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| Acknowledgments | |
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| Introduction: Reclaiming the Archive: Archaeological Explorations toward a Feminism 3.0 | |
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| Gazing Outward: The Spectrum of Feminist Reception History | |
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| Unmasking the Gaze: Feminist Film Theory, History, and Film Studies | |
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| Femmes Fatales, Vampires, Vamps, and Gold Diggers: The Transformation and Narrative Value of Aggressive Fallen Women | |
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| “I wanted life to be romantic, and I wanted to be thin”: Girls Growing Up with Cinema in the 1930s | |
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| The “True Love” of Elizabeth Taylor and Richard Burton | |
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| “She Will Never Look”: Film Spectatorship, Black Feminism, and Scary Subjectivities | |
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| Rewriting Authorship | |
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| Lois Weber, Star Maker | |
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| Reading as a Woman: The Collaboration of Ayako Wakao and Yasuzo Masumura | |
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| Women in the Nouvelle Vague: The Lost Continent? | |
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| Investigating an Interval: Sarah Bernhardt, Hamlet, and the Paris Exposition of 1900 | |
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| Vision and Visibility: Women Filmmakers, Contemporary Authorship, and Feminist Film Studies | |
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| Black and White: Mercedes de Acosta's Glorious Enthusiasms | |
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| Excavating Early Cinema | |
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| Vitagraph Stardom: Constructing Personalities for “New”Middle-Class Consumption | |
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| Clara, Ouida, Beulah, et. al.: Women Screenwriters in American Silent Cinema | |
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| Making More than a Spectacle of Themselves: Creating the Militant Suffragette in Votes for Women | |
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| Visualizing the Modern Mexican Woman: Santa and Cinematic Nation-Building | |
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| Sisters in Rebellion: The Unexpected Kinship of Germaine Dulac and Virginia Woolf | |
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| Constructing a (Post) feminist Future | |
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| “Misty Water-Colored Memories of the Way We Were…” Postfeminist Nostalgia in Contemporary Romance Narratives | |
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| On Cyberfeminism and Cyberwomanism: High-Tech Mediations of Feminisms Discontents | |
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| The Birth of the Local Feminist Sphere in the Global Era: Yeoseongjang and “Trans-cinema” | |
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| The Future of the Archive: An Interview with Lynn Hershman Leeson | |
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| Contributors | |
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| Index | |