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Modernist Women and Visual Cultures

Virginia Woolf, Vanessa Bell, Photography and Cinema

Maggie Humm

Hardback (Printed to Order)

An exploration of modernist women's distinctive role in domestic and cinema arts in the context of current debates about gender and modernism.

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1.Modernism,gender,photography and Woolf's 'Portraits'
2. Matrixial Memories: Virginia Woolf's Photo Albums
3. Modernism, the Maternal and the Erotic: Vanessa Bell's Photo Albums
4. Modernism, cinema, gender and Borderline
5. Modernist women and cinema
6. Memory, photography and modernism: Woolf's Three Guineas
7. Afterword and Woolf's essays on modernism

About the Author

Maggie Humm is a Professor of Cultural Studies in the School of Humanities and Social Science at the University of East London. She is the author of many books including Snapshots of Bloomsbury: The Private Lives of Virginia Woolf and Vanessa Bell (Tate Publishing & Rutgers University Press, 2006) and Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell, Photography and Cinema (Edinburgh University Press & Rutgers University Press 2002).


A beautifully presented text [which] will have a great impact not only on the position of Woolf and other modernist women and their role in and for the modernist tradtion, but also on the ways we can read the interrelations between the textual and visual.
Imaginative and original interpretations supported by careful and insightful readings of both images and texts make this book an indispensable resouce for students not only of Woolf, but also of Modernism, visual culture, gender, and the complex relations among them.
Humm's book offers an engrossing and pleasurable overview of modernist women's engagement with the new technologies of photography and cinema. It is full of myriad fascinating details and is visually appealing. It has thick glossy pages and features many black and white photographs.
Humm’s book is most valuable in its detailed discussions of Vanessa and Virginia Stephen’s early and long-lasting fascination with photography. Here her argument that photographs are carriers of gendered memories is original and persuasive.