Blanche Sewell entered the ranks of negative cutters shortly after graduating from Inglewood High School in 1918. She assisted cutter Viola Lawrence on Man, Woman, Marriage (1921) and became a cutter in her own right at MGM in the early 1920s. She remained an editor there until her death in 1949
This is a modest revision of a paper written for a panel on the past and future of historical editin...
Maria P. Williams, who, like Tressie Souders, also lived in Kansas City, Missouri, produced, distrib...
Bess Meredyth is mentioned in nearly every account of women screenwriters of the silent era, but ver...
Margaret Booth began work as a negative cutter for D. W. Griffith in 1915. After Griffith closed dow...
Viola Lawrence is often credited as Hollywood’s first female film cutter. She began working in film ...
Irene Morra worked as a negative cutter at D. W. Griffith’s Los Angeles studios before becoming a cu...
In 1926, the Los Angeles Times informed readers that “one of the most important positions in the mot...
A Denver native, Loring edited movie trailers before becoming a film cutter for Paramount-Famous Pla...
Anne Bauchens was a St. Louis, Missouri native who, at the age of twenty, moved to New York City in ...
Rose Smith edited a number of D.W. Griffith’s films. According to the Los Angeles Times in 1925, Ros...
A gifted and dedicated writer, Clara Beranger managed a career spanning three decades, as a scenaris...
This project began just after the centennial celebration of the motion picture, during a distinct tu...
In a 1921 Picturegoer article, Jeanie Macpherson advised prospective writers not to worry about subm...
The file attached to this record is the author's final peer reviewed version. The Publisher's final ...
2018/2019 2nd place award winner. This paper explores the idea that the 1920s filmmaking was recogn...
This is a modest revision of a paper written for a panel on the past and future of historical editin...
Maria P. Williams, who, like Tressie Souders, also lived in Kansas City, Missouri, produced, distrib...
Bess Meredyth is mentioned in nearly every account of women screenwriters of the silent era, but ver...
Margaret Booth began work as a negative cutter for D. W. Griffith in 1915. After Griffith closed dow...
Viola Lawrence is often credited as Hollywood’s first female film cutter. She began working in film ...
Irene Morra worked as a negative cutter at D. W. Griffith’s Los Angeles studios before becoming a cu...
In 1926, the Los Angeles Times informed readers that “one of the most important positions in the mot...
A Denver native, Loring edited movie trailers before becoming a film cutter for Paramount-Famous Pla...
Anne Bauchens was a St. Louis, Missouri native who, at the age of twenty, moved to New York City in ...
Rose Smith edited a number of D.W. Griffith’s films. According to the Los Angeles Times in 1925, Ros...
A gifted and dedicated writer, Clara Beranger managed a career spanning three decades, as a scenaris...
This project began just after the centennial celebration of the motion picture, during a distinct tu...
In a 1921 Picturegoer article, Jeanie Macpherson advised prospective writers not to worry about subm...
The file attached to this record is the author's final peer reviewed version. The Publisher's final ...
2018/2019 2nd place award winner. This paper explores the idea that the 1920s filmmaking was recogn...
This is a modest revision of a paper written for a panel on the past and future of historical editin...
Maria P. Williams, who, like Tressie Souders, also lived in Kansas City, Missouri, produced, distrib...
Bess Meredyth is mentioned in nearly every account of women screenwriters of the silent era, but ver...
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