Nell Shipman

Image: Nell Shipman with three members of her film crew and her dogs 'Lady' and 'Tex', in Priest Lake, Idaho, in 1923 Photo by Lloyd Peters, published in Filmograph (1970, vol. 1, no. 1, p. 2)

Films directed by Nell Shipman

• Something New (1920)  (also known as: "Beyond the Border")
• The Trail of the Arrow (1920)
• A Bear, a Boy, and a Dog (1921)  (also known as: "Saturday Off")
• The Girl from God's Country (1921)  (also known as: "Neeka of the Northlands")
• The Grub-Stake (1923)  (also known as: "The Golden Yukon", "The Grub-Stake: A Tale of the Klondike", "The Romance of Lost Valley")
• The Light on Lookout (1923)
• The Trail of the North Wind (1923)
• White Water (1924)
• Wolf's Brush (1924)

Quotes about Nell Shipman

"I would argue that with [Nell] Shipman's work the narrative trajectory culminating in the inevitable heterosexual coupling that closes the story is less compelling or memorable than the scenes of the solitary woman braving the wilderness."
-- Kay Armatage (source)

"In most of her films, Nell Shipman played the leading role, always of the heroic stamp. [...] Her Amazonian beauty, the easeful presence of her body (cross-hatched with equal parts of hysteria, display, strength, and bravery), her great sense of moral justice, and the instinctive connection with animals and nature: these are the signs of her essential femininity, and simultaneously the source of the heroism which allows her to resist conventional narrative inscriptions of the woman protagonist as victimized and rescued."
-- Kay Armatage (source)

"Nell Shipman, who has been producer, director, star, and writer, has now finished writing her memoirs. To be called The Silent Screen and My Talking Heart, her book focuses on a glamorous period of film history although she insists the book is not film history as such but purely a personal story whose background happens to be the silent picture era."
-- Filmograph (source)

"Despite the lip-service [Nell Shipman] paid, in her 1919 self-portrait 'Me' [published in Photoplay], to 'Feminism, Socialism, and other Isms', still I cannot see Nell Shipman as a filmmaker led by the conviction to support a cause. Shipman did not make films to put out statements or a message, but for the fun, for the fame, and to earn money. To the extent that she would assert that women 'had a right to do everything their hearts desired', this emanated from pragmatism and from her own experience, and it depended on the spirit of the times, the discourses of which Nell Shipman was an astute interpreter and appropriator."
-- Annette Förster (source)

"For Nell Shipman, the real magicians were not the directors but the cameramen. Her conception of directing, then, did not imply creative control, as one would have expected in the field of independent filmmaking. For her, the magic of film was created between camera and acting, and directing was an activity in the service of precisely that creativity and interaction. In my opinion, this conception of the relationships among direction, cinematography, and acting clarify three of Nell Shipman's choices that determined her future filmmaking practice: to continue working with Joe Walker behind the camera, to appoint the inexperienced but pragmatic Bert Van Tuyle as 'her' director or co-director, and, most significantly, never to claim the direction credit of her films for herself alone."
-- Annette Förster (source)

"The main problem [Nell] Shipman faced [while writing her autobiography] in the 1960s was that she, in contrast to such 'as told to' memoirs, was writing against film-historical oblivion. Until then, official film history had virtually ignored her presence and work in the American silent cinema. So how could she boast of her talent and merits without sounding merely pretentious and pathetic? In my opinion, Shipman chose understatement as one of her rhetorical strategies."
-- Annette Förster (source)

"Embedded within [Nell] Shipman's narrative [The Silent Screen & My Talking Heart] [...] are the movies that created her even as she was scripting and acting in them; she became 'the Girl from God's Country' due to casting and marketing pressures and an internalized identification with her screen image. Embedded within [Sharon] Pollock's play [Moving Pictures] are events and passages from Shipman's autobiography, but the Nell Shipman figure in the play is much more than the woman Shipman herself portrays because Pollock creates a multiple self-portrait of a woman artist looking back on her life to understand its meaning and value."
-- Sherrill Grace (source)

"The elements of the active heroine, closeness to nature and animals, and the inadequate male, were aspects manifest in [Nell] Shipman's own life. She did all her own stunts, some of them spectacular and dangerous. She yearned for the wild northwest of Canada and the United States whenever she was away from it. She owned her own zoo and championed animals all her life—Brownie the bear and Laddie the dog in her films were her own pets. In an extraordinary and ironic incident, she even saved Bert Van Tuyle's life when, delirious from gangrene in his foot, he tried to dog sled twenty miles from the movie quarters into town."
-- Janice Kaye (source)

"Nell [Shipman] was a true independent, creating an image of women vastly different from the usual onscreen delicate flower. She had tremendous creative control. She presented a view of nature and of women that was dismissed by the Hollywood powers. She ran an independent production company when the big studios were gaining power, and this was her downfall."
-- Linda Kupecek (source)

"If the plain story of Nell Shipman's life could ever be filmed, nobody would believe it. It would be called just a wild movie story—except, perhaps, by those who recalled the facts in the front page newspaper sensation of five years ago. It is incredible, this story of the young and beautiful film star who made fame and fortune—and decided to forsake Hollywood so that she could produce the films she wanted to do—herself, and with no interference. It is impossible to believe that the girl could really have gathered together a zoo of one hundred and thirty-five animals and gone off into the wilds of Northern Idaho, twenty miles from a road and fifty miles from a railroad; could have kept house for these animals and three or four men, mostly 'quitters'; could have passed through untold agony with the onset of winter, when her fiance and director became demented because of a frozen foot and she took him through a terrific battle with the elements back to civilization."
-- Lancaster Daily Eagle (Ohio) (source)

"[Nell Shipman] was perhaps one of the first feminist film writers insisting that her female characters be independent protagonists and not just women waiting to be saved by a handy man. She also insisted on authenticity in location, which meant she filmed many of her scenes outside the studio."
-- Denise Lowe (source)

"In the larger sense [...] Nell Shipman's company failed because it represented an approach to film making that was at odds with the new industrial model. She lacked the hunger for power and control and the monopolistic urge of twentieth century capitalists. Her collaborative approach to production and strong sense of independence soon made her an anachronism in the emerging hierarchical and centralized film industry."
-- Peter Morris (source)

"This transition of women film makers from centrality to marginality is both exemplified in, and to some extent explained by, the career of Nell Shipman. Not only was she part of that 'first wave' of women film makers (and arguably, more significant to it than has been credited) but the failure of her own production company helps clarify the fate of other contemporary independent studios."
-- Peter Morris (source)

"While Nell Shipman is working on a picture, there is never anything outside of the life of the picture that intrudes itself or is permitted to invade her thoughts, and during her rest period between pictures she devotes herself entirely to exercise, animal life and its study, reading and her writings. She has a novel little retreat up on a knowl back of her home, 'Holly Hill,' Los Angeles, overhung with wild walnut trees, and with a background of foothills studded with wild flowers and shrubbery the year round where she does most of her writing [...]."
-- Nashville Tennessean (source)

"I argue that Canada's cultural claiming of [Nell] Shipman is made possible by the nature of her original stardom, which embodied ideals of late-nineteenth- and early-twentieth-century Canadian nationalism. Her 'picture personality' as a wilderness heroine was reified during the tenure of her stardom from 1911 to 1924 and now is available through artifacts of stardom—posters, promotional materials, and the film images themselves—to be plucked out of their original contexts and repurposed to promote a cinematic cultural heritage for the country that claims authenticity as 'God's Country.' By focusing exclusively on Shipman's star image, however, Canada's cultural claims elide complex and contradictory aspects of Shipman's career and politics in order to assert an idealized cinematic national heritage."
-- Amy Shore (source)

"Miss [Nell] Shipman isn't a 'one woman' circus, but a writer, picture producer, director and picture star all in one. She is an out-of-doors girl. All of her pictures are the back-to-nature type, featuring $50,000 worth of animals and Miss Shipman trusting herself to the embraces of her big leading bear."
-- Spokesman-Review (Spokane, Washington) (source)

"Woe to the small independent movie producer. That is the lesson which Miss Nell Shipman feels should be drawn from her three years' experience at Priest Lake in Northern Idaho. She is back East now writing a book about the movies and preparing scenarios which others will produce. Her attempt to make pictures of the great open spaces in Idaho is an admitted failure. It was even rather a tragic failure."
-- St. Louis Post-Dispatch (source)

"Nell Shipman has been immortalized in a jut of land called 'Shipman's Point' on upper Priest Lake in Idaho. The reason: the land served as location site for her filming in the teens of this century. Shipman was an early and formidable film figure as writer and star, corporate exec—the whole smear—before most of today's female wonder women were born."
-- Variety (source)

"Nell Shipman Productions Inc., with a paid in capital of $250,000, is a new producing concern formed on the coast, establishing Nell Shipman as the first woman producter, director and star in the industry. Associated with her are W.H. Clune and Bert Van Tuyle."
-- Variety (source)

For QUOTES about a specific film by Nell Shipman, please see:   Something New    The Trail of the Arrow    A Bear, a Boy, and a Dog    The Girl from God's Country    The Grub-Stake    The Trail of the North Wind    Wolf's Brush   

Notes about Nell Shipman

• Actor, producer, screenwriter, and director of the silent cinema.
• The first Canadian woman film director.
• Born in Victoria, British Columbia; died in Los Angeles.
• As an adolescent, moved to Seattle, Washington with her family.
• Began acting in a touring theatre company when she was 13.
• Married Canadian film producer Ernest Shipman when she was 18.
• Her greatest success was Back to God's Country (1919), directed by David M. Hartford and filmed in Alberta, in which she starred and for which she wrote the screenplay (based on a story by James Oliver Curwood).
• After her divorce from Ernest Shipman, founded Nell Shipman Productions and made films in California, Washington State, and Idaho.
• Finished writing her autobiography [The Silent Screen & My Talking Heart] in 1969, but the book wasn't published until 1987.

Bibliography for Nell Shipman

Section 1: Publications by Nell Shipman

• Leffingwell, Elmore, and Nell Shipman. Mother Liberty: The Gift They Gave Us. S.l.: s.n., 1939.
• Putnam, George Palmer, and Nell Shipman. Hot Oil. New York: Greenberg, 1935.
• Shipman, Nell. Abandoned Trails. New York: Lincoln Mac Veagh, 1932.
• Shipman, Nell. Get the Woman ('Msieu Sweetheart'). New York: L. MacVeagh, 1930.
• Shipman, Nell. Kurly Kew and the Tree-Princess, a Story of the Forest-People, Told for Other-People. New York: L. MacVeagh, 1930.
• Shipman, Nell. Letters from God's Country: Nell Shipman, Selected Correspondence & Writings, 1912-1970. Edited by Tom Trusky. Hemingway Western Studies Series. Boise, Idaho: Boise State University, 2003.
• Shipman, Nell. Milestone Zero. Washington, D.C.: Kaufmann, 1952.
• Shipman, Nell. "The movie that couldn't be screened [part 1]." The Atlantic Monthly, March 1925.
• Shipman, Nell. "The movie that couldn't be screened [part 2]." The Atlantic Monthly, April 1925.
• Shipman, Nell. "The movie that couldn't be screened [part 3]." The Atlantic Monthly, May 1925.
• Shipman, Nell. Neeka of the North. London: Collins, 1931.
• Shipman, Nell. Nell Shipman's M'sieu Sweetheart: A Sweeping Love Story of the Silent North. Boise, Idaho: Boise State University, 2001.
• Shipman, Nell. The Silent Screen & My Talking Heart: An Autobiography. Boise, Idaho: Boise State University, 1987.
• Shipman, Nell. The Silent Screen & My Talking Heart: An Autobiography, 2nd ed. Boise, Idaho: Boise State University, 1988.
• Shipman, Nell. The Silent Screen & My Talking Heart: An Autobiography, 3rd ed. Boise, Idaho: Boise State University, 2001.
• Shipman, Nell. "This Little Bear went Hollywood: Nell Shipman tells a tender story of a co-star." Good Housekeeping, vol. 92, no. 1, January 1931.
• Shipman, Nell. Tomorrow for Sale. New York: Appellate Law Printers, 1941.
• Shipman, Nell. Under the Crescent. New York: Grosset & Dunlap, 1915. Illustrated with scenes from the photo play produced and copyrighted by the Universal Film Manufacturing Company.

Section 2: Publications about Nell Shipman

Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003.
• Trusky, Tom. Before Sundance: How Nell Shipman Made Her 'Little Dramas of the Big Places'. Boise, Idaho: Idaho Film Collection, Hemingway Western Studies Center, Boise State University, 2008. A lecture/film presentation for the Pacific Northwest Library Association, Post Falls, Idaho, August 8, 2008. [booklet]

Book Chapters

• Armatage, Kay. "Nell Shipman: A Case of Heroic Femininity." In Feminisms in the Cinema, edited by Laura Pietropaolo and Ada Testaferri, 125-145. Bloomington: Indiana University Press, 1995.
• Armatage , Kay. "Nell Shipman: A Case of Heroic Femininity." ["Originally published in Feminisms in the Cinema, ed. Ada Testaferri and Laura Pietropaolo (Bloomington: Indiana University Press, 1995).."] In Gendering the Nation: Canadian Women's Cinema, edited by Kay Armatage, Kass Banning, Brenda Longfellow, and Janine Marchessault, 17-38. Toronto: University of Toronto Press, 1999.
• Armatage, Kay. "Sex and Snow: Landscape and Identity in the God's Country Films of Nell Shipman." In American Silent Film: Discovering Marginalized Voices, edited by Gregg Bachman and Thomas J. Slater, 125-147. Carbondale, IL: Southern Illinois University Press, 2002.
• Armatage, Kay. "Wieland's Far Shore and Shipman's God's Country." In Great Canadian Film Directors, edited by George Melnyk, 3-26. Edmonton: University of Alberta Press, 2007.
• Day, Karen. "Girl from God's Country: The History of Women in Film and Other War Stories." In Silent Women: Pioneers of Cinema, edited by Melody Bridges and Cheryl Robson. Twickenham, UK: Supernova Books, 2016.
• Flom, Eric L. "Laugh, Town, Laugh: The Vaudeville Engagements of Buster Keaton, Charles Chaplin, Harry Langdon, Francis X. Bushman and Nell Shipman." In Silent Film Stars on the Stages of Seattle: A History of Performances by Hollywood Notables, 135-165. Jefferson, N.C.: McFarland, 2009.
• Flom, Eric L. "A Matinee Idol: The Promotional Appearances of William S. Hart, Nell Shipman, Rudolph Valentino, and the Screen Ball of 1919." In Silent Film Stars on the Stages of Seattle: A History of Performances by Hollywood Notables, 166-198. Jefferson, N.C.: McFarland, 2009.
• Förster, Annette. "Nell Shipman and the American Silent Cinema." In Women in the Silent Cinema: Histories of Fame and Fate, 303-425. Amsterdam: Amsterdam University Press, 2017.
• Förster, Annette. "Nell Shipman on the American Popular Stage." In Women in the Silent Cinema: Histories of Fame and Fate, 282-303. Amsterdam: Amsterdam University Press, 2017.
• Kupecek, Linda. "Nell Shipman." In Rebel Women: Achievements Beyond the Ordinary, 12-27. Surrey, BC: Heritage House, 2010.
• Shore, Amy. "Rediscovering Nell Shipman for Canadian Cultural Heritage." In Celebrity Cultures in Canada, edited by Katja Lee and Lorraine York, 19-35. Waterloo, Ont.: Wilfrid Laurier University Press, 2016.
• Simoni, Suzanne. "Nell Shipman: Pioneering in the Wild." In Fantastic Female Filmmakers [note: 'for young readers'], 3-14. Toronto: Second Story Press, 2008.
• Turner, D.J. "Nell Shipman Filmography." In The Silent Screen & My Talking Heart: An Autobiography, 3rd ed. , by Nell Shipman, 193-207. Boise, Idaho: Boise State University, 2001.

Brief Sections of Books

• Acker, Ally. Reel Women: Pioneers of the Cinema, the First Hundred Years. New York: Reel Women Media Publishing, 2011. (vol. 1, pp. 48-51)
• Förster, Annette. "Introduction." In Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press, 2017. (pp. 16-17)
• Lowe, Denise. An Encyclopedic Dictionary of Women in Early American Films, 1895-1930. New York: Haworth Press, 2005. (pp. 484-486)
• Mahar, Karen Ward. Women Filmmakers in Early Hollywood. Baltimore: Johns Hopkins University Press, 2006. (pp. 162-164)
• Melnyk, George. One Hundred Years of Canadian Cinema. Toronto: University of Toronto Press, 2004. (pp. 31-33)
• O'Hara, Helen. Women vs Hollywood: The Fall and Rise of Women in Film. London: Robinson, 2021. (pp. 21-24)
• Slide, Anthony. The Silent Feminists: America's First Women Directors. Lanham, MD: Scarecrow Press, 1996. (pp. 67-69)

Journal Articles

• Allen, Alice M. "The Silent Screen and My Talking Heart: An Autobiography." Review of The Silent Screen & My Talking Heart: An Autobiography, by Nell Shipman. Western Historical Quarterly 19, no. 2 (May 1988): 227-228.
• Armatage, Kay. "The Silent Screen and My Talking Heart." Canadian Journal of Political and Social Theory 14, no. 1-3 (1990): 204-214.
• Booth, Michael. "Book Reviews." Review of The Girl from God's Country: Nell Shipman and the Silent Cinema, by Kay Armatage. Historical Journal of Film Radio and Television 24, no. 2 (June 2004): 306-310.
• Brauerhoch, Annette, and Tom Trusky. "Nell Shipman: La belle et la bête." Frauen und Film, no. 47 (September 1989): 36-55. [in German]
• Curry, Ramona. "Reviving the History, Revising the Historiography of Female Media Pioneers." Review of The Girl from God's Country: Nell Shipman and the Silent Cinema, by Kay Armatage. Journal of Women's History 21, no. 3 (Autumn 2009): 188-203.
• Feldman, Seth. "The Girl from God's Country." Review of The Girl from God's Country: Nell Shipman and the Silent Cinema, by Kay Armatage. University of Toronto Quarterly 74, no. 1 (Winter 2004/5): 561-563.
• Frymus, Agata. "Women in the Silent Cinema: Histories of Fame and Fate." Review of Women in the Silent Cinema: Histories of Fame and Fate, by Annette Förster. Early Popular Visual Culture 16, no. 1 (2018): 103-104.
• Grace, Sherrill. "Creating the Girl from God's Country: From Nell Shipman to Sharon Pollock." Canadian Literature, no. 172 (Spring 2002): 92-111.
• Kahin, Sharon. "The Silent Screen and My Talking Heart." Review of The Silent Screen & My Talking Heart: An Autobiography, by Nell Shipman. Western American Literature 23, no. 1 (Spring 1988): 66-67.
• Kaye, Janice. "Forgotten Filmmaker: Gender and Nation in the Work of Nell Shipman." Spectator (Los Angeles) 17, no. 1 (Autumn-Winter 1996): 28-39.
• MacKay, Robin. "Nell Shipman: One Woman in Her Time Plays Many Parts." Queen's Quarterly 124, no. 3 (2017): 348-361.
• McCormack, Naomi, and Thelma McCormack. "The Girl from God's Country: Nell Shipman and the Silent Film." Review of The Girl from God's Country: Nell Shipman and the Silent Cinema, by Kay Armatage. Atlantis 30, no. 1 (2005): 151.
• Rapf, Joanna E. "Book Reviews." Review of The Girl from God's Country: Nell Shipman and the Silent Cinema, by Kay Armatage. Film Quarterly 59, no. 2 (Winter 2005-06): 65-67.
• Saul, Joanne. "The Girl from God's Country: Nell Shipman and the Silent Cinema." Review of The Girl from God's Country: Nell Shipman and the Silent Cinema, by Kay Armatage. Topia 13 (2005): 140-144.
• Stober, JoAnne. "Book Reviews." Review of The Girl from God's Country: Nell Shipman and the Silent Cinema, by Kay Armatage. Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques 13, no. 2 (Autumn 2004): 108-111.
• Trusky, Tom. "Animal and other Drives of an Amateur Film Historian." Film History 6, no. 1 (Spring 1994): 128-140.
• Trusky, Tom. "Nell Shipman." Griffithiana 11, no. 32/33 (1988): 65-80.
• Wojcik, Jason. "The Silent Screen & My Talking Heart." Review of The Silent Screen & My Talking Heart, by Nell Shipman. Film & History 32, no. 1 (2002): 108-109.

Articles from Newspapers, Magazines, or News Websites

• Armatage, Kay. "The Girl from God's Country." Maclean's, September 1, 2003.
• The Atlanta Constitution. "Actress drags hurt hubby over ice trail to safety: fierce battle thru cold ends in victory." The Atlanta Constitution, January 20, 1924.
• Blakeman, Chris. "Books." Review of The Girl from God's Country: Nell Shipman and the Silent Cinema, by Kay Armatage. Take One (Toronto), December-March 2003-04.
• Butler, Paul. "A nameless heroine: Nell Shipman." The Beaver, vol. 84, no. 1, 2004.
• Everson, William K. "Rediscovery." Films in Review, April 1989.
• Filmograph. "Nell Shipman: Still a trailblazer." Filmograph, vol. 1, no. 1, 1970.
• Hutchinson, Pamela. "Primal screen: The world of silent cinema; After decades of neglect, a documentary has brought a silent cinema heroine in from the wilderness." Sight & Sound, January 2017.
• Lancaster Daily Eagle (Ohio). "Heroine of frozen north adventure turns writer: Nell Shipman, former film star and producer of wild animal pictures, leaves perils for fame as author." Lancaster Daily Eagle (Ohio), July 8, 1930.
• The Leader (Regina). "Nell Shipman has new triumph in great production." The Leader (Regina), November 29, 1921.
• Smith, Judith. "Girl wonder from God's country Nell Shipman." Cinema Canada, November-December 1978.
• Spokane Daily Chronicle. "Nell Shipman tells of plans: Returns from New York; Will star in series during year." Spokane Daily Chronicle, June 30, 1924.
• Spokane Daily Chronicle. "Nell Shipman to build big studio: Motion picture plant will be erected on the shores of Priest Lake." Interview with Bert Van Tuyle. Spokane Daily Chronicle, January 19, 1923.
• Spokesman-Review (Spokane, Washington). "Film star may bring zoo here: Miss Shipman arrives seeking setting for Alaskan screen drama." Spokesman-Review (Spokane, Washington), January 20, 1922.
• St. Louis Post-Dispatch. "Nell Shipman's gallant fight against blizzard, hunger and the movie trust: Her animal actors were stranded in their cages as she was forced to abandon independent movie-making." St. Louis Post-Dispatch, June 21, 1925.
• Tobias, Conan. "Rediscovering 'the Girl from God's Country': Silent Film: The Canadian-born Nell Shipman, an independent producer, screenwriter and actor, was pushed aside when talkies arrived in late 1920s." Globe and Mail, April 11, 1997.
• Variety. "The Silent Screen & My Talking Heart." Review of The Silent Screen & My Talking Heart: An Autobiography, by Nell Shipman. Variety, April 15, 1987.
• Victoria Daily Times. "Victoria girl writes novel: Nell Shipman, formerly well-known movie star, is scenario writer also." Victoria Daily Times, May 13, 1930.
• Walker, Joseph, and Juanita Walker. "Danger in 'God's Country'." American Cinematographer, May 1985.

Documentaries

• Girl from God's Country. Directed by Karen Day. GCG Productions, 2014.
• 'Ah Gee, Forgetting Me ...': Nell Shipman. Directed by Patricia Phillips. Great North Productions, 2001.

Dissertations

• Migneault, Alison. "Cultivating the Popular: An Intertextual Study of Nell Shipman." M.A. diss., Carleton University, 2006.

Plays about Nell Shipman

• Pollock, Sharon. Moving Pictures. In Three Plays. Toronto: Playwrights Canada Press, 2003.

Web Sites

• Bibliothèque et Archives Canada. "Femmes à l'honneur : leurs réalisations : les femmes dans le cinéma canadien : Nell Shipman." Bibliothèque et Archives Canada. http://www.collectionscanada.gc.ca/femmes/030001-1265-f.html. [in French]
• Bishay, Joseph. "Nell Shipman Website." University of Toronto. http://www.utoronto.ca/shipman/.
• "Canadian Film Encyclopedia: Nell Shipman." Film Reference Library (Toronto International Film Festival Group). http://www.filmreferencelibrary.ca/index.asp?layid=46&csid1=442&navid=90&fid3=556.
• "Howard Anderson Idaho Film Archive: Nell Shipman." Hemingway Western Studies Center, Boise State University. http://www.boisestate.edu/hemingway/ifc/nell.html.
• "IMDb: Nell Shipman." Internet Movie Database, Inc. http://imdb.com/name/nm0794109/.
• Johnson, Katherine. "The Canadian Encyclopedia: Shipman, Nell." Historica Foundation of Canada. http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=A1ARTA0009770.
• Johnson, Katherine. "L'Encyclopédie canadienne : Nell Shipman." Fondation Historica du Canada. http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=F1ARTF0009770. [in French]
• Library and Archives Canada. "Celebrating Women's Achievements: Canadian Women in Film: Nell Shipman." Library and Archives Canada. http://www.collectionscanada.gc.ca/femmes/030001-1265-e.html.
• "The Nell Shipman Exhibit." City of Glendale, California. http://www.ci.glendale.ca.us/nell_shipman1.asp.
• Toronto International Film Festival Group. "Passport to Canadian Cinema at the Toronto International Film Festival / Passeport pour le cinéma canadien au Festival international du film de Toronto: 2003: Canadian Retrospective / Rétrospective canadienne: The Films of Nell Shipman." Toronto International Film Festival Group. http://www.filmreferencelibrary.ca/images/passport_pages_93_128.pdf. [English / French]
• Virta, Alan. "Nell Shipman: A Biographical Sketch." Albertsons Library, Boise State University. http://library.boisestate.edu/Special/FindingAids/fa81bio.htm.
• Worrell, Joseph. "Silent Era: Nell Shipman." CBX Media. http://www.silentera.com/people/actresses/Shipman-Nell.html.
• "Women Film Pioneers Project: Nell Shipman." Columbia University. https://wfpp.columbia.edu/pioneer/ccp-nell-shipman/.
• Zemel, Joel H. "Nell Shipman - Filmmaker." SVP Productions. http://www.svpproductions.com/nellshipman1.html.

Section 3: Publications about the Films of Nell Shipman

Something New (1920)  (also known as: "Beyond the Border")

Brief Sections of Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003. (pp. 98-100, 136-140, 150-151, 156-160)
• Förster, Annette. "Nell Shipman and the American Silent Cinema." In Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press, 2017. (pp. 376-386)

Journal Articles

• Parchesky, Jennifer. "Women in the Driver's Seat: The Auto-Erotics of Early Women's Films." Film History 18, no. 2 (2006): 174-184.

Articles from Newspapers, Magazines, or News Websites

• Dick, Jeff T. "Back to God's Country / Something New." Library Journal, vol. 125, no. 17, 2000.
• San Francisco Chronicle. "Movie star is big Maxwell advocate: Nell Shipman makes mad dash over mountains; Lou Rose exhibits film feature." San Francisco Chronicle, May 8, 1921.
• Stevens, Brad. "Nell Shipman: an auteur in the wild; In the frame shots bracketing her 1920 western-with-an-automobile Something New, the silent-film pioneer wrote her own claims to cinematic authorship directly into the movie--decades before men coined the auteur theory." Sight & Sound, May 1, 2019.

The Trail of the Arrow (1920)

Brief Sections of Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003. (pp. 122-126)
• Förster, Annette. "Nell Shipman and the American Silent Cinema." In Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press, 2017. (pp. 376-386)

Articles from Newspapers, Magazines, or News Websites

• San Francisco Chronicle. "SX screenplay shows women as motorists: Arnold shows Essex movies; Call of open road will be aided by distributer's interesting picture." San Francisco Chronicle, April 24, 1921.
• San Francisco Examiner. "Daring girls risk lives in auto films." San Francisco Examiner, February 26, 1920.

A Bear, a Boy, and a Dog (1921)  (also known as: "Saturday Off")

Brief Sections of Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003. (pp. 265-267)
• Förster, Annette. "Nell Shipman and the American Silent Cinema." In Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press, 2017. (pp. 374-376)

The Girl from God's Country (1921)  (also known as: "Neeka of the Northlands")

Brief Sections of Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003. (pp. 161-176, 181-183, 197-199)
• Förster, Annette. "Nell Shipman and the American Silent Cinema." In Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press, 2017. (pp. 386-393)

Articles from Newspapers, Magazines, or News Websites

• Exhibitors Trade Review. "Circuits book new Gunning film: Nell Shipman's outdoor animal drama 'The Girl from God's Country' is accorded novel teaser campaign—essay contests are held." Exhibitors Trade Review, vol. 11, no. 6, January 7, 1922.
• Hartford Courant. "Thrilling screen drama at Capitol: 'The Girl from God's Country' well acted." Review of The Girl from God's Country. Hartford Courant (Connecticut), September 4, 1921.
• Kinematograph Weekly. "Neeka of the Northlands." Kinematograph Weekly, May 17, 1923.
• The Leader (Regina). "Nell Shipman has new triumph in great production." The Leader (Regina), November 29, 1921.
• Los Angeles Times. "Brownie, a bear, co-stars With Nell Shipman." Los Angeles Times, September 18, 1921.
• Los Angeles Times. "Sensitive bear: Nell Shipman tells how Brownie shows temperament." Los Angeles Times, September 19, 1921.
• Los Angeles Times. "New story from Nell Shipman now at Clune's." Review of The Girl from God's Country. Los Angeles Times, September 4, 1921.
• Nashville Tennessean. "How Nell Shipman works on a picture." Nashville Tennessean, March 26, 1922.
• San Francisco Chronicle. "Nell Shipman film at Rialto gives thrills." Review of The Girl from God's Country. San Francisco Chronicle, September 19, 1921.
• Vancouver Sun. "Miss Shipman scores in dual character." Vancouver Sun, May 5, 1922.
• Variety. "Girl from God's Country." Review of The Girl from God's Country. Variety, November 18, 1921.

The Grub-Stake (1923)  (also known as: "The Golden Yukon", "The Grub-Stake: A Tale of the Klondike", "The Romance of Lost Valley")

Brief Sections of Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003. (pp. 212-254)
• Förster, Annette. "Nell Shipman and the American Silent Cinema." In Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press, 2017. (pp. 395-422)

Articles from Newspapers, Magazines, or News Websites

• Kinematograph Weekly. "The Romance of Lost Valley." Kinematograph Weekly, February 22, 1923.
• The Leader (Regina). "'The Grub Stake' is Nell Shipman's latest picture: Extraordinary assemblage of wild animals in picture—starting Monday at Rose." Review of The Grub-Stake. The Leader (Regina), June 27, 1925.
• Los Angeles Times. "Alaskan scenes and animals interesting." Review of The Grub-Stake. Los Angeles Times, August 6, 1923.
• Los Angeles Times. "Nell Shipman one star not of Hollywood." Los Angeles Times, August 4, 1923.
• Newhard, Robert S. "Shoots 'snow stuff' in summer: S.C. member tells interesting experience with Nell Shipman Company at Spokane, Wash.; lives on snow shoes for several weeks." American Cinematographer, July 1, 1922.
• Shipman, Nell. "The movie that couldn't be screened [part 1]." The Atlantic Monthly, March 1925.
• Shipman, Nell. "The movie that couldn't be screened [part 2]." The Atlantic Monthly, April 1925.
• Shipman, Nell. "The movie that couldn't be screened [part 3]." The Atlantic Monthly, May 1925.
• Spokane Daily Chronicle. "'The Grubstake' is leader among week's film features: local show houses have unusually attractive offerings this week." Spokane Daily Chronicle, February 23, 1923.
• Spokane Daily Chronicle. "Spokane-made film is booked for another week at Casino: Nell Shipman picture draws great crowds to all performances." Spokane Daily Chronicle, March 2, 1923.
• Tinee, Mae. "Man false, animals true in 'Grub Stake'." Review of The Grub-Stake. Chicago Tribune, July 8, 1923.
• Victoria Daily Times. "Wild animals give thrills at Royal: Nell Shipman's private zoo requisitioned for production of 'The Grub Stake'." Victoria Daily Times, June 11, 1923.

The Light on Lookout (1923)

Brief Sections of Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003. (pp. 290-295)

The Trail of the North Wind (1923)

Brief Sections of Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003. (pp. 268-272)

White Water (1924)

Brief Sections of Books

• Armatage, Kay. The Girl from God's Country: Nell Shipman and the Silent Cinema. Toronto: University of Toronto Press, 2003. (pp. 300-301)

Wolf's Brush (1924)

Articles from Newspapers, Magazines, or News Websites

• Gallagher, Dan. "Boise professor tracks down missing film from Panhandle series." Associated Press Newswires, December 18, 2003.

Archival Collections

• Special Collections and Archives, Albertsons Library, Boise State University (Boise, Idaho)
• Cinemathèque québécoise (Montréal, Québec)
• Idaho Film Collection, Boise State University (Boise, Idaho)
• Library and Archives Canada (Ottawa, Ontario)