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Editorial
Drake Stutesman

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Erice’s Songs: Nature as Music/Music as Nature
Linda C. Ehrlich and Calia Martínez García

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Artistic Testament or Final Exorcism? Passion and Tragedy in Bergman’s Saraband
Miguel Lomillos

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Introduction: Transnationalizing Women’s Film History
Christine Gledhill

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World Women: Still Circulating Silent Era Film Prints
Jane M. Gaines

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Women’s Film History Project: Issues of Transnationalism
Bryony Dixon

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On Frieda Klug, Pearl White, and Other Traveling Women Film Pioneers
Monica Dall'Asta

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Women, Empire, and British Cinema History
Emma Sandon

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Tackling Universal Women as a Research Problem: What Historiographic Sources Do and Don’t Tell Us about “Gender” in the Silent Motion Picture Studio
Mark Garrett Cooper

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A Historical Overview of NFTVA/BFI Collection Development Policies with Regard to Gender and Nation Questions
Elaine Burrows

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Women Filmmakers and Postfeminism in the Age of Multimedia Reproduction: A Virtual Archive for Women’s Cinema
Rosanna Maule

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Women’s Film History: Columbia University and the Museum of Modern Art, March 2010
Drake Stutesman

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“Exit Flapper, Enter Woman,” or Lois Weber in Jazz Age Hollywood
Shelley Stamp

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A New Eroticism or Merely a New Woman? Cecil B. DeMille’s Adaptation of Alice Duer Miller’s Manslaughter
Anne Morey

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Toward the Development of a Modern “Impressionist” Cinema: Germaine Dulac’s La Belle Dame sans merci (1921) and the Deconstruction of the Femme Fatale Archetype
Tami Williams

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Screen Theory Goes to Australia
Constantine Verevis