Women Film Directors: An International Bio-critical Dictionary

Front Cover
Greenwood Publishing Group, 1995 - Performing Arts - 443 pages

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.


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Women film directors: an international bio-critical dictionary

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This important work compiles a significant amount of otherwise difficult-to-find information on women filmmakers working in all countries and all contexts, whether mainstream, independent, or ... Read full review


The Dictionary
International Women Film Directors by Nationality
International Women Film Directors A Chronology of Influential Directors by Decades
Selected Bibliography

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Page xx - The first blow against the monolithic accumulation of traditional film conventions (already undertaken by radical filmmakers) is to free the look of the camera into its materiality in time and space and the look of the audience into dialectics, passionate detachment.

About the author (1995)

GWENDOLYN AUDREY FOSTER is Assistant Professor of English at the University of Nebraska, Lincoln. She has written articles for journals and chapters for books on film and produced the documentary feature film, Women Who Made the Movies (1992).

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