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The top 100 most cited papers in social work journals in 2000–09 were recently listed in a British Journal of Social Work paper by Hodge, Lacasse and Benson. The citations of these 100 papers in a two-year period (2007–09) were identified and a further manual web-based search was conducted to identify some key features of the citing sources. Descriptive statistics are presented on language of publication and national location of citing authors, as well as type of citing source. Bivariate analysis was conducted of the national location of cited journal by national location of citing first author. This analysis shows a strong tendency towards within-country citation in both the UK and USA, providing some evidence of intellectual chauvinism amongst social work academics and, more specifically, evidence of a Great Atlantic Divide. [ABSTRACT FROM PUBLISHER]

The study of June Mathis's life and career reveals the challenges and opportunities for women during Hollywood's silent era, the great achievements of one extremely energetic woman, and the ways that marginalized communities could find expression in silent films. Discoverer of Rudolph Valentino, Goldwyn production manager, and original Ben-Hur producer, Mathis's collaborations with various artists and performers throughout her vaudeville and Hollywood careers provides a basis for understanding how her work helped push the boundaries of gender definitions and sexual behavior in the movies. Through her twelve years of struggle in Hollywood, fueled by her background in vaudeville, her knowledge of life, and her associations with many kindred spirits on the margins of the industry, June Mathis helped push the limits of that system. The question of how to read her films is great. To what degree was her use of melodrama a means of conforming to studio demands, and to what degree was she using it to present her own ideas? Her daring to promote Valentino as a leading man during a period of rampant xenophobia provides a key for reading her films on multiple levels. When we place Mathis's films within the historical, social, and cultural contexts of their times, they can be seen as a palimpsest, suggesting a myriad number of social, spiritual, and sexual attitudes and desires. Her films were works that, as Stewart Klawans states, ‘were challenging the status quo. In a society where commerce dominated all human relations, including the sexual and artistic.’ After discussing Mathis's work with Julian Eltinge, Alla Nazimova, Valentino, and Erich von Stroheim, and the social relevance of melodrama, I will discuss how her work on Blood and Sand (1922) challenged the dominant codes of masculinity in the 1920s. [ABSTRACT FROM AUTHOR]

Discusses the misleading characterization of silent films made by women in the United States, suggesting a secondary role for women filmmakers in shaping the social discourse. Lois Weber's experience in moving from stage to screen and her subsequent box-office success; Estimated volume of Weber's audience; Knowledge and experience of American women writers and directors during the silent film period from 1910 to 1923.

Profiles writer and producer June Mathis, voted the third most powerful woman in the United States motion picture industry in 1926. Career and achievements; Artistic vision in her works through reliance on melodrama; 1925 comedy entitled `Classified'; Feminist film theory.