The Kiss (1896) is among the most iconic artifacts of American cinema; yet, the film has long puzzled film scholars. At the advent of cinema, why did audiences respond to this seemingly simple kiss with extreme visceral reactions such as hysterical laughter or condemnation of the film as pornography? This paper reconsiders The Kiss in light of the recently rediscovered Something Good—Negro Kiss (1898) placing both these films in relation to actor-director Olga Nethersole’s queer influence on turn-of-the-twentieth-century popular culture. Leaning on foundational texts by Charles Musser, Linda Williams, and Siobhan Somerville and drawing on recent work by Susan Potter, Allyson Nadia Field, and Jacqueline Najuma Stewart, this paper intervenes in the “presumed innocent” discourse of sexuality during the novelty film period. I argue that The Kiss was so controversial because the sex act it stood in for was a queer act, a lesbian kiss.
The Kiss: Forgetting Film History
Kiki Loveday is an artist and scholar whose work engages feminist practice, queer historiography, and the moving image. Her scholarly writing has been published by Framework and The Women Film Pioneers Project and is forthcoming in Early Popular Visual Culture. Her creative projects have exhibited from UnionDocs in New York City to The Virginia Scott Galleries of American Art at The Huntington in Los Angeles. Kiki cofounded The Women in the Director’s Chair Oral History Project at Tisch/NYU. S/he recently defended her doctoral dissertation, Sapphic Cinemania! Female Authorship, Queer Desires, and the Birth of Cinema, at University of California Santa Cruz.
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Kiki Loveday; The Kiss: Forgetting Film History. Feminist Media Histories 1 July 2022; 8 (3): 178–215. doi: https://doi.org/10.1525/fmh.2022.8.3.178
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