SCMS 2017 Conference Updates

As the 2017 Conference in Chicago approaches us, I wanted to update you on the group’s events and news.


Our meeting will be on Wednesday, March 22, at 4:00PM in the Burnham Ballroom A. We will cover the previous year’s accomplishments and discuss priorities for the upcoming year. (We realize the Wednesday time will not work for everyone, but competition for meeting times among the SIGs is fierce!)

In addition, we will be having a happy hour social event Thursday from 7:00 to 9:00PM, in conjunction with the Silent Cinema and the Sound & Music Studies SIGs. It will be at the Columbus Tap Room in the Fairmount Hotel. We will have hors d’oeuvres and free drinks for those who arrive first, until our tab runs out.

I hope you can make one or both of these events.


If there is any matter you would like to see discussed at our annual meeting, whether you can attend or not, please drop the co-chairs a line at our emails: Chris Cagle ( and Emily Carman (


If any member is interested in tweeting about Classical Hollywood studies papers at the conference and is interested in contributing to the SIG’s Twitter account (@ClsscHollywood), please let us know and we can make arrangements.


At our last meeting, the group agreed that we should track member publications to circulate before and at the conference. If you have published any book, essay in an edited volume, or journal article on Classical Hollywood cinema since the last SCMS conference, please feel free to send Chris Cagle an email at, by Friday, March 17.


Last but not least, we are able to sponsor eight panels/workshops in the conference program. Full details on these are included below, along with information on other panels and papers relevant to Classical Hollywood studies. As you can see, there are many. It is gratifying to see the number of papers and the range of methodologies.
I hope to see many of you in Chicago. We will ramp up our website posting and Twitter activity in advance of the conference, so feel free to keep up with us online:
Twitter: @ClsscHollywood


Chris Cagle



B5: Complex Figures in Classic Hollywood
Chair: Delia Konzett (University of New Hampshire)
Delia Konzett (University of New Hampshire), “Racial Fantasy and Colonial Gaze in Pre-Code Racial Adventure Films: W.S. Van Dyke’s Shadows of the South Seas and Tarzan the Ape Man
Stephen Sharot (Ben-Gurion University of the Negev), “Class Passing in Cross-class Romance Films of the 1930s: Societal Comparisons”
Katherine Fusco (University of Nevada, Reno), “Cluck Cluck Clams and Baby Burlesks: Child Stars and the Marketing of Wholesome Hollywood”
Andree Lafontaine (Aichi University), “‘Eating Chinese’: Chop Suey Identity in 1930s Hollywood”

E6: Hollywood Archives: Race, Indigeneity, and Labor Politics
Chair: Philana Payton (University of Southern California)
Philana Payton (University of Southern California), “The Black List: What the Archive Reveals about Film and Race in the Hollywood Studio System”
Katherine Quanz (Wilfrid Laurier University), “Enacting Union Lines: Equity, SAG, and the Battle for the Stars, 1933-1937”
Jacob Floyd (Oklahoma State University), “DeMille’s Useful History: The Changing Indigenous Metaphors in the Development, Production, and Promotion of North West Mounted Police”
Raven Maragh (University of Iowa), “Race and Diaspora Online: Lessons from the 20th Century Black International”


J14: Local Codes: The Production Code Administration and Film Reception
Chair: Steven Carr (Indiana University-Purdue University Fort Wayne)
Respondent: Walter Metz (Southern Illinois University)
Steven Carr (Indiana University-Purdue University Fort Wayne), “Inside the Chicago Exhibition of Inside Nazi Germany (RKO, 1938)”
Benjamin Strassfeld (University of Michigan), “The Politics of Detroit Movie Censorship”
Monica Sandler (University of California, Los Angeles), “The Road to the Advertising Code: The Problem of Advertising in Hollywood (1924-1934)”


L2 The Mirrors of Hollywood: Strategies of Self-representation
Chairs: Charlie Keil (University of Toronto) and Denise McKenna (University of Southern California)

  • Doron Galili (Stockholm University), “Early Hollywood Theorizes Itself”
  • Charlie Keil (University of Toronto) and Denise McKenna University of Southern California), “The Mirrors of Hollywood: Strategies of Self-representation”
  • Mark Lynn Anderson (University of Pittsburgh), “Today the World, Tomorrow Hollywood: Film History as Effigy at the Los Angeles Museum during the 1930s”


P8: Fan Magazine Research: Micro, Macro, Meta
Chair: Tamar Jeffers McDonald (University of Kent)

  • Tamar Jeffers McDonald (University of Kent), “‘Do you know the menace of Reduceomania?’: Fan Magazines, Stars, and the Perfectible Body”
  • Adrienne L. McLean (University of Texas at Dallas), “‘Give Them a Good Breakfast, Says Nancy Carroll’:Fan Magazine Advice across Time”
  • Lea Whittington (Margaret Herrick Library), “Fashion, Gossip, Studios, and Stars: Exploring the Margaret Herrick Library Periodical Collection”
  • Mary Desjardins (Dartmouth College), “Fan Magazines for Dummies: Formal Analysis and Intertextual Considerations”

P19: Historiographical Approaches and Challenges in Researching the Centennial History of the Hollywood Film Studios
Chair: Yannis Tzioumakis (University of Liverpool)
Workshop Participants:

  • Thomas Schatz (University of Texas Austin)
  • Douglas Gomery (University of Maryland/Library of American Broadcasting)
  • Clara Pafort-Overduin (Utrecht University)
  • Frederick Wasser (Brooklyn College)
  • Matthew H. Bernstein (Emory University)

Q7: Ladies of Labor: Working in the Classical Hollywood Era
Chairs: Julie Grossman (Le Moyne College) and Will Scheibel (Syracuse University)

  • Julie Grossman (Le Moyne College), “Ida Lupino and Labors of Authorship and Star Performance in Classic Hollywood”
  • Will Scheibel (Syracuse University), “Gene Tierney, “Troubled Beauty”: Star Labor, Mental Health, and Narratives of Recuperation”
  • Steven Cohan (Syracuse University), “The “Screen-struck” Girl on Film: The Cost of Stardom in What Price, Hollywood?
  • Sheri Chinen Biesen (Rowan University), “Images of Women’s Labor in Postwar Gothic Film Noir”


S16: Nazis, Fascists, Reds, and Hollywood: Ideological Complexities and the American Film Industry, 1933-1947
Chair: Chuck Maland (University of Tennessee)

  • Steven Ross (University of Southern California), “The Secret Life of George Gyssling: German Consul General in Los Angeles”
  • Amanda Minervini (Colorado College), “Mussolini Speaks (1933): Il Duce’s American Biopic”
  • Chuck Maland (University of Tennessee), “Readers Tangle with Agee: The Perils of Movie Reviewing in World War II and Beyond”
  • Thomas Doherty (Brandeis University), “The Waldorf Statement: In the Room where It Happened”


B13: The Screen Legacy of the Group Theatre: Adler, Garfield, Brando, and De Niro
Chair: Cynthia Baron (Bowling Green State University)

  • Cynthia Baron (Bowling Green State University), “The Strasberg-Adler Clash in 1934: A Window into the History of Acting”
  • Justin Rawlins (University of Tulsa), “Pre- and Re-historicizing the Method: John Garfield, the Group Theatre, and the Paratexts of Performance”
  • Scott Balcerzak (Northern Illinois University), “Marlon Brando and the Adler Tradition: Stanislavskian and Yiddish Characterizations”
  • R. Colin Tait (Texas Christian University), “Letters from Gadg: De Niro, Kazan, and The Last Tycoon”

B17: Packaging Movies: Exhibition and Booking
Chair: Bradley Schauer (University of Arizona)

  • Jessica Whitehead (York University), “From Blind Pigs to Movie Palaces: The Rise and Decline of the Palace Theatre in Timmins, Ontario”
  • Derek Long (University of Wisconsin-Madison), “‘Every Production to Stand on Its Own Merit’: Selective Distribution and Early Hollywood’s ‘Open Market Bunk,’ 1918-1922”
  • Bradley Schauer (University of Arizona), “The Secret Weapon of the ‘Major Minor’: Universal-International and the Postwar Programmer”
  • Claire Jesson (University of Warwick), “Experiencing the Difference: Film Exhibition as Represented in Movie Theater Policy Trailers”

F7: Extending the ‘Margins’ of Received Latinx/Latin American Film Historiography
Chair: Naida Garcia-Crespo (United States Naval Academy)

  • Colin Gunckel (University of Michigan), “LA/LA Land: The Challenges of Researching and Programming Transnational Film History”
  • Frank García (University of Illinois at Urbana-Champaign), “Boxing Racism: Latina Representation, National Discourse, and The Ring (1952)”
  • Naida Garcia-Crespo (United States Naval Academy), “Romancing the US Hispanic Market: Juan Viguié’s Romance Tropical and US/Puerto Rican Film Coproduction in the 1930s”
  • Irene Rozsa (Concordia University), “Latin American Experimental Filmmaking: Kaleidoscopio (1945) and the Amateur Cinema League”

H11: Hearing Queer Voices in Genre Cinema: Horror and the Musical
Chairs: Joseph Wlodarz (University of Western Ontario) and Allison McCracken (DePaul University)

  • Allison McCracken (DePaul University), “Bobby Breen and the Cultural Work of the Boy Soprano”
  • Sean Griffin (Southern Methodist University), “With a Smile and a Song: The Queerness of Snow White’s Voice”
  • Joseph Wlodarz (University of Western Ontario), “Coding the Male Scream in Classic Horror Cinema”
  • Morgan Woolsey (University of California, Los Angeles), “Listening to the Lesbian Vampire”

J2: Theorizing Craft: History and Interpretation of Below-the-line Creative Work
Chair: Chris Cagle (Temple University)
Workshop Participants:

  • Patrick Keating (Trinity University)
  • Paul Monticone (University of Texas at Austin)
  • Bob Rehak (Swarthmore College)
  • Chris Cagle (Temple University)

J16: Color, Desire, and the Moving Image
Chair: Thomas West (Syracuse University)

  • Hannah Garibaldi (Chapman University), “Blood, Sand, and Sexuality: Chromatically Deviating from the Hollywood Production Code”
  • Thomas West (Syracuse University), “The (Un)fortunate Fall into Color: The Technicolor Sex Drive and the Unquiet Pleasures of History in Cecil B. DeMille’s Samson and Delilah
  • Allain Daigle (University of Wisconsin-Milwaukee), “Of Love and Longing: Color and Queer Nostalgia in Carol (2015)”
  • M.M. Chandler (Santa Monica College), “Loving an Artificial Image: Kodachrome Color Aesthetics”

M1: Somatic Beats, Synesthesia, and Hallucinogenic Vision
Chair: Michael DeAngelis (DePaul University)

  • Catherine Clepper (University of Washington), “The Dream (Ol)Factory: Scent of Mystery, Hollywood Classicism, and Somatic Spectatorship”
  • Michael DeAngelis (DePaul University), “Hallucinogenic Drug Therapy in American Cinema of the 1960s”
  • Sanja Obradovic (York University), “Stereokino: Unearthing the Revolutionary Potential of the Soviet 3D Cinema”

M14: Transmedia Influences in Hollywood History
Chair: Deron Overpeck (Eastern Michigan University)

  • Hannah Graves (University of Warwick), “‘Magazine Illustration’ Filmmaking: Darryl F. Zanuck, Henry Luce and the Culture of Democracy”
  • Deron Overpeck (Eastern Michigan University), “Packaging the Super Agent: Michael Ovitz and the Rise of Industrial Gossip in Mainstream Journalism”
  • James Rosenow (University of Chicago), “Vertically Integrated Autonomy: The Lesson of Pete Smith and His Specialties”
  • Tiel Lundy (University of Colorado Boulder), “Bosom Buddies: Hollywood and the Lingerie Industry, 1930 – 1949”

N12: Female Authorship and Artistry in Film History and the Entertainment Industry
Chair: Cynthia Lucia (Rider University)

  • Paula J. Massood (Brooklyn College, CUNY), “‘Observe, Look, Listen’: Helen van Dongen as Editor, Filmmaker, and Archivist”
  • J. E. Smyth (University of Warwick), “‘They All Called Me Bobbie’: Gender, Authorship, and Barbara McLean’s Impact on 20th Century-Fox”
  • Roy Grundmann (Boston University), “Dropping in on the Boys: Professionalism and Virtuosity in Caterina Valente’s US TV Appearances”
  • Desiree Garcia (Arizona State University), “‘Go ahead and stare!’: The Musical Stage in Dance, Girl, Dance (1940)”

P7: Directors in Hollywood
Chair: Virginia Wexman (University of Illinois at Chicago)
Respondent: James Naremore (Indiana University)

  • Virginia Wexman (University of Illinois at Chicago), “Hollywood Directors and Their Collaborators”
  • William Luhr (Saint Peter’s University), “Survival in Classical Hollywood: John Ford and Orson Welles”
  • J. D. Connor (University of Southern California), “Go Again: Digital Transformations in Directorial Micropractices”

Q5: The Classroom and the Archive: Teaching Film and Media History Using Digital and Physical Primary Materials
Chair: Emily Carman (Chapman University)
Workshop Participants:

  • Elizabeth Lunden (Stockholm University)
  • Ross Melnick (University of California, Santa Barbara)
  • Jenny Romero (Academy of Motion Picture Arts and Sciences, Margaret Herrick Library)
  • Daniel Steinhart (University of Oregon)
  • Brett Service (University of Southern California)

U6: Home Noir: Gender in Postwar American Film Noir and Domestic Melodrama (1946–1959)
Chair: Therese Grisham (Oakton Community College)

  • Alison McKee (San Jose State University), “Home and Hybridity in Melodrama and Film Noir”
  • Therese Grisham (Oakton Community College), “Recalcitrant Homes: Unmarried Women and Queer Uncles”
  • Merrill Schleier (University of the Pacific), “The Specter of Race in the Post-World War II American Cinematic Suburbs”

V6: Technologies of Leisure, Education, and Surveillance
Chair: Luci Marzola (University of Southern California)

  • Luci Marzola (University of Southern California), “Inventing the Mazda Tests: Industrial Collaboration and the Incandescent Conversion of Hollywood”
  • Emily Rees (University of Nottingham), “Commodifying the Television Set in Britain, 1937–1960”
  • Katie Bird (University of Pittsburgh), “Editing Gunsmoke in the 21st Century: The Educational Projects of the American Cinema Editors and the Society of Motion Picture Editors in the 1950s and 60s”
  • Lindsay Weinberg (University of California, Santa Cruz), “The Rationalization of Leisure: A New Approach to Historicizing Commercial Surveillance”

V14: Scenes of Film Subjection: Slavery on Film and Disciplinary Divides
Chair: Rebecca Wanzo (Washington University in St. Louis)
Workshop Participants:

  • Ellen Scott (University of California, Los Angeles)
  • Martha Jones (University of Michigan)
  • Richard Yarborough (University of California, Los Angeles)
  • Rebecca Wanzo (Washington University in St. Louis)


[A8]: Sam Roggen (Universiteit Antwerpen), “Planimetric Staging and Pictorial Flatness in 1950s CinemaScope”

[A17]:Jason Sperb (Benedictine University), “Save that Gag for the Tourists: Industrial Reflexivity and Post-tourism Narratives in Hollywood’s Hawaii Cycle of the 1930s”

[ A18]: Georgia Luikens (Brandeis University), “Motif and the Mob: Locating On the Waterfront

[D1]: Andrew Falcao (Wilfrid Laurier University), “Tragedy, Ecstasy, Doom: Abstract Expressionism and West Side Story

[E11]: Linda Robinson (University of Wisconsin-Whitewater), “Gram or Glam: The Fairy Godmother as Maternal Helper Character in Disney’s Cinderella (1950) and Cinderella (2015)”

[E15]: Grace Jung (University of California, Los Angeles), “Asian American Masculinity in Classical Hollywood’s Cultural Imaginary”

[G11]: Ryan Friedman (Ohio State University), “‘Mike Fright’: Racial Ventriloquism in the Hollywood Talkies”

[J5]: Julie Nakama (niversity of Pittsburgh), “Tailoring Production Studies: Hollywood Costume, Edith Head’s Fashion Shows, and the Afterlife of Craft Labor”

[K13]: Andrew Nelson (Montana State University), “Delmer Daves, Casualty of Auteurism”

[L6]: Flavia Cesarino Costa (Federal University of São Carlos), “Hollywood Seen from Rio de Janeiro: Musical Numbers in Brazilian Comedies of the 1940s and 1950s and the Work of Watson Macedo”

[M6]: Danny Mendez (Michigan State University), “‘Three Mawnths’ Time and Everybawdy Knows Me’: Maria Montez and the Decolonial Speech Acts of a Dominican Actress in Hollywood in the 1940s”

[N11]: Steve Macek (North Central College), “Nothing Derogatory to Chicago: Local Film Censorship and the Policing of Chicago’s Screen Image”

[P18]: Hannah Frank (University of North Carolina Wilmington), “Arresting Animation: The Poetics and Aesthetics of Stroboscopic Flicker Effects in Hollywood Cartoons, 1920s–1960s””

[R14]: Charlene Regester (University of North Carolina at Chapel Hill), “Ava Gardner Unmasking Whiteness: An Examination of the Complexity of Race in Showboat (1951) and Mogambo (1950)”

[U7]: Michael Slowik (Wesleyan University), “‘Not for Tourists’: Sonic Sparseness in the Films of Alfred Hitchcock”


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