What Women Want

Abstract

The feeling of being caught between immersion in cinematic fictions and having one’s attention pulled away from them by a range of distractions has shaped the experience of cinema for many decades. In the 1910s, several developments emerged in tandem with each other: the promotion of films and their stars/directors, narrative becoming the dominant form of cinema production, and the materialization of tension between immersion and distraction for audiences. The environment in which 1910s promotional and narrational strategies thrived set the stage for how we have thought about the bodies of women on screen, behind the camera, and in the seats of the theater. This essay focuses on the example of Cleo Madison as a filmmaker, actress, and a site of discursive energy to explore these issues.