Podcast appearances and mentions of maggie hennefeld

In the days of silent film, women had prominent roles in filmmaking and made movies that explored feminist themes that might seem surprising today. Peter Solomon speaks with Maggie Hennefeld, Professor of Cultural Studies and Comparitive Literature at the University of Minnesota. Hennefeld curated a 4-DVD collection of female film pioneers called "Cinema's First Nasty Women." Hennefeld also curated the program "Accordo with Silent Film: Women in Early Cinema" that is taking place at the Ordway on Tuesday, May 13th.

In the days of silent film, women had prominent roles in filmmaking and made movies that explored feminist themes that might seem surprising today. Peter Solomon speaks with Maggie Hennefeld, Professor of Cultural Studies and Comparitive Literature at the University of Minnesota. Hennefeld curated a 4-DVD collection of female film pioneers called "Cinema's First Nasty Women." Hennefeld also curated the program "Accordo with Silent Film: Women in Early Cinema" that is taking place at the Ordway on Tuesday, May 13th.

Stephanie Brown delves into the dangerous world of women laughing in this conversation with Maggie Hennefeld about her new book Death By Laughter: Female Hysteria and Early Cinema. Covering everything from 19th-century obituaries blaming giggle fits (rather than girdle fits) for women's deaths to the modern-day political power of a vice presidential cackle, we're certain this episode will entertain you … just short of killing you.

Hosts Will Beaman (@agoingaccount) and Scott Ferguson (@videotroph) welcome Maggie Hennefeld (@magshenny) to the Superstructure podcast to discuss her essay, “Make America Laugh Again,” published in Minneapolis's Star Tribune. Previously ridiculed, Kamala Harris's signature laughter has emerged as an electrifying rallying cry for her last-minute candidacy for President of the United States. “Harris' laughter has become a national symbol of collective healing,” Hennefeld argues, “affirming the powers of contagious joy to unite community across the bitter divisions of culture and identity. … [L]aughter is a lifeline for resistance against the global onslaught of authoritarian hate and fearmongering.” Analyzing the carnivalesque slogans and memes surrounding the Harris campaign, our conversation draws surprising parallels between feminist laughter in fin-de-siècle cinema and in contemporary online cultures. Maggie Hennefeld is a feminist scholar of silent cinema and professor in the Cultural Studies and Comparative Literature Department at the University of Minnesota, Twin Cities. She is the author of Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024) and Specters of Slapstick and Silent Film Comediennes (Columbia University Press, 2018). She is also co-curator of the four-disc DVD/Blu-ray set Cinema's First Nasty Women. Music: "Yum" from "This Would Be Funny If It Were Happening to Anyone but Me" EP by flirting.flirtingfullstop.bandcamp.com/Twitter: @actualflirting

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women's risible deaths tell us about the politics of female joy? In Death by Laughter: Female Hysteria and Early Cinema (Columbia University Press, 2024), Dr. Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women's amusement has been theorised and demonised, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never before, with irreversible social and political consequences. As female enjoyment became a surefire promise of profitability, alarmist tales of women laughing themselves to death epitomised the tension between subversive pleasure and its violent repression. Dr. Hennefeld traces the social politics of women's laughter from the heyday of nineteenth-century sentimentalism to the collective euphoria of early film spectatorship, traversing contagious dancing outbreaks, hysteria photography, madwomen's cackling, cinematic close-ups, and screenings of slapstick movies in mental asylums. Placing little-known silent films and an archive of remarkable, often unusual texts in conversation with affect theory, comedy studies, and feminist film theory, this book makes a timely case for the power of hysterical laughter to change the world. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Not the damsel in distress. Not the desirable woman who will raise your kids and take care of the home. These are the stories of the nymphomaniacs, the nasty and creepy women, the Femme Fatales. A string of recent films are casting prominent actresses, in dark, creepy, nasty characters. One example is the movie May December, which received four nominations for this past weekend's Golden Globe Awards. You can read more about cinema actresses in this recent WSJ article: "In Hollywood, It's the Golden Age of the Creepy Woman". So to better understand the history of women in Cinema - not just in Hollywood, from their stereotypical roles to more creative and perhaps more liberating roles, I spoke with Prof. Thomas Doherty and Prof. Maggie Hennefeld, who essentially ran the program by asking each other wonderful question that, frankly, I hadn't even thought about. Prof. Doherty is a cultural historian with a special interest in Hollywood cinema. He is a professor of American Studies at Brandeis University. He guest-participated in our program last year and talked about the Magic of Hollywood, and also compared TV's disruption of Hollywood in the 1950s with AI's disruption now. Prof. Hennefeld is a McKnight Presidential Fellow and Associate Professor of Cultural Studies and Comparative Literature at the University of Minnesota, Twin Cities. I hope you enjoy these episodes. Adel, host & producer ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠History Behind News⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ podcast & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠on YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Unravelling the Middle East: This new special series - an in-depth history and analysis of the Middle East - will launch in late January. Get Unravelling the Middle East ⁠⁠⁠⁠Spotify⁠⁠⁠⁠, ⁠⁠⁠⁠Apple⁠⁠⁠⁠, ⁠⁠⁠⁠Castbox⁠⁠⁠⁠, ⁠⁠⁠⁠iHeart Radio⁠⁠⁠⁠, ⁠⁠⁠⁠Amazon Music⁠⁠⁠⁠ or ⁠⁠⁠⁠Radio Public⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SUPPORT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Click here⁠ and join⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our other supporters in the news peeler community. Thank you. Image attribution: The "Vamp" (Theda Bara) in "A Fool There Was", a 1915 silent film drama in which she seduces and ruins a wealthy family man, John Schuyler (Edward José). Public Domain.

Our guest today is Maggie Hennefeld, McKnight Presidential Fellow and Associate Professor of Cultural Studies and Comparative Literature at the University of Minnesota, Twin Cities, who has co-curated a dvd set of the medium's early female comedians titled Cinema's First Nasty Women. Maggie talks us through the current resurgence in interest in silent cinema and the global landscape of festivals, supporters and restoration projects, as well as her own journey of scholarship in the field that led to her collaborating on this important project. All this interest seems long overdue considering the fantastically experimental and entertaining material, which is raucous, varied and vast, often making radical social commentary that still resonates today. Maggie vividly describes several highlights in this comprehensive collection, and the women who were behind and in front of the camera. In addition to assembling, restoring and annotating the films, the team also engaged over 45 mostly female composers to write and perform both traditional and avant-garde scores for each film, and she talks extensively about that process. We also discuss the erasure of this material from the silent film canon, and women from comedy (among many other fields) in general, and how these films both give us a new understanding of comedy in this era, even as they inform our on-going struggles with sexism and racism today, by showing us images of women that are simultaneously empowering and troubling. All films are contextualized with expert commentary, allowing them to be used in classrooms or otherwise as jumping-off points for deeper conversation. Finally, Maggie shares some thoughts from the book she's currently working on about the notion of “hysterical laughter” and its supposed danger to women.Here are some of the references from this episode, for those who want to dig a little deeper:Cinema's First Nasty WomenDVD Booklet InsertMaggie Hennefeld's other publications:Death from Laughter, Female Hysteria and Early CinemaSpecters of Slapstick and Silent Film ComediennesOther Curators of the set:Laura Horak – Girls Will Be BoysElif Rongen-Kaynakçi – EYE filmmuseumHenry Jenkins, What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville AestheticCharlotte GreenwoodFanny BriceLupe VélezWinnie LightnerAli WongSarah SilvermanWanda SykesJames Agee – “Comedy's Greatest Era”Charlie Chaplin in Mable's Strange PredicamentSilent Film CultureWomen and the Silent ScreenNitratevilleSilent LondonEdward Everett HortonSteve Massa and Ben Model – silent comedy Watch PartySilent Film FestivalsPordenone Film FestivalBologna Film FestivalSan Francisco Silent Film FestivalEl Festival Internacional de Cine Silente México Hippodrome film festivalTrump – “Nasty Women”Film ScholarsArigon StarrLiza BlackShelley Stamp Female Filmmakers, Producers, and ComediansAlice Guy-BlachéBertha RegustusDorothy ArznerFay TincherIda LupinoLéontineLois WeberMabel NormandMinnie Devereaux – “Fatty and Minnie He-Haw”Sarah DuhamelTexas GuinanSilent Film MusicDana Reason – ScoreDreamland FacesGonca Feride VarolGuenter BuchwaldJosé María Serralde RuizMeg MorleyNeil BrandSteven HorneTerri Lyne CarringtonNasty Women team on Nitrateville RadioOur previous Episode 30: The forgotten women of early filmmakingHistory of the Tom BoyNancy WalkerPeg Bracken – The I Hate to Housekeep Book / I Hate to Cook BookDaisiesThe UnknownArrest Warrant – Ukranian silent cinemaWhat's Up Doc?Undercrank Productions (silent film restoration)Online screenings from the Bologna and Pordenone film festivalsZiegfeld FolliesHal Roach StudiosShare your thoughts via Twitter with Henry, Colin and the How Do You Like It So Far? account! You can also email us at howdoyoulikeitsofarpodcast@gmail.com.Music:“In Time” by Dylan Emmett and “Spaceship” by Lesion X.––––––––––––––––––––––––––––––In Time (Instrumental) by Dylan Emmet  https://soundcloud.com/dylanemmetSpaceship by Lesion X https://soundcloud.com/lesionxbeatsCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/in-time-instrumentalFree Download / Stream: https://bit.ly/lesion-x-spaceshipMusic promoted by Audio Library https://youtu.be/AzYoVrMLa1Q––––––––––––––––––––––––––––––

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

What makes a nasty woman? Is it her unwillingness to break to the stringent standards of patriarchy, her gameness to get rough, even abject? Or is it the way she reminds polite society that the sweet, gentle screen martyr (the nasty woman's counterpart) is a fiction too, as much a trick and a dupe as an exploding housemaid on celluloid? And what a surprise—and what a treat—to discover cinema's earliest days are among their nastiest. Coming from Kino Lorber this December, “this four-disc set showcase more than fourteen hours of rarely seen silent films about feminist protest, slapstick rebellion, and suggestive gender play. These women organize labor strikes, bake (and weaponize) inedible desserts, explode out of chimneys, electrocute the police force, and assume a range of identities that gleefully dismantle traditional gender norms and sexual constraints. The films span a variety of genres including slapstick comedy, genteel farce, the trick film, cowboy melodrama, and adventure thriller. Cinema's First Nasty Women includes 99 European and American silent films, produced from 1898 to 1926, sourced from thirteen international film archives and libraries, with all-new musical scores, video introductions, commentary tracks, and a lavishly illustrated booklet.” Host Annie Berke sits down with the curators of this set, Drs. Maggie Hennefeld and Laura Horak, and Ms. Elif Rongen-Kaynakçi, to discuss how this project came to be, the steps they took to ensure an anti-racist program, and if the “nasty woman” spirit lives on in the mediascape of the present. Maggie Hennefeld is Associate Professor of Cultural Studies & Comparative Literature and McKnight Presidential Fellow at the University of Minnesota, Twin Cities. She is author of Specters of Slapstick and Silent Film Comediennes (Columbia UP, 2018), co-editor of the journal Cultural Critique (UMN Press), co-editor of two volumes: Unwatchable (Rutgers UP, 2019) and Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke UP, 2020). Laura Horak is an Associate Professor of Film Studies at Carleton University and director of the Transgender Media Lab. She is author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers UP, 2016) and co-editor of Silent Cinema and the Politics of Space (Indiana UP, 2014), Unwatchable (Rutgers UP, 2019), a special issue of Somatechnics on trans/cinematic/bodies and an In Focus section of the Journal of Cinema and Media Studies on “Transing Cinema and Media Studies.” Elif Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum, the national film archive of the Netherlands. Graduated from University of Amsterdam, Film&TV Studies in 1997 and employed since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She is responsible for the preservation and presentation of Eye's silent film holdings, including among others the Desmet Collection (1907-1916) and the Mutoscope & Biograph Collection (1896-1902). Annie Berke is the film editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism have been published in Literary Hub, Feminist Media Histories, Public Books, Jacobin, and the Washington Post. Learn more about your ad choices. Visit megaphone.fm/adchoices

Courtesy photo by Justin Vorndran "The Last Time 6" by Hilary Greenstein is among the works in the eight-artist exhibit at the Anderson Center in Red Wing, Minn. Most of us could use a dose of bright colors by this point in January. The bold palettes are what Heather Lawrenz of Red Wing Arts is seeking when “Vivid Survival” opens Friday. The eight-artist exhibit at the Anderson Center was curated by Lindsey Cherek Waller, who has a studio at the Anderson Center. The forms vary from giant paintings to wearable creations. The strong colors allow viewers to consider survival during the pandemic. There is a free artists' reception on opening night from 6 p.m. to 8 p.m. The exhibit runs until March 26. Mary Fox of Renegade Theater Company in Duluth, Minn., says she was deeply affected by her visit to the “Like Me, Like You” exhibit at the Duluth Art Institute. The Twin Ports Asian Pacific Islander Desi American (APIDA) Collective mounted the exhibit. Fox loves the way the show opens, with APIDA's logo of a golden rice stalk transformed into a 3D sculpture strung with origami. The show is a “cultural explosion [of] voices of Asian Americans and their lived experiences,” said Fox. Photography gives way to poetry printed on a bright yellow wall, set alongside handmade clothing, film, podcasts, and painting. At the end, visitors can write their takeaways on a ribbon and tie it to a tree. “Like Me, Like You” is free and runs through the end of March. Film publicist Peter Schilling of the Heights Theater plans to head to the Trylon Cinema in Minneapolis Friday for an action film from 1915 that's getting new life with local music. He describes the “Filibus: the Mysterious Air Pirate” as a film about an elegant baroness who dresses as a man and lowers herself from an iron dirigible into Italian Riviera mansions to steal their valuables. While the special effects may appear primitive to an audience more than a century later, Schilling says early cinema magic creates a visceral experience. Pianist Katie Condon performs her original score to accompany the film at each of the four showings. The screenings were organized by University of Minnesota cultural studies professor and author Maggie Hennefeld. The show runs Friday and Saturday at 7 p.m. and Sunday at 3 p.m. and 5 p.m. Masks and proof of COVID-19 vaccination are required. Correction (Jan. 28, 2022): A previous version of this story called "Filibus: the Mysterious Air Pirate" a black-and-white film. The story has been corrected.

In this roundtable discussion, professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece reflect on how pandemics past shed new light on how the current COVID-19 pandemic is reshaping the world of cinema. Moderated by Patrice Petro, this conversation addresses questions of risk and exposure in the media industries, the movie theater’s role as public space, and how pandemic-induced streaming changes our understanding of cinema. Participants also explore how fears of viral infection reshape the literal and figurative “atmosphere” of moviegoing. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36820]

In this roundtable discussion, professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece reflect on how pandemics past shed new light on how the current COVID-19 pandemic is reshaping the world of cinema. Moderated by Patrice Petro, this conversation addresses questions of risk and exposure in the media industries, the movie theater’s role as public space, and how pandemic-induced streaming changes our understanding of cinema. Participants also explore how fears of viral infection reshape the literal and figurative “atmosphere” of moviegoing. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36820]

In this roundtable discussion, professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece reflect on how pandemics past shed new light on how the current COVID-19 pandemic is reshaping the world of cinema. Moderated by Patrice Petro, this conversation addresses questions of risk and exposure in the media industries, the movie theater’s role as public space, and how pandemic-induced streaming changes our understanding of cinema. Participants also explore how fears of viral infection reshape the literal and figurative “atmosphere” of moviegoing. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36820]

In this roundtable discussion, professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece reflect on how pandemics past shed new light on how the current COVID-19 pandemic is reshaping the world of cinema. Moderated by Patrice Petro, this conversation addresses questions of risk and exposure in the media industries, the movie theater’s role as public space, and how pandemic-induced streaming changes our understanding of cinema. Participants also explore how fears of viral infection reshape the literal and figurative “atmosphere” of moviegoing. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36820]

In this roundtable discussion, professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece reflect on how pandemics past shed new light on how the current COVID-19 pandemic is reshaping the world of cinema. Moderated by Patrice Petro, this conversation addresses questions of risk and exposure in the media industries, the movie theater’s role as public space, and how pandemic-induced streaming changes our understanding of cinema. Participants also explore how fears of viral infection reshape the literal and figurative “atmosphere” of moviegoing. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36820]

In this roundtable discussion, professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece reflect on how pandemics past shed new light on how the current COVID-19 pandemic is reshaping the world of cinema. Moderated by Patrice Petro, this conversation addresses questions of risk and exposure in the media industries, the movie theater’s role as public space, and how pandemic-induced streaming changes our understanding of cinema. Participants also explore how fears of viral infection reshape the literal and figurative “atmosphere” of moviegoing. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36820]

In this roundtable discussion, professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece reflect on how pandemics past shed new light on how the current COVID-19 pandemic is reshaping the world of cinema. Moderated by Patrice Petro, this conversation addresses questions of risk and exposure in the media industries, the movie theater’s role as public space, and how pandemic-induced streaming changes our understanding of cinema. Participants also explore how fears of viral infection reshape the literal and figurative “atmosphere” of moviegoing. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36820]

In this roundtable discussion, professors Stephen Groening, Maggie Hennefeld, Brian Jacobson, and Jocelyn Szcepaniak-Gillece reflect on how pandemics past shed new light on how the current COVID-19 pandemic is reshaping the world of cinema. Moderated by Patrice Petro, this conversation addresses questions of risk and exposure in the media industries, the movie theater’s role as public space, and how pandemic-induced streaming changes our understanding of cinema. Participants also explore how fears of viral infection reshape the literal and figurative “atmosphere” of moviegoing. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36820]

American Humor Studies scholars Jalylah Burrell, Bambi Haggins, and Maggie Hennefeld join host Matt Seybold to discuss the recent work of stand-up comic Dave Chappelle, especially his free half-hour routine, "8:46," released directly to YouTube the month after the murder of George Floyd.

From the films of Larry Clark to the feminist comedy of Amy Schumer to the fall of Louis C. K., comedic, graphic, and violent moments of abjection have permeated twentieth- and twenty-first-century social and political discourse. The contributors to Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke University Press, 2020) move beyond simple critiques of abjection as a punitive form of social death, illustrating how it has become a contested mode of political and cultural capital—empowering for some but oppressive for others. Escaping abjection's usual confines of psychoanalysis and aesthetic modernism, core to theories of abjection by thinkers such as Kristeva and Bataille, the contributors examine a range of media, including literature, photography, film, television, talking dolls, comics, and manga. Whether analyzing how comedic abjection can help mobilize feminist politics or how expressions of abjection inflect class, race, and gender hierarchies, the contributors demonstrate the importance of competing uses of abjection to contemporary society and politics. They emphasize abjection's role in circumscribing the boundaries of the human and how the threats abjection poses to the self and other, far from simply negative, open up possibilities for radically new politics. Maggie Hennefeld is Assistant Professor of Cultural Studies and Comparative Literature at the University of Minnesota, Twin Cities. Her Twitter handle is @magshenny. Nicholas Sammond is Associate Professor of Cinema Studies at the University of Toronto. Joel Tscherne is an adjunct history general studies professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

From the films of Larry Clark to the feminist comedy of Amy Schumer to the fall of Louis C. K., comedic, graphic, and violent moments of abjection have permeated twentieth- and twenty-first-century social and political discourse. The contributors to Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke University Press, 2020) move beyond simple critiques of abjection as a punitive form of social death, illustrating how it has become a contested mode of political and cultural capital—empowering for some but oppressive for others. Escaping abjection's usual confines of psychoanalysis and aesthetic modernism, core to theories of abjection by thinkers such as Kristeva and Bataille, the contributors examine a range of media, including literature, photography, film, television, talking dolls, comics, and manga. Whether analyzing how comedic abjection can help mobilize feminist politics or how expressions of abjection inflect class, race, and gender hierarchies, the contributors demonstrate the importance of competing uses of abjection to contemporary society and politics. They emphasize abjection's role in circumscribing the boundaries of the human and how the threats abjection poses to the self and other, far from simply negative, open up possibilities for radically new politics. Maggie Hennefeld is Assistant Professor of Cultural Studies and Comparative Literature at the University of Minnesota, Twin Cities. Her Twitter handle is @magshenny. Nicholas Sammond is Associate Professor of Cinema Studies at the University of Toronto. Joel Tscherne is an adjunct history general studies professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the films of Larry Clark to the feminist comedy of Amy Schumer to the fall of Louis C. K., comedic, graphic, and violent moments of abjection have permeated twentieth- and twenty-first-century social and political discourse. The contributors to Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke University Press, 2020) move beyond simple critiques of abjection as a punitive form of social death, illustrating how it has become a contested mode of political and cultural capital—empowering for some but oppressive for others. Escaping abjection's usual confines of psychoanalysis and aesthetic modernism, core to theories of abjection by thinkers such as Kristeva and Bataille, the contributors examine a range of media, including literature, photography, film, television, talking dolls, comics, and manga. Whether analyzing how comedic abjection can help mobilize feminist politics or how expressions of abjection inflect class, race, and gender hierarchies, the contributors demonstrate the importance of competing uses of abjection to contemporary society and politics. They emphasize abjection's role in circumscribing the boundaries of the human and how the threats abjection poses to the self and other, far from simply negative, open up possibilities for radically new politics. Maggie Hennefeld is Assistant Professor of Cultural Studies and Comparative Literature at the University of Minnesota, Twin Cities. Her Twitter handle is @magshenny. Nicholas Sammond is Associate Professor of Cinema Studies at the University of Toronto. Joel Tscherne is an adjunct history general studies professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the films of Larry Clark to the feminist comedy of Amy Schumer to the fall of Louis C. K., comedic, graphic, and violent moments of abjection have permeated twentieth- and twenty-first-century social and political discourse. The contributors to Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke University Press, 2020) move beyond simple critiques of abjection as a punitive form of social death, illustrating how it has become a contested mode of political and cultural capital—empowering for some but oppressive for others. Escaping abjection's usual confines of psychoanalysis and aesthetic modernism, core to theories of abjection by thinkers such as Kristeva and Bataille, the contributors examine a range of media, including literature, photography, film, television, talking dolls, comics, and manga. Whether analyzing how comedic abjection can help mobilize feminist politics or how expressions of abjection inflect class, race, and gender hierarchies, the contributors demonstrate the importance of competing uses of abjection to contemporary society and politics. They emphasize abjection's role in circumscribing the boundaries of the human and how the threats abjection poses to the self and other, far from simply negative, open up possibilities for radically new politics. Maggie Hennefeld is Assistant Professor of Cultural Studies and Comparative Literature at the University of Minnesota, Twin Cities. Her Twitter handle is @magshenny. Nicholas Sammond is Associate Professor of Cinema Studies at the University of Toronto. Joel Tscherne is an adjunct history general studies professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the films of Larry Clark to the feminist comedy of Amy Schumer to the fall of Louis C. K., comedic, graphic, and violent moments of abjection have permeated twentieth- and twenty-first-century social and political discourse. The contributors to Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke University Press, 2020) move beyond simple critiques of abjection as a punitive form of social death, illustrating how it has become a contested mode of political and cultural capital—empowering for some but oppressive for others. Escaping abjection's usual confines of psychoanalysis and aesthetic modernism, core to theories of abjection by thinkers such as Kristeva and Bataille, the contributors examine a range of media, including literature, photography, film, television, talking dolls, comics, and manga. Whether analyzing how comedic abjection can help mobilize feminist politics or how expressions of abjection inflect class, race, and gender hierarchies, the contributors demonstrate the importance of competing uses of abjection to contemporary society and politics. They emphasize abjection's role in circumscribing the boundaries of the human and how the threats abjection poses to the self and other, far from simply negative, open up possibilities for radically new politics. Maggie Hennefeld is Assistant Professor of Cultural Studies and Comparative Literature at the University of Minnesota, Twin Cities. Her Twitter handle is @magshenny. Nicholas Sammond is Associate Professor of Cinema Studies at the University of Toronto. Joel Tscherne is an adjunct history general studies professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the films of Larry Clark to the feminist comedy of Amy Schumer to the fall of Louis C. K., comedic, graphic, and violent moments of abjection have permeated twentieth- and twenty-first-century social and political discourse. The contributors to Abjection Incorporated: Mediating the Politics of Pleasure and Violence (Duke University Press, 2020) move beyond simple critiques of abjection as a punitive form of social death, illustrating how it has become a contested mode of political and cultural capital—empowering for some but oppressive for others. Escaping abjection's usual confines of psychoanalysis and aesthetic modernism, core to theories of abjection by thinkers such as Kristeva and Bataille, the contributors examine a range of media, including literature, photography, film, television, talking dolls, comics, and manga. Whether analyzing how comedic abjection can help mobilize feminist politics or how expressions of abjection inflect class, race, and gender hierarchies, the contributors demonstrate the importance of competing uses of abjection to contemporary society and politics. They emphasize abjection's role in circumscribing the boundaries of the human and how the threats abjection poses to the self and other, far from simply negative, open up possibilities for radically new politics. Maggie Hennefeld is Assistant Professor of Cultural Studies and Comparative Literature at the University of Minnesota, Twin Cities. Her Twitter handle is @magshenny. Nicholas Sammond is Associate Professor of Cinema Studies at the University of Toronto. Joel Tscherne is an adjunct history general studies professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices

The latest episode sees The Cinematologists going deep on some of the central conversations in contemporary film culture, joined by the peerless So Mayer & Girish Shambu.  Coinciding with So's 'A Queer Toolkit for Blowing Up The Canon' talk at HOME in Manchester, and Girish visiting the UK for the Queer & Feminist Cinephilia Workshop at the University of Birmingham, Neil talked to them both about canons, cinephilia and the responsibility of cinephiles in the current moment. Following that conversation, Neil and Dario share their thoughts on the state of current online discourse and share their vulnerabilities about their place in it, coming back to the sanctuary of the podcast as a space that feels positive and discursive and does good work in promoting positive cinephilia and opening up the conversation to and about different voices. Many thanks to So and Girish for their time and incredible wisdom and thoughtfulness. It's an honour to feature such important and inspiring film thinkers on The Cinematologists. Girish Shambu - Time's Up For The Male Canon Girish Shambu - For A New Cinephilia (A Manifesto) So Mayer on Twitter Girish Shambu on Twitter --- On the episode So and Girish shout out some colleagues and people doing great writing and publishing that captures the essence and spirit and tone of the work of New Cinephilia and challenging the canon. Here's where listeners can find them: Another Gaze, Cleo Journal, MAI, Maggie Hennefeld, Devika Girish, Veronica Fitzpatrick, Kelley Dong, Miriam Bale, Alissa Wilkinson, Monica Castillo, Pamela Hutchinson, Erika Balsom, Elena Gorfinkel.  Also listen on: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists  

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Edited by Nicholas Baer of the University of Chicago, Maggie Hennefeld of the University of Minnesota, Twin Cities, Laura Horak, and Gunnar Iversen, both of Carelton University, Unwatchable (Rutgers University Press, 2019) is interesting on both an academic and popular level. Learn more about your ad choices. Visit megaphone.fm/adchoices

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Edited by Nicholas Baer of the University of Chicago, Maggie Hennefeld of the University of Minnesota, Twin Cities, Laura Horak, and Gunnar Iversen, both of Carelton University, Unwatchable (Rutgers University Press, 2019) is interesting on both an academic and popular level. Learn more about your ad choices. Visit megaphone.fm/adchoices

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Edited by Nicholas Baer of the University of Chicago, Maggie Hennefeld of the University of Minnesota, Twin Cities, Laura Horak, and Gunnar Iversen, both of Carelton University, Unwatchable (Rutgers University Press, 2019) is interesting on both an academic and popular level. Learn more about your ad choices. Visit megaphone.fm/adchoices

We all have images that we find unwatchable, whether for ethical, political, or sensory and affective reasons. Yet what does it mean to proclaim something “unwatchable”: disturbing, revolting, poor, tedious, or literally inaccessible? With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. Edited by Nicholas Baer of the University of Chicago, Maggie Hennefeld of the University of Minnesota, Twin Cities, Laura Horak, and Gunnar Iversen, both of Carelton University, Unwatchable (Rutgers University Press, 2019) is interesting on both an academic and popular level. Learn more about your ad choices. Visit megaphone.fm/adchoices

Unwatchable, unreadable, or merely hard to find. It all adds up on this episode of Open Stacks as excesses of art and life are on (and off) display. Uncover your eyes and ears as editors Nicholas Baer, Maggie Hennefeld, and Laura Horak discuss our mediated era and contemporary modes of spectatorship in Unwatchable, and other books worth reading closely. From the front lines of the Front Table, Rachel Galvin's News of War examines early 20th century poetry's critical distance from cultures of war. And Co-op Manager Adam Sonderberg esteems value in books browsed and left behind.

In our final episode of 2017, we feature an interview with outgoing Cinema Journal editor Will Brooker addressing the past and future of the Society for Cinema Studies’ journal. In addition, we feature an interview with Maggie Hennefeld on her work as co-chair of the Comedy and Humor Studies Scholarly Interest Group (SIG) and her upcoming book Specters of Slapstick and Silent Film Comediennes. 

November 30, 2017 marked the 350th anniversary of the birth of one the world's great satirists, Jonathan Swift. To honour the occasion I thought it would be fitting to interview an expert on humour, in this, the age of Trump. So I met recently with Maggie Hennefeld, Assistant Professor of Cultural Studies & Comparative Literature at the University of Minnesota, in Minneapolis. We discuss her article Laughter in the Age of Trump that appeared in Flow an online journal of television and media studies. 

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Education Channel » FRED Education Podcast. Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 was first posted on October 10, 2017 at 5:40 pm.©2015 "Fred Education Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

A program of slapstick comedy shorts from the silent cinema starring women who are "a little bit nasty". The post Laura Horak, Maggie Hennefeld – Nasty Women #GCM36 appeared first on Fred Film Radio.

We get professor Maggie Hennefeld into the Magnodome to talk silent films, The Simpsons, and awesome local theaters