Maggie Hennefeld (@hennefem.bsky.social)

@shelleystamp.bsky.social Oct 12, 2026, 3:43 AMReposted by @hennefem.bsky.social

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@silentlondon.bsky.social Oct 11, 2026, 6:54 AMReposted by @hennefem.bsky.social

Grand passions and great adventures at the final day of Le Giornate del Cinema Muto silentlondon.co.uk/2026/10/11/l...

@oldfilmsflicker.bsky.social Oct 11, 2026, 3:34 PMReposted by @hennefem.bsky.social

From rogue pumpkins to subversive feminist surrealism, here’s some under-the-radar silent films to watch for spooky season 🎃 🎃 🎃

Read: oldfilmsflicker.substack.com/p/five-silen...

@mausellmoli.bsky.social Oct 11, 2026, 3:37 PMReposted by @hennefem.bsky.social

On Dulac’s The Seashell and the Clergyman: ‘Early on during its initial release the film was also cited by the British Board of Film Censors as “so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable.”’

@cultfilmcollective.bsky.social Oct 11, 2026, 3:52 PMReposted by @hennefem.bsky.social

Ten years of Horrorthon. See you maniacs next year.
@trylon.org

@tanyagoldman.bsky.social Oct 10, 2026, 5:10 PMReposted by @hennefem.bsky.social

Had the pleasure of collaborating w/ Allison Whitney, Jessica Mulvogue, and other contributors to the new @femmediahist.bsky.social special issue on "Women of IMAX" to create a zine of 11 career profiles based on their research. Can't wait to get physical copies!

online.ucpress.edu/fmh/article/...

Image specs of IMAX technology in blue overlayed with pattern (yellow outlined vertical text reading "IMAX)

WOMEN OF IMAX title in large white letters

Blue and yellow imagery of IMAX schematics overlaid with black tesxt that reads:

Women of IMAX offers a glimpse into the range of women’s engagement with IMAX cinema from its invention to the present day, featuring research contributions from Monika Gagnon, Janine Marchessault, Jessica Mulvogue, Veronica Paredes, and Allison Whitney. We were inspired by the creativity and insights of Tanya Goldman’s Women of the 16mm Sector zine series, and were thrilled when she and designer John Munshour agreed to work with us on this project.

Sources for this research include archival materials from Library and Archives Canada, Media Commons at the University of Toronto Libraries, Centro Cultural Tijuana, Science Museum of Minnesota, McGill University Archives, and Ingenium – Canada Science and Technology Museum, and interviews with Roberta Bondar, Diane Carlson, Donna Cox, Mary Jane Dodge, Munro Ferguson, Ingrid Lae, and Cherie Rivers. We have also accessed recorded interviews and oral histories with Althea Douglas, Phyllis and Graeme Ferguson, and Toni Myers.

This project is supported by an Insight Grant from the Social Sciences and Humanities Research Council of Canada.

— Jessica Mulvogue and Allison Whitney, 2026

Two-page spread with text and image description:

Phyllis Ferguson (née Wilson) (1950- 2021) was born in Quetico, Ontario, a status member of the Algonquins of Pikwàkanagàn First Nation. At 12, she was sent to live with her grandmother, Phyllis Tenniscoe, in Thun-der Bay, where she studied audio-visual broadcasting at Confederation College’s new radio and television program. In 1970, she was hired to assist the location manager of North of Superior, one of the first films shot in IMAX. She then hosted the National Film Board of Canada’s weekly “Challenge for Change” television slot, worked as a CBC radio announcer in Whitehorse, and contributed to an Indigenous community newspaper in Ottawa.
In 1974, she worked as a sound recordist on the IMAX-produced Man Belongs to the Earth (screened at the U.S. Pavillion of Expo ‘74), later returning to tele-vision as a location manager for the Canadian Broad-casting Corporation’s The Fifth Estate and CTV’s W5. Returning to Thunder Bay, she directed her 1977 docu-mentary Nishnawbe-Aski: The People and the Land, a pro bono film addressing the impact of development on Cree and Ojibwa communities and opposing clear-cut-ting. She married her creative partner Graeme Ferguson in 1982, the same year they produced Hail Columbia! which initiated a series of IMAX space films. Among them, she co-produced The Dream is Alive (1985), Blue Planet (1990), Mission to MIR (1997), and co-produced and co-directed Destiny in Space (1994).

Image: Woman standing in front of rocket. Phyllis Ferguson at NASA. Photo: Media Commons Archive, University of Toronto Libraries.

@silentlondon.bsky.social Oct 10, 2026, 12:17 AMReposted by @hennefem.bsky.social

Celebrating icons of silent cinema, on screen and off silentlondon.co.uk/2026/10/10/l...

@silentlondon.bsky.social Oct 7, 2026, 11:36 PMReposted by @hennefem.bsky.social

A day filled with young men falling into the clutches of predatory women. Standard fare for Le Giornate del Cinema Muto silentlondon.co.uk/2026/10/08/l...

@silentlondon.bsky.social Oct 8, 2026, 10:30 PMReposted by @hennefem.bsky.social

I have run out of words to describe Le Giornate del Cinema Muto so now I need some new ones silentlondon.co.uk/2026/10/08/l...

@archivesonscreen.org Oct 7, 2026, 6:07 PMReposted by @hennefem.bsky.social

😱 ADDITIONAL SCREENING ADDED! 🦇

What: Dracula in Instanbul (1953)
When: Thursday, October 22, now at 7:00 and 9:15
Where: @trylon.org
How: new 4K restoration from a badly damaged 35mm print
Why: Dracula commands it!

Tickets 🎟: www.trylon.org/film/dracula...

🎞 🇹🇷 🎃

@hennefem.bsky.social Oct 7, 2026, 5:02 AM

💔💔

@silentlondon.bsky.social Oct 6, 2026, 10:19 PMReposted by @hennefem.bsky.social

Going around again with Conrad Veidt and Asta Nielsen, and sinning with Marie Prevost and Clive Brook, at Le Giornate del Cinema Muto Day Four silentlondon.co.uk/2026/10/06/l...

@shelleystamp.bsky.social Oct 6, 2026, 8:03 PMReposted by @hennefem.bsky.social

Looks terrific! DAISIES is a stone cold classic. 🌼 🍏 ❤️

@tanyagoldman.bsky.social Oct 6, 2026, 6:23 PMReposted by @hennefem.bsky.social

Happy to share that "Sixty Years of Daisies: Perspectives on Věra Chytilová’s Anarchic Classic" is out now in @jcmsjournal.bsky.social. Essays by @hennefem.bsky.social, @aurspiers.bsky.social, Leana Hirschfeld-Kroen, Barbora Bartunkova, Dijana Jelača + Meta Mazaj, edited by Masha Shpolberg + me.

@hennefem.bsky.social Oct 6, 2026, 4:41 PM

Co-edited by @tanyagoldman.bsky.social & Masha Shpolberg. With brilliant pieces by @aurspiers.bsky.social, Leana Hirschfeld-Kroen, Barbora Bartunkova, Dijana Jelača, & Meta Mazaj.

@hennefem.bsky.social Oct 6, 2026, 4:41 PM

Hot off the press!! New open-access issue of @jcmsjournal.bsky.social w/ a special dossier celebrating the 60th anniversary of DAISIES! 🎊🎂

quod.lib.umich.edu/j/jcms/oa-is...

@archivesonscreen.org Oct 5, 2026, 9:22 PMReposted by @hennefem.bsky.social

Before-and-after examples of the new restoration of DRACULA IN INSTANBUL (1953), the oldest surviving Turkish horror film, playing at the @trylon.org on October 22!
VERY FEW TICKETS REMAIN! This show will sell out. 😱
Get tickets 👉 www.trylon.org/film/dracula...

@silentlondon.bsky.social Oct 5, 2026, 9:16 PMReposted by @hennefem.bsky.social

A masterpiece from Sweden, American sitcoms, a Diva from Italy, and more, on Day Three of Le Giornate del Cinema Muto silentlondon.co.uk/2026/10/05/l...

@trylon.org Oct 4, 2026, 9:01 PMReposted by @hennefem.bsky.social

We tasked our loyal volunteer Dave Gomshay to re-label all of our candy for spooky season. He went above and beyond. Current favorite is the Blair Witch Pocky.

@silentlondon.bsky.social Oct 4, 2026, 9:26 PMReposted by @hennefem.bsky.social

Day Two of Le Giornate del Cinema Muto and the devil has all the best films silentlondon.co.uk/2026/10/04/l...