For over three decades Rich has been one of the most important voices in feminist film criticism. Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in the Village Voice, Elle, Out, and the Advocate, and her commentaries on the public radio program “The World” have secured her a place as a central figure in the remarkable history of what she deems “cinefeminism.” In the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history, Rich introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose. Travel, softball, sex, and voodoo all somehow fit into a book that includes classic Rich articles covering such topics as the antiporn movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform. The result is a volume that traces the development not only of women’s involvement in cinema but of one of its key players as well.
The first book-length work from Rich—whose stature and influence in the world of film criticism and theory continue to grow—Chick Flicks exposes unexplored routes and forgotten byways of a past that’s recent enough to be remembered and far away enough to be memorable.
Legends and rising stars of feminist film and video tell their stories.
Alexandra Juhasz asked twenty-one women to tell their stories-women whose names make up a who is (and who will be) who of independent and experimental film and video. What emerged in the resulting conversations is a compelling (and previously underdocumented) history of feminism and feminist film and video, from its origins in the fifties and sixties to its apex in the seventies, to today.
Women of Vision is a companion piece to Juhasz’s 1998 documentary of the same name. The book presents the complete interviews, allowing readers to hear directly the voices of these articulate, passionate women in an interactive remembering of feminist media history. Juhasz’s introduction provides a historical, theoretical, and aesthetic context for the interviews. These subjects have all shaped late twentieth-century film and video in fundamental ways, either as artists, producers, distributors, critics, or scholars, and they all believe that media are the most powerful tools for effecting change. Yet they are a very diverse group, with widely varying personal and professional backgrounds. By presenting their interviews together, Juhasz shows the differences among those involved in feminist media, but also the connections among them, and the way in which the field has been enriched by their sharing of knowledge and power. In the end, Juhasz not only records these women’s careers, she broadens our understanding of feminism and shows how feminist history and documentary are made.Interviewees: Pearl Bowser; Margaret Caples; Michelle Citron; Megan Cunningham; Cheryl Dunye; Vanalyne Green; Barbara Hammer; Kate Horsfield; Carol Leigh; Susan Mogul; Juanita Mohammed; Frances Negrón-Muntaner; Eve Oishi; Constance Penley; Wendy Quinn; Julia Reichert; Carolee Schneemann; Valerie Soe; Victoria Vesna; and Yvonne Welbon.READERS
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