Women Film Directors: An International Bio-Critical Dictionary
Gwendolyn Audrey Foster
Format: PDF / Kindle (mobi) / ePub
Until now, there hasn't been one single-volume authoritative reference work on the history of women in film, highlighting nearly every woman filmmaker from the dawn of cinema including Alice Guy (France, 1896), Chantal Akerman (Belgium), Penny Marshall (U.S.), and Sally Potter (U.K.). Every effort has been made to include every kind of woman filmmaker: commercial and mainstream, avant-garde, and minority, and to give a complete cross-section of the work of these remarkable women. Scholars and students of film, popular culture, Women's Studies, and International Studies, as well as film buffs will learn much from this work.
The Dictionary covers the careers of nearly 200 women filmmakers, giving vital statistics where available, listings of films directed by these women, and selected bibliographies for further reading. This is a one-volume, one-stop resource, a comprehensive, up-to-date guide that is absolutely essential for any course offering an overview or survey of women's cinema. It offers not only all available statistics, but critical evaluations of the filmmakers' work as well. In order to keep the length manageable, this volume focuses on women who direct fictional narrative films, with occasional forays into the area of the documentary and is limited to film production rather than video production.
television programs that depict poor black families as agents in their own oppression. Larkin insists that African-American women directors who enter the field should always remember a "commitment to deal with the totality of our Black female experience" (169). Larkin discusses the work of Ayoka Chenzira, Julie Dash, and Kathleen Collins, as well as her own films. Diane Carson, Linda Dittmar, and Janice R. Welsch's anthology Multiple Voices in Feminist Film Criticism and Pam Cook and Philip
representative example of the new American cinema that revels in realism as much as it does romantic narrative. Anders drew from her own personal experiences to create a film that effectively depicts not only the difficulties of single motherhood but also the pain of female adolescence in contemporary American society. The autobiographical spirit is apparent in Gas Food Lodging in the treatment of the points of view of two teenage daughters and their waitress/mother, who live in a lower-class
feature Chocolat, a film that directly attacks African colonization. Similarly, Ann Hui's Boat People, a critically successful film that documents the harsh realities of Vietnamese refugees, clearly deserves wider distribution. Distribution and finance remain formidable barriers for independent filmmakers to surmount. However, the recent emergence of African-American women directors such as Darnell Martin (I Like It Like That, 1994) suggests that women of color may at last be getting a chance as
the century, on a Caribbean island off the South Carolina coast, the film follows the story of the Gullah family, a story of exile, migration, and rootedness. Dash envisioned the film as a study of African culture and its survival, despite colonialist intervention. She chose the setting of this island because it retained African traditions as a result of cultural isolation. Dash told Zeinabu irene Davis, another black woman director: I wanted the look of the film to come from a rich African base.
began teaching in the Dakar school system. Though she has traveled and studied abroad, she maintains close ties with her family and cultural roots. Faye studied ethnology at the Ecole Pratique des Hautes Etudes and the Louis Lumiere Film School in the 1970s. She worked in film sound effects, as an actor, and as a model to support her studies. After gaining experience as a student filmmaker, Safi Faye began looking for financial backing to shoot a feature film. Faye found support from the French