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Universal women : filmmaking and institutional change in early Hollywood / Mark Garrett Cooper.

By: Material type: TextTextSeries: Publication details: Urbana : University of Illinois Press, (c)2010.Description: 1 online resourceContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780252090875
  • 9781283028875
Subject(s): Genre/Form: LOC classification:
  • PN1999 .U558 2010
Online resources: Available additional physical forms:
Contents:
Possibility. Universal's names -- Universal's organization -- Universal City -- Impossibility. Genre : a category of institutional analysis -- Serials : the foreclosure of collaboration -- Gender and the dramatic feature -- Postscript : Eleanor's catch.
Subject: Between 1912 and 1919, the Universal Film Manufacturing Company first systematically supported and promoted women directors--crediting eleven women with directing at least 170 films--and then abruptly reversed that policy. In this trailblazing study, Mark Garrett Cooper approaches the phenomenon as a case study in how corporate movie studios interpret and act on institutional culture. In focusing on issues of institutional change, Cooper challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. Drawing on a range of historical and sociological approaches to studying corporate institutions, Cooper examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson, and Ida May Park directed films for Universal.
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Includes bibliographies and index.

Preface : a puzzle, some premises, and a hypothesis -- Possibility. Universal's names -- Universal's organization -- Universal City -- Impossibility. Genre : a category of institutional analysis -- Serials : the foreclosure of collaboration -- Gender and the dramatic feature -- Postscript : Eleanor's catch.

Between 1912 and 1919, the Universal Film Manufacturing Company first systematically supported and promoted women directors--crediting eleven women with directing at least 170 films--and then abruptly reversed that policy. In this trailblazing study, Mark Garrett Cooper approaches the phenomenon as a case study in how corporate movie studios interpret and act on institutional culture. In focusing on issues of institutional change, Cooper challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. Drawing on a range of historical and sociological approaches to studying corporate institutions, Cooper examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson, and Ida May Park directed films for Universal.

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