The question of Warth's 'Moving bodies' 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. Warth focuses on the differences in the representation of the female body and compares Musidora's embodiment of the Irma Vep personage in LES VAMPIRES (Louis Feuillade, 1915) with Maggie Cheung's in IRMA VEP (Olivier Assayas, 1996). By combining modern reception with textual analysis, Warth traces the differences between both representations for a modern female audience.De vraag achter Warths bijdrage 'Moving bodies', 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. Warth concentreert zich op verschillen in representatie van het vrouwelijk lichaam en vergelijkt daartoe de belichaming van het personage van Irma Vep door Musidora in LES VAMPIRES (Louis Feuillade, 1915) met die door Maggie Cheung in IRMA VEP (Olivier Assayas, 1996). Door hedendaagse receptie te combineren met tekstuele analyse, traceert Warth verschillen tussen beide representaties voor een hedendaags vrouwelijk publiek.

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; 142-151

Warth, Eva. (1999). Feminist approaches to early film history 3: Moving Bodies. Tijdschrift voor Mediageschiedenis, 2(1), 142–151. doi:10.18146/tmg.39