Although women may have found greater film success in the areas of screenwriting, editing, design, and producing, there have been many women whose contributions as directors have been quite significant. In this guide to their careers and films, author Mary Hurd profiles the most noteworthy--from Barbara Kopple and her classic work in the documentary form, to Nora Ephron's insightful retellings of Hollywood's classic stories, to Sophia Coppola's current success in Hollywood. Women Directors and Their Films fills an important gap in the literature on the subject, offering a combination of biographical material and film analysis that effectively summarizes and encapsulates the life's work of these very different, very talented women.
The selection includes women of the studio age (Ida Lupino, Dorothy Arzner), contemporary mainstream directors (Amy Heckerling, Nora Ephron), independents (Mary Harron, Nancy Savoca), documentarians (Barbara Kopple), experimental filmmakers (Maya Deren), and an assortment of acclaimed international filmmakers (Jane Campion, Agnes Varda). Profiles of the directors contain both biographical and critical segments. The first, biographical section provides a basic outline of the subject's life and career; the second offers a discussion of the director's films, featuring comments on the narrative, themes, visual techniques and style, and possible critical approaches to the work. Each chapter also includes a complete filmography and brief bibliography.
This single-volume resource offers comprehensive coverage of women directors and their films as well as producers, writers and production artists. General information on the filmmaker or film is followed, where...
In Her Voice is the first book that takes the words and experiences of a diverse group of celebrated women film directors and puts their voices front and center.
This is perfectly understandable, but clearly women do make films outside of these countries, and it can be illuminating to consider how their experiences reflect or differ from those with which we are more familiar.
Quart here extends her previous writings on what she terms `the best narrative cinema: women-centered cinema' and feminist filmmaking.
Anne Bancroft I don't want to direct a Mel Brooks film. I want to direct an Anne Bancroft film! This is a matter of identity! And Mel agrees with this! —Anne Bancroft184 Anne Bancroft, originally Anna Maria Louisa Italiano, ...
The filmmakers in this book include: • Lisa Cholodenko (High Art, The Kids Are All Right) • Martha Coolidge (Valley Girl, Real Genius, Introducing Dorothy Dandridge) • Cheryl Dunye (The Watermelon Woman, Stranger Inside) • Miranda ...
... Getty Images Emma Thompson: Terry O'Neill/Iconic Images/Getty Images Ruth E. Carter: J. Countess/Contour by Getty ... Crawford: Courtesy of Sophia Crawford Ann Roth: Michel Boutefeu/Getty Images Jessica Yu: J. Vespa/WireImage for ...
This book will allow scholars and students of Latin American cinema and culture, as well as industry professionals, a deeper understanding of the emergence and impact of the filmmakers and their work, which has particular relevance for ...
Marie Epstein's scenarios and films combine social issues , particularly the plight of poor children and disadvantaged women , with poetic imagery and advanced cinematic techniques . The best - known collaboration between Epstein and ...
What about the opposite? Women have been making movies since the very beginning of cinema. In The Female Gaze, Alicia Malone explores the ideas, thoughts, and views we learn from women from behind the scenes.