨÷²Ä2´Á(Volume 18 Issue 2)¦¬¿ý¤F¤@¨t¦C2001¦~¦b¥[¦{¤j¾Ç¸t¶ð§J¾|´µ¤À®Õ(UCSC)Á|¿ìªº¡u¤k©Ê»PµLÁn¹q¼v¡v(Women and the Silent Screen)¬ã°Q·|ªº½×¤å¡C¬ã°Q·|Áܶ°¤F¦UÓ»â°ìªº¾ÇªÌ¡A¥H¾ú¥v¡B¤å¤ÆªºÆ[ÂI«·sÀ˵ø¤k©Ê¦bµLÁn¹q¼v®É¥Nªº¦UºØ±»ª¡A·N¹Ï¬ð¯}¥H©¹¤k©Ê¥D¸q¹q¼v¬ã¨sªÌ¥u±Mª`©ó¹q¼v¤å¥»¤¤¤k©Êªº¦A²{ªº«]¡C¥»´ÁFilm HistoryÁ`¦@¦¬¿ý11½g¤å³¹¡A¤º®e²[»\¤FµLÁn¹q¼v®É¥N¦U¦¡¦U¼Ëªº¤k©Ê°Ñ»PªÌ¡A¥]¬A¾Éºt¡B©ú¬P¡BÁ{®Éºtû¡B±MÄæ§@®a¡B²z½×®a¡B¾ú¥v¾Ç®aµ¥µ¥¡C¥H¤UºKn¤À§O¬O°w¹ïºtû¡B¼v°g¡B¥H¤Î©ú¬P¤TºØ¤£¦P¨¤Àªº¤k©Ê¨Ó°µ¤¶²Ð¡C
University of Memphis±Ð±ÂHeidi Kenaga¦b ¡§Making the ¡¥Studio Girl¡¦: The Hollywood Studio Club and Industry Regulations of Female Labour¡¨ ¤¤«ü¥X¦b¤G¤Q¥@¬ö³Ìªìªº¤G¤Q¦~¡A³vº¥¦¨«¬ªº¹q¼v¤u·~§l¤Þ¤F¤j¶qªº¤k©Ê²¾¥Á¨Ó¨ì¦nµÜ¶õ·íÁ{®Éºtû(extra girls)§Æ±æ¦³´Â¤@¤é¯à³Q½àÃÑ·í¤W©ú¬P¡A³o¨Ç¤k©Ê²¾¥Áªº¤u§@±ø¥ó³Q·í®ÉªºªÀ·|ºÖ§Q¹ÎÅé©ÒÃöª`¡A¨Ã¥[¥H¡u×¥¿¡v¡C¤@¸sÃh©êµÛ¹Ú·Qªº¦~»´¤k«Ä¡A¦b¤¥ú¤Q¦âªº¹q¼v²£·~¤¤¡A°£¤FºtÀ¸¨S¦³§Oªº§Þ¯à¡A¦Ó¥B¦¨¥\ªº¾÷²v·L¥G¨ä·L¡A¤HÌ«ÜÃø¤£Áp·Q¨ì¦o̳̲תº¤]³\´N¥u¦³©Ê¤u§@¤F¡C¥Ñ©ó³o¼Ët±ªºªÀ·|Æ[·P¡A¦Ó¥BÁ{®Éºtû¬Û¹ï©ó¾ãÓ¹q¼v¤u·~ÄÝ©ó®z¶Õ¡AªÀºÖ¹ÎÅé¶}©lª`·N¨Ã¸Õ¹Ï§ïµ½³o¸s¤k«Äªº³B¹Ò¡C°ò·þ±Ð¤k«C¦~·|(YWCA)¦b¤Q¤E¥@¬ö¥½«Ø¥ßªº´£¨Ñ¤k©Ê²¾¥Á¦w¥þ©~¦íÀô¹Òªº¦í±J³õ©Ò(studio club)¡A«Ü§Ö¦a´NÅܦ¨³o¤@¸sÁ{ºt¤k«Ä(extra girls)ªº»E¶°¦a¡C°£¤F¦í±J¡AYWCAÁÙ´£¨Ñ¤FÁ_¬÷¡BÀ¸¼@µ¥½Òµ{¡A³z¹L±K¤Áªº¸sÅé¥Í¬¡¡A¦o̾Dzߨì§ó¦h¨ä¥LªF¦è¡C¤@¨Ç¾ú¥v¾ÇªÌ»{¬°¡AYWCA¤£¥u¬O¦b«OÅ@³o¨Ç¤k©Ê²¾¥Á¡A¥t¤@¤è±±Ð¾É¤F¦o̤Q¤E¥@¬ö¥¿½Tªº»ùÈÆ[¡G©ú½Tªº¤½¨p»â°ì¥H¤Î¨k¤k¤À»Ú¡C°l¨D²{¥N©Ê´CÅé²£·~¤¤ªº¦¨¥\ªº¦P®É¡A³o¸s¤k«Ä«o³Q¤Q¤E¥@¬öªºõ¾Ç©M»ùÈÆ[©ÒÀô¶¡F§ó¤Ý¸Þªº¬O¡A¤¤²£¶¥¯Å¤k©ÊÆ[²³¦]¬°Á{ºt¤k«Ä(extra girls)Àô¹Òªº§ïµ½¥i¥H¦w¤ßªºÆ[¬Ý¹q¼v¨Ã¥B«ùÄò§ë®g¼¤±æ©ó¨ä¤¤¡A¦ý¥t¤@¤è±¤]¥¿¬O¦]¬°³o¼Ë¹ï¹q¼vªº¼ö°J¤~³y´N¤F³o¤@¸s¤k«Ä¡C
University of Michigan±Ð±ÂRichard Abel¦b ¡§Fan Discourse in the Heartland: the Early 1910s¡¨ ¤¤«ü¥X¡G±MÄæ§@®aGertrude Price¦bDes Moines©M¨ä³sÂê³ø¨t¤¤ªº¹q¼v¬G¨Æ±MÄæ¸Ì´yøªº¤k©Ê§Î¶H¡A¹ï©ó·í®É¤k©Ê¼v°gªº²£¥Í¦³«Ü¤jªº¼vÅT¤O¡CPriceªº±MÄæ³z¹L¥þ°ê³ø¯Èªº¬y³q¡A¹ê»Ú¤W¥i¥H³Q·í§@©M¹q¼v¬Û·í¡B¼vÅT¤O¤£®e¤pò󪺤j²³¤å¤Æ°Ó«~¡CDes Moines©M¨ä³sÂê³ø¨t¦b·í®É¥DnªºÅªªÌ¸s¬°³Ò¤u¶¥¯Å¡A¤×¨ä¬O¡Ð¤k©Ê³Ò¤u¡CPrice¦b±MÄ椤©Ò´yøªº¹q¼v©ú¬P¥Dn¤À¨âÃþ¡G°£¤Fµ£¬P¡A¥t¤@ºØ§ó«nªº¼Ò¦¡¬O¦è³¡¤ù¤¤ªº¤kºtû¡C¦b¦oªº±MÄ椤¡A³o¨Ç¦è³¡¤ù¤k©Êºtûªº§Î¶H³Q´yø¦¨¥D°Ê¡B¿W¥ß¡A²Å¦X¤F·í®É·s¿³¤kÅv¹B°Ê©Ò´£Òªº¡u·s¤k©Ê¡v¡C³o¨Ç©ú¬P©ó¬O¦¨¬°·í®É¤¤¤U¶¥¼h¤k©Ê³Ë¥éªº¹ï¶H¡A¦Ó¡u¬Ý¹q¼v¡v¤]º¥º¥¦¨¬°¥Dnªº®T¼Ö¼Ò¦¡¡CPriceªº±MÄæ¹ï©ó¡u°g¤å¤Æ¡vªº«Ø¥ß¡A¤×¨ä¬O¤k©Ê¼v°g¡A¤D¤@¤£®e©¿µøªº¦]¯À¡C§@ªÌ¤]¶i¤@¨B´£¥Ü¤F³ø¯È¦b¬ã¨s¦´Á¹q¼v½dÃ¥¤Uªº«n©Ê¡A¥¦¥i¥HÀ°§U¬ã¨sªÌ§ó¥[²`¤JÁA¸Ñ·í®É¹q¼v¤§Æ[½à¦æ¬°¡B¹q¼vªº©ñ¬M³õ©Òµ¥ªÀ·|¤å¤ÆijÃD¡C
UCLA³Õ¤hÔ¿ï¤HMelinda Szaloky¦b ¡§¡¥As You Desire Me¡¦: Reading ¡¥The Divine Garbo¡¦ through Movement, Silence and the Sublime¡¨ ¸Õ¹Ï¥H¬J¦³ªº²z½×¬[ºc¨Ó«·s¸àÄÀµLÁn¹q¼v¦~¥Nªº¶W¯Å¤j©ú¬P¸¯²ú¶ð¹ÅÄ_(Greta Garbo)¡C¹ÅÄ_ªºªº°g¤H¦b©ó¦oªºÂù«©Ê¡G´|¦X¿º°ü»Ps¤k¡A¤@¤è±°Ñ»P¨ä¤¤¤S¦ü¸m¨¨Æ¥~¡A¦oªº¯º®e¦ü¥G¦bÁܽЧA¥[¤J¦ý¦P®É¤]¦bĵ§i§A§O¾a±o¤Óªñ¡C¹ÅÄ_ªº¥t¤@Ó¿W¯S©Ê¦b©ó¦o©Ò¾Ö¦³ªº¤@ºØµLÁnªºÁnµ(silent voice)¡C§åµû®a»{¬°Æ[²³¦b¦oªºÁy³J¡B¦oªº²´·ú¸Ì¥i¥H¬Ý¨ì«ä·Q¬¬¡A¦ý¦b¦³Án¹q¼v¥X²{¤§«á¡A¹ÅÄ_ªº¯«¸t©Ê³Q¹L©ó¯u¹êªºÁnµ©Ò¥´¯}¡AMGM¡u¬ü°ê¤Æ¡v(Americanize)¹ÅÄ_¡AÅý¦o¥¢¥h¤F¯«¯µªº¦â±m¡A¾y¤O¤]¦]¦¹«d´î¤F¤@¤j¥b¡C¥»¤å´©¤Þ³\¦h¹q¼v²z½×¨Ó½Í½×¹ÅÄ_ªº¿Ã¹õ¾y¤O¡A¨ä¤¤¥]§tùÄõ¤Ú¯S¡B¼w°Ç¯÷¡B¯Z¶®©ú¡B¤Ú©Ô¯÷µ¥µ¥¡A§@ªÌ¦b²{¦³¬[ºc¤U´£¨Ñ¤F·sªº¨¤«×¡A»{¬°¹ÅÄ_ªº¾y¤O¨Ó¦Û©ó¦oªºÀǬN©Ê(ambiguity)¡C¦o¥Rº¡ÀǬN©M¤£½T©wªº°Ê§@©Mªí±¡¤¤¡AħtÂ×´Iªº¤º²[´£¨ÑÆ[²³µLªº·Q¹³¡A³o´N¬O³y¦¨¦o¯«¸t¤£¥i«I¥Çªº¿Ã¹õ§Î¶Hªº¥D¦]¡C
¶Èù¦C¥»´ÁFilm History¨ä¥L¤å³¹¼ÐÃD¦p¤U¡A´£¨Ñ±ý¶i¤@¨BÁA¸Ñ¦´Á¹q¼v¤k©Ê·»ªªºÅªªÌ°Ñ¦Ò¡G
Elinor Glyn as Hollywood Labourer by Anne Morey
Presenting The Smalleys, 'Collaborators in Authorship and Direction' by Shelley Stamp
The Woman Film Critic: Newspapers, Cinema and Iris Barry by Haidee Wasson,
¡¥Melodrama of the dear old kind¡¦: Sentimentalising British action heroines in the 1910s by Jon Burrows
Women in the Driver's Seat: The Auto-Erotics of Early Women's Films by Jennifer Parchesky
Imagining Sound in the Solax Films of Alice Guy Blach眤: Canned Harmony (1912) and Burstop Holmes' Murder Case (1913) by Barbara McBane
Reading Mabel Romand¡¦s library by Mark Lynn Anderson
The Miscellany of Film History by Amelie Hastie
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