Dorothy Arzner Papers PASC.0175

Total Page:16

File Type:pdf, Size:1020Kb

Dorothy Arzner Papers PASC.0175 http://oac.cdlib.org/findaid/ark:/13030/tf538nb2tc No online items Finding Aid for the Dorothy Arzner Papers PASC.0175 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D. MacGill UCLA Library Special Collections Online finding aid last updated on 2020 August 28. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Dorothy PASC.0175 1 Arzner Papers PASC.0175 Contributing Institution: UCLA Library Special Collections Title: Dorothy Arzner papers Creator: Arzner, Dorothy, 1900-1979 Identifier/Call Number: PASC.0175 Physical Description: 3.5 Linear Feet(7 boxes) Date (inclusive): circa 1920-1979 Abstract: Collection consists of clippings, sketches, photographs and motion picture stills, correspondence, scrapbooks, audio recordings, and ephemera related to Dorothy Arzner's personal life and career as filmmaker. Includes stills the films Anybody's Woman, The Bride Wore Red, The Covered Wagon, Craig's Wife, Dance Girl Dance, Fashion for Women, First Comes Courage, Get Your Man, Manhattan Cocktail, Merrily We Go To Hell, Nana, Old Ironsides, Ten Modern Commandments, and Working Girls. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains processed audiovisual materials. All requests to access audiovisual materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Dorothy Arzner papers (Collection PASC 175). UCLA Library Special Collections, Charles E. Young Research Library, University of California, Los Angeles. Immediate Source of Acquisition Gift of Mildred Sumner, 1985. Processing Information Collections are processed to a variety of levels depending on the work necessary to make them usable, their perceived user interest and research value, availability of staff and resources, and competing priorities. Library Special Collections provides a standard level of preservation and access for all collections and, when time and resources permit, conducts more intensive processing. These materials have been arranged and described according to national and local standards and best practices. Processed by Library Special Collections staff, circa 1998. UCLA Catalog Record ID UCLA Catalog Record ID: 462250 Biography Arzner was born Jan. 3, 1900; studied medicine at Univ. of So. CA; ambulance driver in WWI (1917-18); in 1919, she was hired by William C. De Mille as a stenographer in the script dept. at Famous Players-Lasky (Paramount), and was later promoted to script clerk, film cutter, and film editor; editor for Realart, a subsidiary of Paramount, 1922; wrote and edited "Old Ironsides," 1925; met Marion Morgan, choreographer and dancer, in the early 1930s and the two remained companions until Morgan's death in 1971; retired from directing in 1943; produced WAC training films during WWII; taught at UCLA and made commercials for Pepsi-Cola; her credits include, "Christopher Strong" (1933), "Nana" (1934), and "Craig's Wife" (1936); honored at the 1st International Festival of Women's Films, NY, 1972, and by Director's Guild of America, 1975; died Oct. 1, 1979 in La Quinta, CA. Scope and Content Collection consists of clippings, sketches, photographs and motion picture stills, correspondence, scrapbooks, audio recordings, and ephemera related to Arzner's personal life and career as filmmaker. Includes stills the films Anybody's Woman, The Bride Wore Red, The Covered Wagon, Craig's Wife, Dance Girl Dance, Fashion for Women, First Comes Finding Aid for the Dorothy PASC.0175 2 Arzner Papers PASC.0175 Courage, Get Your Man, Manhattan Cocktail, Merrily We Go To Hell, Nana, Old Ironsides, Ten Modern Commandments, and Working Girls. Organization Arranged in the following series: 1. Audio recordings (box 2) 2. Clippings (box 5) 3. Negatives (box 6) 4. Personal sketches (box 5) 5. Personal photographs (boxes 5-6) 6. Personal correspondence (box 7) 7. Scrapbooks (boxes 1,3,4) 8. Stills (box 6) 9. Tributes (boxes 6-7) 10. Writings by and about Arzner (box 7) Subjects and Indexing Terms Women motion picture producers and directors -- Archives. Arzner, Dorothy, 1900-1979 -- Archives Audio recordings Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains processed audiovisual materials. All requests to access audiovisual materials must be made in advance using the request button located on this page. box 2, case 1 DGA Tribute to Dorothy Arzner Reel 1 of 5 pasc_0175_002_001 1975 January 25 Creator: Ida Lupino, 1918-1995 Creator: Directors Guild of America Physical Description: 1 Sound Recordings(1 1/4 inch audiotape; Duration: 0:14:14)7 inch Conditions Governing Access CONTAINS AUDIOVISUAL MATERIALS: Audiovisual materials are available for access. All requests to access digital materials must be made in advance using the request button located on this page. Scope and Contents Transcribed from container: Original; Voices of- Doug Morrison, Joelle Debrew, Ida Lupino Subjects and Indexing Terms Arzner, Dorothy, 1900-1979 Finding Aid for the Dorothy PASC.0175 3 Arzner Papers PASC.0175 Audio recordings box 2, case 2 DGA Tribute to Dorothy Arzner Reel 2 of 5 pasc_0175_002_002 1975 January 25 Creator: McCall, Mary C., Jr., 1904-1986 Creator: Directors Guild of America Physical Description: 1 Sound Recordings(1 1/4 inch audiotape; Duration: 0:16:17)7 inch Conditions Governing Access CONTAINS AUDIOVISUAL MATERIALS: Audiovisual materials are available for access. All requests to access digital materials must be made in advance using the request button located on this page. Scope and Contents Transcribed from container: Original Subjects and Indexing Terms Arzner, Dorothy, 1900-1979 box 2, case 3 DGA Tribute to Dorothy Arzner Reel 3 of 5 pasc_0175_002_003 1975 January 25 Creator: Folsey, George J., 1898-1988 Creator: Wellman, William A., 1896-1975 Creator: Directors Guild of America Physical Description: 1 Sound Recordings(1 1/4 inch audiotape; Duration: 0:14:15)7 inch Conditions Governing Access CONTAINS AUDIOVISUAL MATERIALS: Audiovisual materials are available for access. All requests to access digital materials must be made in advance using the request button located on this page. Scope and Contents Content note: Features the reading of telegrams from Mayor Tom Bradley, Joe Mankiewicz, Lucille Ball, and Katherine Hepburn, and Frank Capra. Subjects and Indexing Terms Arzner, Dorothy, 1900-1979 box 2, case 4 DGA Tribute to Dorothy Arzner Reel 4 of 5 pasc_0175_002_004 1975 January 25 Creator: O'Hara, Shirley Creator: Coppola, Francis Ford, 1939- Creator: Directors Guild of America Physical Description: 1 Sound Recordings(1 1/4 inch audiotape; Duration: 0:16:19)7 inch Conditions Governing Access CONTAINS AUDIOVISUAL MATERIALS: Audiovisual materials are available for access. All requests to access digital materials must be made in advance using the request button located on this page. Scope and Contents Content note: Features the reading of a telegrams from CA Secretary of State March Fong Eu, Fay Wray, Louie Hayward, Fredrick March, Rosalind Russel, Joan Crawford, Subjects and Indexing Terms Arzner, Dorothy, 1900-1979 Finding Aid for the Dorothy PASC.0175 4 Arzner Papers PASC.0175 Audio recordings box 2, case 5 DGA Tribute to Dorothy Arzner Reel 5 of 5 pasc_0175_002_005 1975 January 25 Creator: Ballard, Lucien, 1908-1988 Creator: Directors Guild of America Physical Description: 1 Sound Recordings(1 1/4 inch audiotape; Duration: 0:11:04)7 inch Conditions Governing Access CONTAINS AUDIOVISUAL MATERIALS: Audiovisual materials are available for access. All requests to access digital materials must be made in advance using the request button located on this page. Subjects and Indexing Terms Arzner, Dorothy, 1900-1979 box 2, case 6 DGA Tribute to Dorothy Arzner Part 1 of 2 pasc_0175_002_006a undated Creator: Ida Lupino, 1918-1995 Creator: Directors Guild of America Physical Description: 1 Sound Recordings(1 audiocassette; Duration: 0:44:49) Conditions Governing Access CONTAINS AUDIOVISUAL MATERIALS: Audiovisual materials are available for access. All requests to access digital materials must be made in advance using the request button located on this page. Subjects and Indexing Terms Arzner, Dorothy, 1900-1979 box 2, case 6 DGA Tribute to Dorothy Arzner Part 2 of 2 / Fragment of King Vidor Talk pasc_0175_002_006b undated Creator: Vidor, King, 1894-1982 Creator: Directors Guild of America Physical Description: 1 Sound Recordings(1 audiocassette; Duration: 0:46:47) Conditions Governing Access CONTAINS AUDIOVISUAL MATERIALS: Audiovisual materials are available for access. All requests
Recommended publications
  • Copyrighted Material
    9781405170550_6_ind.qxd 16/10/2008 17:02 Page 432 INDEX 4 Little Girls (1997) 93 action-adventure movie 147, 149, 254, 339, 348, 352, 392–3, 396–7, 8 Mile (2002) 396–7 259, 276, 287–8, 298–9, 410 402–3 20th Century-Fox 21, 30, 34, 40–2, 73, actualities 106, 364, 410 Against All Odds (1984) 289 149, 184, 204–5, 281, 335 ACT-UP (AIDS Coalition to Unleash Agar, John 268 25th Hour, The (2002) 98 Power) 337, 410 Aghdashloo, Shohreh 75 27 Dresses (2008) 353 ADA (Americans with Disabilities Act) Ahn, Philip 130 28 Days (2000) 293 398–9, 410 AIDS 99, 329, 334, 336–40 48 Hours (1982) 91 Adachi, Jeff 139 AIDS Coalition to Unleash Power see 100-to-1 Shot, The (1906) 174 Adams, Evan 118–19 ACT-UP 300 (2007) 74, 298, 300 ADC (American-Arab Anti- AIM (American Indian Movement) 111, Discrimination Committee) 73–4, 116–17, 410 Abbott and Costello 268 410 Air Force (1943) 268 ABC 340 Addams Family, The (1991) 156 Akins, Zoe 388–9 Abie’s Irish Rose (stage) 57 Addams Family Values (1993) 156 Aladdin (1992) 73–4, 246 Abilities United Productions 384 Adiarte, Patrick 72 Alba, Jessica 76, 155, 159 ability 359–84, 410 adult Western 111, 410 Albert, Eddie 72 ableism 361, 381, 410 Adventures of Ozzie & Harriet, The (TV) Albert, Edward 375 Abominable Dr Phibes, The (1971) 284 Alexie, Sherman 117–18 365 Adventures of Priscilla, Queen of the Algie, the Miner (1912) 312 Abraham, F. Murray 75, 76 COPYRIGHTEDDesert, The (1994) 348 MATERIALAli (2001) 96 Academy Awards (Oscars) 29, 58, 63, Adventures of Sebastian Cole, The (1998) Alice (1990) 130 67, 72, 75, 83, 92, 93,
    [Show full text]
  • Jack Oakie & Victoria Horne-Oakie Films
    JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives.
    [Show full text]
  • Judy Turns the Objectifying Male Gaze Back on Itself
    JUDY O’BRIEN [Maureen O’Hara] (dancing onstage, dress straps rip-male audience members taunt) Go ahead and stare. I'm not ashamed. Go on, laugh; get your money's worth. Nobody's going to hurt you. I know you want me to tear my clothes off so you can look your 50 cents' worth. Fifty cents for the privilege of staring at a girl the way your wives won't let you. What do you suppose we think of you up here? (camera pans l to r well-heeled and ashamed male in tuxedos and reproving female audience members) With your silly smirks your mothers would be ashamed of. It's a thing of the moment for the dress suits to come and laugh at us too. We'd laugh right back at you, only we're paid to let you sit there...and roll your eyes, and make your screamingly clever remarks. What's it for? So you can go home when the show's over, strut before your wives and sweethearts... and play at being the stronger sex for a minute? I'm sure they see through you just like we do. From Dance, Girl, Dance (Dorothy Arzner,1940) Tess Slesinger & Frank Davis (screenplay) Vicki Baum (story) Judy turns the objectifying male gaze back on itself. First 4 have a Hollywood/family connection: Dorothy Arzner’s family owned a Hollywood restaurant frequented by actors and directors Ida Lupino came from a family of British actors Penny Marshall’s Mom was a tap dance teacher, her Dad a director of industrial films and older brother Gary, a TV series creator and successful film director.
    [Show full text]
  • Abstract Acknowledgments TOC 2
    Voicing Modernism: Talk, Technology, and Aesthetics Sara Bryant Charlottesville, Virginia B. A., Bowdoin College, 1999 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2013 Bryant i ABSTRACT This project traces how modernists in the verbal and visual arts engage with embodied voice and its technological mediation. Through attention to theorists such as Kaja Silverman, Stanley Cavell, Mladen Dolar, and Bruno Latour, as well as through extensive archival research, I show how works of both British and American modernism from the 1920s to the early 1940s interrogate the political and aesthetic significance of the voice in modernity. Scholars such as Sara Danius and Douglas Kahn have provided compelling accounts of sound in modernity and modernism. Critical attention specifically to voice within the modern soundscape, however, has remained scant. Voice proves an elusive topic because even while blurring divisions between exterior and interior, subject and object, and mind and body in meaningful ways, it also proves resistant to the work of unsettling binaries such as human/nonhuman, phone/logos, and presence/absence. I demonstrate how modernist writers and filmmakers experiment with the shifting status of voice across media and genres as they explore concerns made urgent in the epoch of world war: technology’s purchase upon embodied experience, the gendered ramifications of this experience, and the troubled link between politics and aesthetics. This focus on voice in modernism allows me to link seemingly disparate artistic moments. My first chapter reads the filmmaker Dorothy Arzner’s meditations on gendered voice in her silent and sound films, situating her Hollywood career within modernist and feminist discourses about gender and filmic voice.
    [Show full text]
  • Escritoras En La Gran Pantalla. La Legión De La Decencia Vs. La Fábrica De Sueños [1]
    aposta http://www.apostadigital.com/revistav3/hemeroteca/ballesteros6.pdf revista de ciencias sociales nº 50, Julio, Agosto y Septiembre 2011 ISSN 1696-7348 ESCRITORAS EN LA GRAN PANTALLA. LA LEGIÓN DE LA DECENCIA VS. LA FÁBRICA DE SUEÑOS [1] Rosa María Ballesteros García Universidad de Málaga Introducción El sociólogo e historiador de cine Pierre Sorlin [2] escribió que “la memoria funda la historia” y que el historiador es, en el fondo, “el escribano de la historia colectiva”. Sabias palabras de uno de los autores de referencia obligada en los trabajos de investigación sobre la relación cine/historia. Lillian Hellman (1905-1984), dramaturga de Louisiana y compañera del escritor Samuel Dashiell Hammett (1894-1961) [3], ejerció como escribana al detallar el “tiempo de canallas” que ambos padecieron durante los años de la caza de brujas dirigida por Joe McCarthy (1908-1957). Fueron años en que el propio Hammett creador de personajes tan famosos como “Sam Spade”, el detective encarnado por Bogart en El halcón maltés [4] y otros muchos compañeros, acusados de simpatizar con el comunismo, dieron con sus huesos en la cárcel (como el propio Hammett) o soportaron la persecución, los despidos, el desprecio o el odio de los buenos patriotas norteamericanos. Eran tiempos que ya anticipaban escritores “malditos” como F. Scott Fitzgerald (1896- 1940), William Faulkner (1897-1962) o el Nobel Ernest Hemingway (1899-1961), autores todos que han sido llevados a la gran pantalla [5], como también lo fue el 1 dramaturgo, y también Nobel Eugene O´Neill (1888-1953), suegro de Chaplin (a su pesar), todos ellos retratistas poco halagadores del sistema en su denuncia del puritanismo victoriano.
    [Show full text]
  • A Guild Is Born Dorothy Arzner
    80-YEAR ANNIVERSARY The Screen KING VIDOR 1938 >“Women’s dramatic sense is “Directors Guild DOROTHY invaluable to the motion picture was organized industry,” said Dorothy Arzner, solely by ARZNER whose contributions include and for the First Female 80 YEARS STRONG motion picture being the first female member Member 1933 >The formation of the Directors director…. We of the Directors Guild. In early A GUILD Guild had been percolating for a are not anti- Hollywood, Arzner was a typist, number of years. Amid nationwide anything: the screenwriter, editor, and ultimately, director. IS BORN labor unrest in the country, the Guild being She is believed to have developed the boom mic, studios had been squeezing directors formed for the enabling actors to move and speak more easily purpose of both financially and creatively. The first step toward in early talkies. At one time under contract to assisting and Paramount, Arzner is organizing a guild occurred in 1933 outside the Hol- improving the lywood Roosevelt Hotel, after a meeting in which best known for directing director’s work such strong personalities the studios announced a 50 percent across-the-board in the form of pay cut. After the meeting, King Vidor and a handful a collective as Clara Bow, Claudette of directors congregated on the sidewalk and knew body, rather Colbert, Katharine something had to be done. They understood, as Vidor than as an Hepburn, and Joan put it, “We must have a guild to speak [for us], and individual. Crawford in films such not the individual, who can be hurt by standing up as Honor Among Lovers “I worked on my for his rights.” That guild was born in late 1935 and ” (1931) and Christopher first project under Strong (1933).
    [Show full text]
  • The Making of a Scottish National Cinema Through Short Fiction Films 1930-2016 Zach Finch University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2017 A’ Oor Ain: the Making of a Scottish National Cinema Through Short Fiction Films 1930-2016 Zach Finch University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Finch, Zach, "A’ Oor Ain: the Making of a Scottish National Cinema Through Short Fiction Films 1930-2016" (2017). Theses and Dissertations. 1469. https://dc.uwm.edu/etd/1469 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. A’ OOR AIN: THE MAKING OF A SCOTTISH NATIONAL CINEMA THROUGH SHORT FICTION FILMS 1930-2016 by Zach Finch A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2017 ABSTRACT A’ OOR AIN: THE MAKING OF A SCOTTISH NATIONAL CINEMA THROUGH SHORT FICTION FILMS 1930-2016 by Zach Finch The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Tami Williams This dissertation tells a story of Scottish national cinema through Scotland’s short fiction films from 1930 to 2016. As a small nation within the United Kingdom, Scotland’s film culture has played a subordinate role in relation to England’s, and has struggled for decades to create its own thriving film industry. However, in the mid-1990s, critics and scholars began to talk of a uniquely Scottish national cinema, rather than the traditional and all-encompassing “British cinema,” because of the success of films like Shallow Grave (1994) and Trainspotting (1996).
    [Show full text]
  • 1 Philip Leers Behind the Great Man
    Philip Leers Behind the Great Man Female Screenwriters and Collaborative Authorship in Early Hollywood The predominance of the auteur theory in cinema studies has been a double-edged sword, each benefit attended by a disadvantage. While it mitigated the primacy of the Hollywood system, it posited in its place the equally problematic figure of the director as the sole source of meaning-making in filmmaking. While it has brought to light a worthy list of previously unappreciated films and directors, it has also been justly criticized for reinforcing the centrality of white, male directors, and exacerbating the marginalization of other voices. And while it has provided an invaluable identificatory and analytic framework for film theorists, it has also fostered an essentialist, and often ahistorical, conception of film authorship. The cult of the male director, for instance, has obscured the remarkable contributions of female screenwriters to the early cinema. Throughout the silent era, and into the thirties, a majority of the screen’s foremost scenarists were women, with luminaries like Alice Guy Blache, Anita Loos, Elinor Glyn, Lois Weber, Francis Marion, Beulah Marie Dix, June Mathis, Jeanie MacPherson, Marion Fairfax, and Jane Murfin achieving a considerable measure of influence within the industry and celebrity without. These screenwriters constituted a network of powerful women who outnumbered their male counterparts ten to one, a ratio that was perhaps only possible in the infancy of the cinema, when filmmaking practice had not yet been consolidated under the patriarchal hierarchy of the Hollywood system. Certainly, the masculinist slant of Hollywood’s “Golden Age” and its subsequent usurping of the public interest served to efface the impact of these women on the film industry, but their prominence at a time when the narrative language of the cinema was taking shape cannot be ignored.
    [Show full text]
  • Disparities for Women Filmmakers in the Film Industry Bobbie Lucas
    Vassar College Digital Window @ Vassar Senior Capstone Projects 2015 Behind Every Great Man There Are More Men: Disparities for Women Filmmakers in the Film Industry Bobbie Lucas Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Lucas, Bobbie, "Behind Every Great Man There Are More Men: Disparities for Women Filmmakers in the Film Industry" (2015). Senior Capstone Projects. Paper 387. This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Vassar College “Behind Every Great Man There Are More Men:” Disparities for Women Filmmakers in the Film Industry A research thesis submitted to The Department of Film Bobbie Lucas Fall 2014 ACKNOWLEDGMENTS “Someday hopefully it won’t be necessary to allocate a special evening [Women in Film] to celebrate where we are and how far we’ve come…someday women writers, producers, and crew members will be so commonplace, and roles and salaries for actresses will outstrip those for men, and pigs will fly.” --Sigourney Weaver For the women filmmakers who made films and established filmmaking careers in the face of adversity and misogyny, and for those who will continue to do so. I would like to express my appreciation to the people who helped me accomplish this endeavor: Dara Greenwood, Associate Professor of Psychology Paul Johnson, Professor of Economics Evsen Turkay Pillai, Associate Professor of Economics I am extremely grateful for the valuable input you provided on my ideas and your willing assistance in my research.
    [Show full text]
  • Dp-Dorothy-Arzner.Pdf
    DOROTHY ARZNER DOROTHY DOROTHY ARZNER PROGRAMMATION RÉTROSPECTIVE 22 MARS – 9 AVRIL EN PARTENARIAT AVEC LE FESTIVAL INTERNATIONAL DE FILMS DE FEMMES DE CRÉTEIL ET L’INSTITUT LUMIÈRE Le Phalène d’argent 57 DOROTHY ARZNER : UNE FEMME DANS UN MONDE D’HOMMES Elle fut l’une des rares femmes réalisatrices à avoir mené une carrière au cœur même du système des studios à Hollywood. D’abord monteuse et scénariste, elle signera la mise en scène d’une vingtaine de films entre 1927 et 1943, essen- tiellement pour la Paramount. Elle fera tourner quelques grandes vedettes du moment (Fredric March, Katharine Hepburn, Joan Crawford). On lui doit une œuvre très personnelle, remarquable notamment par l’originalité de ses per- sonnages féminins. Dans l’histoire du cinéma américain, Dorothy Arzner n’a pas eu l’importance ni le succès d’une Lois Weber ou d’une Alice Guy Baché, deux immenses pionnières. Mais elle a la distinction d’avoir été la seule femme à faire carrière de réalisatrice à l’époque du studio system. En cela, malgré les récentes tentatives pour en faire une secrète héroïne du combat féministe, elle était logée à la même enseigne que des auteurs comme William Wellman, George Cukor ou Raoul Walsh, c’est-à-dire des réalisateurs qui dépendaient beaucoup des matériaux dont ils héritaient, qui militaient rarement pour faire tel ou tel film, mais au contraire s’arrangeaient presque toujours pour rendre ces histoires meilleures qu’elles ne le méritaient peut-être. C’est en cette façon de surmonter les gageures de casting ou de bud- get qu’ils faisaient preuve, ou non, de personnalité, et qu’on a pu les qualifier d’auteurs à une époque.
    [Show full text]
  • "Women and the Silent Screen" In: Wiley-Blackwell History of American
    WOMEN AND THE 7 SILENT SCREEN Shelley Stamp Women were more engaged in movie culture at the height of the silent era than they have been at any other time since. Female filmgoers dominated at the box office; the most powerful stars were women, and fan culture catered almost exclusively to female fans; writers shaping film culture through the growing art of movie reviewing, celebrity profiles, and gossip items were likely to be women; and women’s clubs and organizations, along with mass-circulation magazines, played a signature role in efforts to reform the movies at the height of their early success. In Hollywood women were active at all levels of the industry: The top screenwriters were women; the highest-paid director at one point was a woman; and women held key leadership roles in the studios as executives and heads of departments like photography, editing, and screenwriting. Outside Hollywood women ran movie theaters, screened films in libraries and classrooms, and helped to establish venues for nonfiction filmmaking. Looking at the extraordinary scope of women’s participation in early movie culture – indeed, the way women built that movie culture – helps us rethink conventional ideas about authorship and the archive, drawing in a broader range of players and sources. As Antonia Lant reminds us, the binary notion of women working on “both sides of the camera” needs to be significantly complicated and expanded in order to accommodate all of the ways in which women engaged with and produced early film culture (2006, 548–549). The Wiley-Blackwell History of American Film, First Edition.
    [Show full text]
  • New Releases New Releases
    January February We Own the Night La Vie de Bohème -S M T W T F S S M T W T F S New Releases New Releases 1:00pm 1:00pm 1:00pm 12:30pm 12:30pm 4:00pm 1:30pm Capernaum For more New Release Opens Jan 11 Jurassic Park Catch Me If You Can The Terminal Minority Report E.T.: The Extra-Terrestrial The Iron Giant: Love Story STEVEN SPIELBERG STEVEN SPIELBERG STEVEN SPIELBERG STEVEN SPIELBERG STEVEN SPIELBERG titles, visit tiff.net Signature Edition SPECIAL SCREENINGS 1999 Cold War 3:45pm 3:50pm 3:55pm 3:35pm 3:15pm 4:15pm Opens Jan 25 The Lost World: Super 8 The Color Purple Catch Me If You Can Schindler’s List 7:00pm Crime and Punishment The Image Book Jurassic Park STEVEN SPIELBERG STEVEN SPIELBERG STEVEN SPIELBERG STEVEN SPIELBERG Shadows in Paradise AKI KAURISMÄKI STEVEN SPIELBERG AKI KAURISMÄKI Opens Jan 25 6:15pm 7:00pm 6:15pm 7:00pm 6:30pm 6:40pm Jaws Close Encounters The Yards In Conversation With... 9:00pm The Straight Story Raiders of the Lost Ark STEVEN SPIELBERG of the Third Kind with James Gray James Gray The 36th Chamber 1999 STEVEN SPIELBERG STEVEN SPIELBERG JAMES GRAY JAMES GRAY For more New Release 9:15pm of Shaolin 9:00pm SHAW BROTHERS titles, visit tiff.net 9:20pm Minority Report 9:45pm 9:30pm 10:00pm Badlands Twister STEVEN SPIELBERG War of the Worlds James Gray Carte Blanche: Duel SPECIAL SCREENINGS STEVEN SPIELBERG STEVEN SPIELBERG Other Men’s Women STEVEN SPIELBERG JAMES GRAY 1 2 10:30am 6:30pm 6:45pm 6:25pm 1:00pm 1:00pm Secret Movie Club Hamlet Goes Business The Match Factory Girl I Hired a Contract Killer Love Story McCabe & Mrs.
    [Show full text]