Women Filmmakers in Early Hollywood explores when, how, and why women were accepted as filmmakers in the 1910s and why, by the 1920s, those opportunities had disappeared. In looking at the early film industry as an industry—a place of work—Mahar not only unravels the mystery of the disappearing female filmmaker but untangles the complicated relationship among gender, work culture, and business within modern industrial organizations. In the early 1910s, the film industry followed a theatrical model, fostering an egalitarian work culture in which everyone—male and female—helped behind the scenes in a variety of jobs. In this culture women thrived in powerful, creative roles, especially as writers, directors, and producers. By the end of that decade, however, mushrooming star salaries and skyrocketing movie budgets prompted the creation of the studio system. As the movie industry remade itself in the image of a modern American business, the masculinization of filmmaking took root. Mahar's study integrates feminist methodologies of examining the gendering of work with thorough historical scholarship of American industry and business culture. Tracing the transformation of the film industry into a legitimate "big business" of the 1920s, and explaining the fate of the female filmmaker during the silent era, Mahar demonstrates how industrial growth and change can unexpectedly open—and close—opportunities for women.
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The film, a print of which survives, includes a subplot involving a woman cross-dressing as man, but marketing does not emphasize this playful element.104 Wilson's last two Universal features starred Ruth Clifford.
Winner of the 2018 Richard Wall Memorial Award from the Theater Library Association Liberating Hollywood examines the professional experiences and creative output of women filmmakers during a unique moment in history when the social ...
This is an essential work of film history—a stunning achievement." —Charles Musser, Yale University
In Go West, Young Women, Hilary A. Hallett explores these relatively unknown new western women and their role in the development of Los Angeles and the nascent film industry.
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 ...
Yet, despite the work of early pioneers like Dorothy Arzner, Mabel Normand, Mary Pickford and Alice Guy-Blaché, it soon came to embody the same old sexist standards.
This collection of 23 new essays focuses on the lives of female screenwriters of Golden Age Hollywood, whose work helped create those unforgettable stories and characters beloved by audiences--but whose names have been left out of most film ...
But Smyth vindicates Bette Davis's claim. The story of the women who called the shots in studio-era Hollywood has never fully been told-until now.
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....