The question of 'Fantastic motion' is whether films in the 1910s and 1920s should be viewed as merely the forerunners of patriarchal cinema, which some colleagues believe, or whether they offered - and still offer - alternatives to a female audience. The author makes a case for the latter possibility and searches for explanations for the enjoyable and liberating sensations they, as women, experienced while becoming acquainted with early film. Using a historical and contextual approach, Schlüpmann investigates genres including non-fiction, comedy and romantic drama from the early 1910s, and describes how the significance of notions such as the beauty of nature, the culture of humour and love could have been adopted into the perception of women filmgoers at the time.De vraag achter Schlüpmanns 'Fantastic motion' is of de cinema van de jaren tien en twintig slechts gezien moet worden als voorloper van patriarchale cinema, zoals sommige collegae vinden, of dat zij alternatieven bood - en biedt - aan een vrouwelijk publiek. Ze pleit voor de tweede mogelijkheid en zoekt naar verklaringen voor de aangename en bevrijdende sensaties die de kennismaking met vroege film bij hen, als vrouwen, teweeg heeft gebracht. Met haar historiserende en contextualiserende benadering verkent Schlüpmann genres zoals non-fictiefilm, de komische film, en het romantisch drama van de vroege jaren tien en beschrijft zij betekenissen die noties zoals de schoonheid van de natuur, de cultuur van het lachen en de liefde kunnen hebben aangenomen in de waarneming van vrouwen die destijds naar de film gingen.

Netherlands Institute for Sound and Vision
Tijdschrift voor Mediageschiedenis
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TMG Journal for Media History; Vol 2, No 1 (1999): Media & oorlog; 128-141

Schlüpmann, Heide. (1999). Feminist approaches to early film history 2: Fantastic Motion. Tijdschrift voor Mediageschiedenis, 2(1), 128–141. doi:10.18146/tmg.38