| Book Review | The Journal of American History, 94.2

You have not been recognized as a subscriber to JAH online. About 175 words from this article are provided below; about 382 words remain.

If you are a individual member of the Organization of American Historians, you may:: • login here if you have already registered for online access.; • Or if you're already logged in register your subscription.
• Set up your online account for the first time.
If you are not a member of the Organization of American Historians, you can:: • Join the OAH and receive many member benefits including print and electronic issues of the Journal of American History.
• Purchase a research pass to gain two-hour access to the entire History Cooperative web site. You will have full access to current issues of the Journal of American History (86.1-present). Note: the Research Pass does not provide access to JSTOR's holdings of the Journal of American History.
Instititutions can:: • Subscribe to this journal and receive print and electronic issues.
• Activate your existing subscription so that we recognize your IP number ranges.

| Book Review | The Journal of American History, 94.2 | The History Cooperative

Book Review

Cupboards of Curiosity: Women, Recollection, and Film History. By Amelie Hastie. (Durham: Duke University Press, 2007. xii, 242 pp. Cloth, $74.95, ISBN 978-0-8223-3676-1. Paper, $21.95, ISBN 978-0-8223-3687-7.)

There is much to commend in Amelie Hastie's imaginative, innovative, and feminist study of the intersections between memory, film history, and critical theory. Above all, Cupboards of Curiosity reveals new possibilities for recovering the oeuvre of women engaged in the creation of American film. The author does this by exploring largely untapped sources including memoirs, cookbooks, scrapbooks, and other artifacts for what these ephemera say and how they present themselves visually. Of extraordinary interest, these sources are used by Hastie to liberate Hollywood's women—Colleen Moore, Louise Brooks, and Alice Guy-Blaché—who were flattened by the fiction of celluloid and to refashion them into the multidimensional writers and thinkers they were. This slim volume thus contributes to the ongoing discussion among students of film culture that places women at the center rather than the periphery and engages the debate around authorship in fresh and thoughtful ways.

. . .

There are about 382 more words in this article. Please log in (or, if you are not yet an authorized user, please go to the User Setup page) to gain full access rights. Or if you're already logged in register your subscription.