Disappearing women as a persistent trope from nineteenth-century magic through contemporary theory, film, and psychoanalysis
List of Illustrations viii
Acknowledgments xi
Introduction 3
1. Surplus Bodies, Vanishing Women: Conjuring, Imperialism, and the
Rhetoric of Disappearance, 1851–1901 17
2. Insubstantial Media: Ectoplasm, Exposure, and the Stillbirth of
Film 61
3. Mother Knows Best: Magic and Matricide 93
4. Violent Vanishings: Hitchcock, Harlan, and the Politics of
Prestidigitation 129
5. Shooting Stars, Vanishing Comets: Bette Davis and Cinematic
Fading 153
Afterword 189
Notes 195
Works Cited 219
Filmography 233
Index 235
Karen Beckman is Elliot and Roslyn Jaffe Professor of Film Studies at the University of Pennsylvania.
“Karen Beckman has written an eye-opening book, one that travels
across a richly diverse group of texts in order to reveal the
vanishing woman’s historical underpinnings and cultural
work.”—Sabrina Barton
“This highly original and beautifully crafted study explores
feminist film theory, psychoanalysis, and cinema through a cultural
history of the vanishing woman figure—from nineteenth-century
prestidigitation and mediumship to early cinema and across the
twentieth century. In positing the vanishing woman as a significant
corrective to feminist film theory's staple readings of woman as
‘absence or lack,’ or hypervisible spectacle, this book offers a
fascinating and provocative treatment of enduring discussions that
have shaped this field.”—Sharon Willis
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