Independent Female Filmmakers collects original and previously published essays, interviews, and manifestos from some of the most defining and groundbreaking independent female filmmakers of the last 40 years. Featuring material from the seminal magazine The Independent Film and Video Monthly—a leading publication for independent filmmakers for several decades—as well as new interviews conducted with the filmmakers, this book, edited by Michele Meek, presents a unique perspective into the ethnically and culturally diverse voices of women filmmakers whose films span narrative, documentary, and experimental genres and whose work remains integral to independent film history from the 1970s to the present. Independent Female Filmmakers also includes a biographical profile of each filmmaker, as well as an online resource with links to additonal interviews and a sample course syllabus. 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 July (The Future, Me And You And Everyone We Know) • Barbara Kopple (Harlan County USA, Wild Man Blues) • Maria Maggenti (The Incredibly True Adventures of Two Girls in Love) • Deepa Mehta (Fire, Earth, Water) • Trinh T. Minh-ha (Surname Viet, Given Name Nam, Night Passage) . . . and more!
Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe amaverick white male auteurs such as Quentin Tarantino or Wes Anderson as the face of ...
Profiled here are over thirty pioneering directors, producers, and distributors who have changed the face of contemporary film by delivering new and distinctly female images and sensibilities for the screen.
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, ...
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 ...
... 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 ...
... of one form or another to productions that film and / or complete post - production in their locale . ... The other ( probably easier ) option would be to offer an added bonus of , say , an additional 5 percent rebate to those ...
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.
The chapters in this book were originally published in a special issue of Feminist Media Studies.
Amy Taubin, 'Queer Male Cinema and Feminism', Sight and Sound, September 1992, reprinted in Cook and Dodd (eds.), Women and Film, 179. Anat Pick, 'New Queer Cinema and Lesbian Films', in Aaron (ed.), New Queer Cinema, 106.
Over forty contributors have made this book a fascinating and definitive record of independent women's filmmaking in Australia. The book contains essays and statements by film theorists and film makers.