Figure 1. Ann Thomas in 2020. More

Figure 2. Zach Barack (far left) in Spider-Man: Far from Home (dir. Jon Watts), 2019. More

Figure 3. Zoey Luna (far right) in The Craft: Legacy (dir. Zoe Lister-Jones), 2020. Image courtesy Sony Pictures Entertainment. More

Figure 1. Medical illustrations of women’s bodies experiencing hysterical attacks using lines to suggest physical movement, titled “Période Épileptoïde de la Grande Attaque Hystérique” (top) and “Période de Clownisme de la Grande Attaque Hystérique” (bottom). Jean-Martin Charcot and Paul Richer, ... More

Figure 2. The masked woman in La Neuropatologia (Neuropathology, dir. Roberto Omegna), 1908, struggles for several seconds until doctors subdue her on the bed, holding down her flailing body and pressing on her abdomen. Image courtesy Coll. Museo Nazionale del Cinema. More

Figure 3. Performing mental distress to thwart the camera’s eye / branding iron. Frame enlargements from Photographing a Female Crook (dir. Wallace McCutcheon), 1904. More

Figure 4. The female crook, out of character, relaxes and fixes her hair in the final frames of Photographing a Female Crook (dir. Wallace McCutcheon), 1904. More

Figure 5. On the set of La Neuropatologia (Neuropathology, dir. Roberto Omegna), 1908, the masked woman, now unmasked, smiles for the camera alongside Dr. Camillo Negro and his assistant, Giuseppe Roasenda. Image courtesy Coll. Museo Nazionale del Cinema. More

Figure 6. The mother goes mad, raising her hands in a gesture of madness, after the fire in Le violon (The Violin, dir. Louis Feuillade), 1907. A Gaumont production. Reproduced by permission of Gaumont-Pathé Archives. More

Figure 7. Madwomen surround the mother in the asylum scene in Le violon (The Violin, dir. Louis Feuillade), 1907. A Gaumont production. Reproduced by permission of Gaumont-Pathé Archives. More

Figure 8. Hands up! Delsarte’s gesture for “Anguish” (left), Salpêtrière patient (center), and Sarah Bernhardt in Adrienne Lecouvreur (right). More

Figure 9. Jacqueline (Fabienne Fabrèges) drops her basket when she hears the soldier report that her fiancé, Roger, is dead in L’Angélus de la victoire (Angel of Victory, dir. Léonce Perret), 1916. A Gaumont production. Reproduced by permission of Gaumont-Pathé Archives. More

Figure 10. Jacqueline (Fabienne Fabrèges) and her Roger doll, the latter partly visible at lower right, on the beach in L’Angélus de la victoire (Angel of Victory, dir. Léonce Perret), 1916. A Gaumont production. Reproduced by permission of Gaumont-Pathé Archives. More

Figure 1. Sadie Benning, A New Year , 1989. Image © Sadie Benning, courtesy Video Data Bank at the School of the Art Institute of Chicago, vdb.org. More

Figure 2. Sadie Benning, If Every Girl Had a Diary , 1990. Image © Sadie Benning, courtesy Video Data Bank at the School of the Art Institute of Chicago, vdb.org. More

Figure 3. Sadie Benning, Flat Is Beautiful , 1998. Image © Sadie Benning, courtesy Video Data Bank at the School of the Art Institute of Chicago, vdb.org. More

Figure 1. Left: still from Lichtspiel Opus 3 (dir. Walter Ruttmann), 1924; right: still from Die Abenteuer des Prinzen Achmed (The Adventures of Prince Achmed, dir. Lotte Reiniger), 1926. Reiniger image courtesy Christel Strobel, Primrose Film Productions. More

Figure 2. Walter Ruttmann with dowel rack. UFA publicity brochure, Die Abenteuer des Prinzen Achmed , R 15611, Lotte Reiniger Archive, Stadtmuseum Tübingen. © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. More

Figure 3. A filmstrip from Lichtspiel Opus 3 (dir. Walter Ruttmann), 1924, featuring Ruttmann’s clay dowels pictured alongside a filmstrip from Emak Bakia (dir. Man Ray) 1926, in Hans Richter’s catalogue for the 1929 Internationale Ausstellung des Deutschen Werkbundes: Film und Foto , Stuttga... More

Figure 4. The magician conjures the magic horse in Die Abenteuer des Prinzen Achmed (The Adventures of Prince Achmed, dir. Lotte Reiniger), 1926. Image courtesy Christel Strobel, Primrose Film Productions. More