The year was 1896, the woman was Alice Guy-Blaché, and the film was The Cabbage Fairy. It was less than a minute long. Guy-Blaché, the first female director, made hundreds of movies during her career. Thousands of women with passion and commitment to storytelling followed in her footsteps. Working in all aspects of the movie industry, they collaborated with others to create memorable images on the screen. This book pays tribute to the spirit, ambition, grit and talent of these filmmakers and artists. With more than 1200 women featured in the book, you will find names that everyone knows and loves—the movie legends. But you will also discover hundreds and hundreds of women whose names are unknown to you: actresses, directors, stuntwomen, screenwriters, composers, animators, editors, producers, cinematographers and on and on. Stunning photographs capture and document the women who worked their magic in the movie business. Perfect for anyone who enjoys the movies, this photo-treasury of women and film is not to be missed.
A study of how and why women in early twentieth-century Hollywood went from having plenty of filmmaking opportunities to very few. 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. “With meticulous scholarship and fluid writing, Mahar tells the story of this golden era of female filmmaking . . . Women Filmmakers in Early Hollywood is not to be missed.” —Samantha Barbas, Women’s Review of Books “Mahar views the business of making movies from the inside-out, focusing on questions about changing industrial models and work conventions. At her best, she shows how the industry’s shifting business history impacted women’s opportunities, recasting current understanding about the American film industry's development.” —Hilary Hallett, Reviews in American History “A scrupulously researched and argued analysis of how and why women made great professional and artistic gains in the U.S. film industry from 1906 to the mid-1920s and why they lost most of that ground until the late twentieth century.” —Kathleen Feeley, Journal of American History “Women Filmmakers in Early Hollywood offers convincing evidence of how economic forces shaped women’s access to film production and presents a complex and engaging story of the women who took advantage of those opportunities.” —Pennee Bender, Business History Review
In celebration of Hollywood's legendary actresses from the 1930s to the present, Assouline, together with Elle magazine, presents The Allure of Beauty: Women in Hollywood. From Marilyn Monroe and Marlene Dietrich to Anita Ekberg and Julia Roberts, each page of this vibrant anthology radiates with provocative images of unforgettable faces and moments that have forever changed the place of women in Hollywood - as well as in our culture. Elle magazine film critic Karen Durbin delves into the history of Hollywood, highlighting females who have proven their femininity, strength, and talent. The glitzy narrative accompanies a carefully researched, sexy selection of photography that captures the individuality of each women. AUTHOR: Karen Durbin is the film critic for Elle magazine and contributor to The New York Times Sunday Arts & Leisure section, for which she created and writes a regular feature on breakthrough performances in forthcoming movies. She was the film critic of Mirabella magazine and editor in chief of The Village Voice. ILLUSTRATIONS 100 illustrations *
Now, Voyager, Stella Dallas, Leaver Her to Heaven, Imitation of Life, Mildred Pierce, Gilda…these are only a few of the hundreds of “women’s films” that poured out of Hollywood during the thirties, forties, and fifties. The films were widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream—of romance, sexuality, luxury, suffering, or even wickedness—and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman’s most important job was…to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women’s films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman’s genre—among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as “noble” as it appears. Basinger looks at the stars who played these women and helps us understand the qualities—the right off-screen personae, the right on-screen attitudes, the right faces—that made them personify the woman’s film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discusses—whether melodrama, screwball comedy, musical, film noir, western, or biopic—a woman occupies the center of her particular universe. Her story—in its endless variations of rags to riches, boy meets girl, battle of the sexes, mother love, doomed romance—inevitably sends a highly potent mixed message: Yes, you women belong in your “proper place” (that is, content with the Big Three of the women’s film world—men, marriage, and motherhood), but meanwhile, and paradoxically, see what fun, glamour, and power you can enjoy along the way. A Woman’s View deepens our understanding of the times and circumstances and attitudes out of which these movies were created.
This is a topical resource that provides a comprehensive look at the most influential women in Hollywood cinema across a wide-range of occupations rarely found together in a single volume. Unlike other anthologies, Hollywood Heroines: The Most Influential Women in Film History is a hybrid of film history and industry information with an exclusive focus on prominent women. This reference work includes more commonly discussed categories of important women in Hollywood film history, such as directors and actresses, and reaches beyond them to encompass women working as cinematographers, casting directors, studio heads, musical composers, and visual and special effects supervisors. The wide range of filmmaking crafts covered in the book provides an acute view of the industry and increases the visibility of and quality of representation for women working in Hollywood. By bringing the experience of these influential women to light, Hollywood Heroines joins a growing movement that endeavors to dismantle harmful, long-standing industry myths that perpetuate the systemic underrepresentation of women and the devaluation of women's stories in the Hollywood film industry.
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 justice movements that defined the 1960s and 1970s challenged the enduring culture of sexism and racism in the U.S. film industry. Throughout the 1970s feminist reform efforts resulted in a noticeable rise in the number of women directors, yet at the same time the institutionalized sexism of Hollywood continued to create obstacles to closing the gender gap. Maya Montañez Smukler reveals that during this era there were an estimated sixteen women making independent and studio films: Penny Allen, Karen Arthur, Anne Bancroft, Joan Darling, Lee Grant, Barbara Loden, Elaine May, Barbara Peeters, Joan Rivers, Stephanie Rothman, Beverly Sebastian, Joan Micklin Silver, Joan Tewkesbury, Jane Wagner, Nancy Walker, and Claudia Weill. Drawing on interviews conducted by the author, Liberating Hollywood is the first study of women directors within the intersection of second wave feminism, civil rights legislation, and Hollywood to investigate the remarkable careers of these filmmakers during one of the most mythologized periods in American film history.
"Thelma and Louise made film history with a female screenwriter and director, two female leads and a controversial, female-empowered storyline. This book examines the cultural impact of Thelma and Louise, not only upon its release in 1991 but throughout the nearly 15 years since"--Provided by publisher.
This book on the history of Hollywood's high-flying career women during the studio era covers the impact of the executives, producers, editors, writers, agents, designers, directors, and actresses who shaped Hollywood film production and style, led their unions, climbed to the top during the war, and fought the blacklist.
In the early part of the twentieth century, migrants made their way from rural homes to cities in record numbers and many traveled west. Los Angeles became a destination. Women flocked to the growing town to join the film industry as workers and spectators, creating a "New Woman." Their efforts transformed filmmaking from a marginal business to a cosmopolitan, glamorous, and bohemian one. By 1920, Los Angeles had become the only western city where women outnumbered men. 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. From Mary Pickford’s rise to become perhaps the most powerful woman of her age, to the racist moral panics of the post–World War I years that culminated in Hollywood’s first sex scandal, Hallett describes how the path through early Hollywood presaged the struggles over modern gender roles that animated the century to come.
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 histories. The contributors trace the careers of such writers as Anita Loos, Adela Rogers St. Johns, Lillian Hellman, Gene Gauntier, Eve Unsell and Ida May Park, and explore themes of their writing in classics like Gentlemen Prefer Blondes, Ben Hur, and It's a Wonderful Life.
