Shelley Stamp

Professor, Film & Digital Media
Silent Cinema, Female Filmmakers, Film Censorship, Histories of Moviegoing, Early Hollywood
Phone: 831-459-4462
Fax: 831-459-1341
Office: 107 Communications
Education and Training: 
Ph.D., Cinema Studies, New York University
M.A., Cinema Studies, New York University
B.A., Cinema Studies, University of Toronto
Research Interests: 

A leading expert on women and early film culture, I am interested in tracing the contributions women made to early Hollywood as filmmakers, moviegoers, performers, critics and theorists. My research has been supported by grants from the National Endowment for the Humanities, the Academy of Motion Picture Arts and Sciences, and the UC President's Fellowship.  I have served as a consultant for the National Film Preservation Foundation, EYE Film Institute Netherlands, Turner Classic Movies, and the American Movie Classics cable channel. My expert commentary has appeared on several DVD releases of rare silent films.  I am Founding Editor of, Feminist Media Histories: An International Journal, and am currently at work on a comprehensive history of Women and the Silent Screen in America, co-authored with Anne Morey

Selected Publications: 

BOOKS & EDITED COLLECTIONS:

Lois Weber in Early Hollywood (University of California Press, 2015)

Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon (Princeton University Press, 2000).

"Women and the Silent Screen." A special issue of Film History 18, no. 2 (2006), co-edited with Amelie Hastie. 

 American Cinema's Transitional Era: Audiences, Institutions, Practices, co-edited with Charlie Keil (University of California Press, 2004).

SELECTED ARTICLES & BOOK CHAPTERS:

"Critics, Reformers, and Educators: Film Culture as a Feminine Sphere," in Silent Women: Pioneers of Cinema (Aurora Metro Books, forthcoming).

"Feminist Media Historiography and the Work Ahead," Screening the Past, 40 (2015).

"Lois Weber," in Fifty Hollywood Film Directors (Routledge, 2014).

"Lois Weber at Rex: Peforming Femininity Across Media," in Performing New Media, 1890-1915 (John Libbey Publishing, 2014).

"Women and the Silent Screen," in The Wiley-Blackwell History of American Film, Volume I: Origins to 1928 (Blackwell Publishers, 2012).

"'Exit Flapper, Enter Woman', or Lois Weber in Jazz Age Hollywood," Framework: The Journal of Film and Media 51, no. 2 (2010), 358-87.

"Lois Weber, Star Maker," in Reclaiming the Archive: Feminism and Film History (Wayne State University Press, 2010).

"1916: Movies and the Ambiguities of Progressivism," in American Cinema of the 1910s: Themes and Variations (Rutgers University Press, 2009).

“Lois Weber and the Celebrity of Matronly Respectability,” in Looking Past the Screen: Case Studies in American Film History and Method  (Duke University Press, 2007)."Presenting the Smalley, 'Collaborators in Authorship and Direction'," Film History 18, no. 2 (2006): 199-28.“Lois Weber, Progressive Cinema and the Fate of ‘Our Work-A-Day Girls’ in Shoes,” Camera Obscura 56 (2004): 140-69.

"It's a Long Way to Filmland": Starlets, Screen Hopefuls and Extras in Early Hollywood," in American Cinema’s Transitional Era: Audiences, Institutions, Practices (University of California Press, 2004).

"An Awful Struggle Between Love and Ambition: Serial Heroines, Early Celebrity and Modern Femininity," in Silent Cinema Reader (Routledge, 2003).

"Taking Precautions, or Contraceptive Technology and Cinema's Regulatory Apparatus," in The Feminist Reader in Early Cinema (Duke University Press, 2002).

DVD COMMENTARIES: Traffic in Souls, Perils of the New Land, Flicker Alley, 2008 | Where Are My Children?, Treasures from American Film Archives III, National Film Preservation Foundation, 2007 |  The Blot, Milestone Video, 2003

Teaching Interests: 

History of American Film, Silent Cinema, Film Noir, Censorship & the Production Code, Female Filmmakers