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Editorial Reviews
From Publishers Weekly
The subject of close scrutiny by feminist film theorists for the past two decades, Arzner is arguably the most important woman film director in Hollywood history. From The Wild Party, starring Clara Bow in her first sound film, to Dance, Girl, Dance, with Lucille Ball, Arzner earned a reputation as a ``star-maker.'' Mayne (The Woman at the Keyhole) here reviews Arzner's 16-year directing career, offering a feminist reading of her films that emphasizes their preoccupation with communities of women and the ``performance'' of gender, as well as their questioning of heterosexuality. Mayne also delves into Arzner's biography for evidence of how her identity as a lesbian affected her work, and her research into Arzner's personal life reveals a moving picture of her ``unspeakable'' yet long and devoted partnership with choreographer Marion Morgan. Mayne's prose is revitalized whenever she turns to Arzner's life in and out of Hollywood, her reception by the press or her relationships with key artists such as George Cukor. Chapters on individual films are less convincing: the detailed plot summaries are tedious, and Mayne's repetition of a few underdeveloped points provoke the unfortunate suspicion that Arzner's material isn't rich enough to withstand such scrutiny. Photos not seen by PW.
Product Description
This is the first full-length study of the woman who has always been the exception in Hollywood film history-the one woman who succeeded as a director, in a career that spanned three decades. --This text refers to the Paperback edition.
The subject of close scrutiny by feminist film theorists for the past two decades, Arzner is arguably the most important woman film director in Hollywood history. From The Wild Party, starring Clara Bow in her first sound film, to Dance, Girl, Dance, with Lucille Ball, Arzner earned a reputation as a ``star-maker.'' Mayne (The Woman at the Keyhole) here reviews Arzner's 16-year directing career, offering a feminist reading of her films that emphasizes their preoccupation with communities of women and the ``performance'' of gender, as well as their questioning of heterosexuality. Mayne also delves into Arzner's biography for evidence of how her identity as a lesbian affected her work, and her research into Arzner's personal life reveals a moving picture of her ``unspeakable'' yet long and devoted partnership with choreographer Marion Morgan. Mayne's prose is revitalized whenever she turns to Arzner's life in and out of Hollywood, her reception by the press or her relationships with key artists such as George Cukor. Chapters on individual films are less convincing: the detailed plot summaries are tedious, and Mayne's repetition of a few underdeveloped points provoke the unfortunate suspicion that Arzner's material isn't rich enough to withstand such scrutiny. Photos not seen by PW.
Copyright 1994 Cahners Business Information, Inc.
--This text refers to the Paperback edition.Product Description
This is the first full-length study of the woman who has always been the exception in Hollywood film history-the one woman who succeeded as a director, in a career that spanned three decades. --This text refers to the Paperback edition.
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25
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- Buñuel and Mexico: The Crisis of National Cinema by Ernesto R. Acevedo-Muñoz on page 13, Back Matter (1), and Back Matter (2)
- Feminism and Film by Professor Maggie Humm on page 98, page 99, and Back Matter
- The Girls: Sappho Goes to Hollywood by Diana McLellan in Back Matter (1), Back Matter (2), and Back Matter (3)
- From Mae to Madonna: Women Entertainers in Twentieth-Century America by June Sochen in Back Matter (1), and Back Matter (2)
- Points of Resistance: Women, Power, and Politics in the New York Avant-garde Cinema, 1943-71 (2d ed.) by Lauren Rabinovitz in Front Matter, and Back Matter
See all 25 books citing this book
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