From Library Journal
Although the title leads readers to expect a titillating look at Caged Heat-type exploitation films, this book is instead an exploration of "cinefeminism" and autobiography, an attempt to "interrogate changing interests and shifts in popular culture." The author, a cultural critic who has been published in the Village Voice, New York, and Out, ruminates on her experiences working the feminist film society and festival circuit in the heady days of the 1970s, shares her thoughts on the controversial legacy of Nazi documentarian Leni Riefenstahl, and discusses the knotty issues of sex, politics, and pornography in a review of Not a Love Story. Rich also gives her slant on the lesbian classic Maedchen in Uniform (1931), and two chapters describing time spent interviewing and hanging out with Julie Christie are the book's highlight. On the other hand, these collected essays need a tighter focus, the autobiography could be pruned by half, additional essays on recent noteworthy films should have been added, and declarations that the author was "dazed, possessed, virtually levitated" by a film don't add to the reader's appreciation. The book's appeal is limited to large academic collections on the feminist film movement.?Stephen Rees, Levittown Regional Lib., PA
Copyright 1998 Reed Business Information, Inc.
“Ruby Rich reinvents both herself and her approach to film criticism, in a fascinating book that alternates autobiography and theory. She is wise and funny at the same time, never dogmatic, always allowing her discovery process to remain in clear view.”—Roger Ebert
“This collection of writings by B. Ruby Rich is sure to become a classic. She has proven herself to be a courageous guide into uncharted aesthetic and political territory and, in describing so eloquently what she finds there, she does what critics aspire to but rarely achieve: she both educates and entertains.”—Sally Potter, director of the films Orlando and The Tango
“This is a remarkable book. Rich has written a memoir that encourages the reader not only to see the original essays in a new context but also and especially to understand the development of an intellectual and political moment with all of its complications and personal investments.”—Judith Mayne, author of Cinema and Spectatorship