The Fall 2010 recipients were as follows:
Major: Cinema Studies
Project Title: "Triumph of the Women"
Project Description: Charlotte will be making a documentary about women's role in filmmaking through the ages. Charlotte will interview four women important to film history: Actors Shirley Temple and Brigitte Bardot, filmmakers Maya Deren and Leni Riefenstahl. However, instead of actually meeting and interviewing these women in the flesh, Charlotte will become each character and be the interviewee as well as the interviewer. The project hopes to raise questions about women's place in the film world as an actress and filmmaker, and ways in which this can be problematic and groundbreaking. It is untitled as the moment.
Major: Comparative American Studies
Project Title: "Bitches, Balls, and Bingo"
Project Description: Forthcoming
Major: Art History & East Asian Studies
Project Title: New Women, Anxious Men: Illustrating a Vision of Modern Japan in the Bijin-ga of Itô Shinsui
Project Description: Thanks to the Leah Freed Memorial Prize Award, I traveled to the Museum of Fine Arts, Boston, and to the Toledo Museum of Art this Winter Term. At the MFA, I visited the Print Study Room of the Asian Art Department, with Assistant Curator of Japanese Prints Sarah Thompson. Together, she and I looked through the museum’s collection of Itô Shinsui bijin-ga (“pictures of beautiful women”) and those of his contemporaries, Onchi Kôshirô and Takehisa Yumeji. Sarah helped me narrow down the selection of prints to focus on the “Woman After the Bath” trope—a theme recalling pre-modern sources of these prints. I have decided to compare the “After the Bath” prints of these three artists because though they embraced different stylistic ideologies in order to modernize the woodblock print genre, all three maintained the traditional trope of a sensual, lethargic beauty.
I traveled to the Toledo Museum of Art hoping to discover more about the American market for the Shin-hanga prints. The TMA was the first institution to host exhibitions of Shin-hanga, in 1930 and 1936, through the involvement of landscape printer Yoshida Hiroshi. I visited the TMA library to gain access to the museum’s vertical file on the artist, but I was only able to discover that his friendship with Charles Freer initiated an exhibition of Yoshida’s paintings at the Detroit Institute of Art around 1906.
Now that it is nearing the end of Winter Term, I have nearly completed my research for my project. Tentatively titled: “A Solution to ‘The Woman Question’: Envisioning the Modern Japanese Women in the Bijin-ga of Itô Shinsui and Japan’s Modern Print Designers,” I have begun outlining chapters and writing sections of my paper. I anticipate having the rough draft completed by the end of February.