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Queen of the 'B's: Ida Lupino Behind the Camera (Contributions to the Study of Popular Culture)

3.0 out of 5 stars 1 customer review
ISBN-13: 978-0313297328
ISBN-10: 0313297320
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Editorial Reviews

About the Author

ANNETTE KUHN teaches film and television studies at the University of Glasgow, and has written widely on cultural theory, feminism and cinema, and film history. Her publications include The Power of the Image: Essays on Representation and Sexuality, Cinema, Censorship and Sexuality, 1909 to 1925, and, as editor, The Women's Companion to International Film.


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Product Details

  • Series: Contributions to the Study of Popular Culture, (Book 49)
  • Hardcover: 208 pages
  • Publisher: Praeger (August 30, 1995)
  • Language: English
  • ISBN-10: 0313297320
  • ISBN-13: 978-0313297328
  • Product Dimensions: 5.5 x 0.6 x 8.5 inches
  • Shipping Weight: 13.6 ounces (View shipping rates and policies)
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #6,872,537 in Books (See Top 100 in Books)

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Format: Paperback Verified Purchase
This anthology will be the starting point for future studies of the directorial work of Ida Lupino.
The back matter contains much information of value to researchers. There are lists of the films directed by Lupino, giving the plots, production details and the names of those associated with each film (the lists relating to motion pictures are more complete than those for her television shows), a bibliography of writings about Lupino, and a list of various research resources.

The book includes a brief introduction by editor Annette Kuhn, and features an article on each of Lupino's major motion pictures. Each article opens with a summary of the plot, followed by an analysis of the characters and their actions. These are accompanied by an article on television shows directed by Lupino; but this is less focused than the other articles, because her television output was massive, disparate, and often conducted under conditions that limited her role.

The articles give no more than passing attention to such technical aspects of Lupino's work as lighting, casting, set design, and camera work. Many of the contributors posit fresh assessments of Lupino's work in response to earlier critics who argued that she was not really a feminist. But the authors' failure to define feminism hampers their collective efforts. The volume properly gives attention to the films Lupino directed as an independent producer. In these, she tackled topics such as unwanted pregnancies, rape, and bigamy, that the major studios avoided. But, in evaluating much of her later work, it is difficult to gauge the extent of her influence as a director.

The articles are of inconsistent quality.
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