Women and New Hollywood revises our understanding of 1970s American film by examining the contributions that women made not only as directors, but also as screenwriters, editors, actors, producers, and critics. Considering both women working within and beyond the Hollywood film industry, this collection showcases the rich and varied cinematic products of women’s creative labor.
Women and New Hollywood revises our understanding of 1970s American film by examining the contributions that women made not only as directors, but also as screenwriters, editors, actors, producers, and critics. Considering both women working within and beyond the Hollywood film industry, this collection showcases the rich and varied cinematic products of women’s creative labor.
AARON HUNTER lectures in the Department of Film at Trinity College, Dublin. He is the author of Authoring Hal Ashby: The Myth of the New Hollywood Auteur and Polly Platt: Hollywood Production Design and Creative Authorship . MARTHA SHEARER is an assistant professor and Ad Astra Fellow in Film Studies at University College Dublin. She is the author of New York City and the Hollywood Musical: Dancing in the Streets and coeditor of Musicals at the Margins: Genre, Boundaries, Canons.
Inhaltsangabe
Introduction AARON HUNTER AND MARTHA SHEARER Part I History 1 The Rothman Renaissance, or the Politics of Archival (Re)Discovery ALICIA KOZMA 2 Watering the Grapevine: Jessie Maple, Self-Narration, and the Trajectory of a Career in Community NICHOLAS FORSTER 3 “It Was a Little Late in the Day for All That Prissy Business”: The New Hollywood Career of Jay Presson Allen OLIVER GRUNER 4 “We Knew and She Knew That She Was Barbra”: Streisand in the 1970s NICHOLAS GODFREY 5 I Know Why: Maya Angelou and the Promise of 1970s Hollywood MAYA MONTAÑEZ SMUKLER Part II Text 6 Women Editors in New Hollywood: Cutting Down on the Raging Bullshit KAREN PEARLMAN 7 Elaine May’s Awkward Age JAMES MORRISON 8 “She’s a Professional, Now”: Girlfriends, Creative Labor, and the Challenge of Feminist Professionalization ABIGAIL CHEEVER 9 A Different Image: Studies in Contrasts by Women Filmmakers of the L.A. Rebellion VIRGINIA BONNER 10 Barbara Loden’s Wanda (1970): A Radically Negative Feminist Aesthetic ANNA BACKMAN ROGERS Part III Theory and Criticism 11 Genealogies of a Decade: Classifying and Historicizing Women of the New Hollywood AMELIE HASTIE 12 “Women’s-Movement Anger”: Pauline Kael and New Hollywood ADRIAN GARVEY 13 Feminism, Auteurism, and the 1970s, in Theory MARIA PRAMAGGIORE Acknowledgments Notes on Contributors Index
Introduction AARON HUNTER AND MARTHA SHEARER Part I History 1 The Rothman Renaissance, or the Politics of Archival (Re)Discovery ALICIA KOZMA 2 Watering the Grapevine: Jessie Maple, Self-Narration, and the Trajectory of a Career in Community NICHOLAS FORSTER 3 “It Was a Little Late in the Day for All That Prissy Business”: The New Hollywood Career of Jay Presson Allen OLIVER GRUNER 4 “We Knew and She Knew That She Was Barbra”: Streisand in the 1970s NICHOLAS GODFREY 5 I Know Why: Maya Angelou and the Promise of 1970s Hollywood MAYA MONTAÑEZ SMUKLER Part II Text 6 Women Editors in New Hollywood: Cutting Down on the Raging Bullshit KAREN PEARLMAN 7 Elaine May’s Awkward Age JAMES MORRISON 8 “She’s a Professional, Now”: Girlfriends, Creative Labor, and the Challenge of Feminist Professionalization ABIGAIL CHEEVER 9 A Different Image: Studies in Contrasts by Women Filmmakers of the L.A. Rebellion VIRGINIA BONNER 10 Barbara Loden’s Wanda (1970): A Radically Negative Feminist Aesthetic ANNA BACKMAN ROGERS Part III Theory and Criticism 11 Genealogies of a Decade: Classifying and Historicizing Women of the New Hollywood AMELIE HASTIE 12 “Women’s-Movement Anger”: Pauline Kael and New Hollywood ADRIAN GARVEY 13 Feminism, Auteurism, and the 1970s, in Theory MARIA PRAMAGGIORE Acknowledgments Notes on Contributors Index
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