Girl Head

Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen.

Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen.

'The first time I read Freya’s work I thought . . . uh oh. And then I thought, you have got to be kidding me. And then I thought, God fucking dammit. And then I walked around the house shaking my head thinking . . . OK – alright. And then – finally – I thought, well well well – like a smug policeman. Listen – she’s just the best. I’m going to say this so seriously. She is, unfortunately, the absolute best. Trying to write a clever blurb for her feels like an insult to how right and true and deadly this collection is. God, she’s just so good. She’s the best. She kills me always, every time, and forever.’ —Hera Lindsay Bird

“My name is Harriet Manners, and I will always be a geek.” The fifth book in the bestselling, award-winning GEEK GIRL series.

"The Head Girl at the Gables" by Angela Brazil. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

Elinor M. Brent-Dyer was born Gladys Eleanor May Dyer on April 6, 1894 in South Shields, in the northeast of England. She wrote over a hundred books of children’s literature during her life. From lower middle-class roots, she went to a small private school and became a teacher after attending the City of Leeds Training College. As a teacher, she worked at both public and private schools, and even as a governess. She had an interest in the theater, and her first book Gerry Goes to School (the first in her La Rochelle series) was written in 1922 --for the child actress Hazel Bainbridge. About this time, inspired by a vacation to the Austrian Alps, she wrote The School at the Chalet in 1923 (the first in her Chalet School series). Brent-Dyer continued to teach and tried rather unsuccessfully to run her own school from 1938 to 1948. After this, she quit teaching but continued writing until her death on September 20, 1969 in Redhill, Surrey.