Women’s Silent Era Success and New Century Supremacy?

8 May

4th article in our series Next Generation of Films for Women

Nominating Katherine Bigalow’s work “The Hurt Locker” (2008), “Zero Dark Thirty” (2012), we will prescribe her as an antidote for contemporary weaknesses in popular filmmaking. This article will also predict what other female filmmakers will once again rise to the occasion and save audiences from the kinds of predictability that are apparent in so many contemporary films. That’s right, women will be Hollywood’s secret weapon, once again stale ideas, myopic visions, and impotent paradigmatic planning will eventually be overturned.  Unlike yesterdays Hollywood, in tomorrow’s Hollywood it will be the male acting stars that will be running for exposure in breathe-taking female helmed productions.  Judging from the ambitiousness of their current work, their future work will likely have the narrative and dramatic experiences current Hollywood films are missing.  But you may be asking what did he mean by “once again?”

How can “once again” be possible when, last year Cannes Palme D‘Or [1] couldn’t manage to nominate one decent internationally credible female director in a sea of male directors.  PLEASE READ FURTHER, despite their illustrious history in the art form, that French debacle is one event we shouldn’t be concerned about anymore. America has the cure for this lapse into traditional resistance against women. If you’re disturbed by one nationalistic answer, you’ll be equally surprised at yet another one.  Brace yourselves; in the silent era women directors were some of the biggest innovators and box office successes in cinematic production.  Yes, if you were once a powerhouse of moving pictures; retaking the crown is still a definite possibility.

In their respective books, Mark Garrett Cooper (“Universal Women Filmmaking and Institutional Change in Early Hollywood”) and Karen Ward Mahar (“Women Filmmakers in Early Hollywood”) both historians document a time when being a filmmaker had no exclusive gender distinction.  Cooper details how artists like Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson, and Ida May Park were the Scorsese’s, Spielberg’s and Nolan’s in that period’s Universal studios [2].   Naming many other influential women like Lois Weber, Ruth Roland, Helen Holmes, and Dorothy Davenport, Mahar contradictorily claims this genderless film director mastery was evident industry wide as well [3].  Unlike today’s polarized environment against women, each historian claimed the relative newness of the industry inhibited the creation of barriers that would later repress female directorial performance and participation. An ongoing yet uncanny industry contradiction, though each appeared resolute in their evaluations of the female directorial prowess each appeared less than resolute as to why a negative ground swell would eclipse so many impressive careers. For multiple reasons the 1920’s would support an era of repression for these women, leaving us to wonder what role if any WW1 or the Wall Street stock market crash could play in limiting access to women behind the Silver screens.

Addressing an earlier debate including the scholarship of Rob King’s “The Fun Factory: The Keystone Film Company”, historian Paul Monticone made reference to a history of poorly addressing this historic contradiction.

By the midteens, mainstream cinema had largely abandoned the working-class and immigrant audiences of the nickelodeon era and had excluded women of the nickelodeon era and had excluded women from positions of authority. However, as these two books establish, at Keystone and Universal such configurations did exist—at least for a time.” [4]. 

Returning to the present, and returning to evidence that a new movement of women’s directorial performance may be upon us, one of striking aspects of Katherine Bigalow’s career is her astounding content diversity.  Estimated in her sixties many might be surprised her recent hits were preceded by popular movies like (macho buddy cop flick) “Point Break”(1991) or “Strange Days” (1995) [5].

With all of this experience how could we be surprised if Bigalow was joined in infamy by some of her still unrecognized peers?  A motivation for this article, we might also be surprised by how many of the young and upcoming upstarts might join her in the Oscar winning circle.  Neither a paralyzing reality nor a predictor of future stagnation, the Guardian’s Ben Child allows us some predictive insight regarding a potential change of the guard.

Female directors remain woefully underrepresented in Hollywood but appear in greater numbers in the field of independent film, according to a new study commissioned by the Sundance film festival and Women in Film.” [5]

Remarking how independent filmmaking appearances at Sundance may be a contradictory response to last year’s Palme D’or’s lack of nominations [6], and referring to the Dramatic Competition category, Entertainment Weeklie’s Solvej Schou predicts these directing woman may be the start of something new.  Still widely unavailable for review yet receiving the lion share of her attention were the films from directors like:

Lynn Shelton’s Touchy Feely

Liz Garcia’s The Lifeguard

http://www.hollywoodreporter.com/video/kristen-bell-liz-w-garcia-414011

Francesca Gregorini’s Emanuel and the Truth About Fishes

Jerusha Hess’s Austenland

Lake Bell’s In a World

Stacie Passon’s Concussion

If these trailblazers don’t’ open new avenues for female directorial expression, one can purely review many of the trailers of winners in the Alliance of Women Filmmakers L.A. Film Festival. The work of these emerging women were celebrated including that of:

IIaria Borrelli’s Talking To Trees

Debbie Goodstein’s Mighty Fine

Kim Cumming’s In Montauk

Laura Thies’ Surviving Family

Jennifer Lee’s Feminist Stories from Women’s Liberation

Do you believe it will be possible for Hollywood to resist this growing tide of female directorial talent forever?

————————————————————————-

Essential References:

[1] http://www.connexionfrance.com/Cannes-Berenice-Bejo-Marylin-Monroe-Cotillard-Efron-Pattinson-13698-view-article.html

[2] Universal Women Filmmaking and Institutional Change in Early Hollywood published by University of Illinois Press, By Mark Garrett Cooper

[3] Women Filmmakers in Early Hollywood published by Johns Hopkins University Press, By Karen Ward Mahar

[4] http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/the_velvet_light_trap/v069/69.monticone.pdf

[5] http://www.imdb.com/name/nm0000941/?ref_=fn_al_nm_1

[6] http://insidemovies.ew.com/2013/01/07/sundance-zeitgeist-women-filmmakers/

[7] http://www.guardian.co.uk/film/2013/jan/23/women-independent-film-sundance-survey

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76 Responses to “Women’s Silent Era Success and New Century Supremacy?”

  1. Open Book May 8, 2013 at 8:51 AM #

    CR-I’m loving this article. APPLAUSE!!!! Thank u!! Great,great videos and research. Did u enjoy researching and writing this article? Did u learn stuff u did not know before? I know I certainly did. Let me watch the videos I have more questions and comments.

    • Comic Relief May 9, 2013 at 6:00 AM #

      Thank you O.B. and yes I learned tons and fortunately there’s a lot more to learn. Despite the fact that women are still fighting for the reputations and access to the directing opportunity they need, I can see that glass-ceiling being broken sooner than later. A ton of talent is on its way up the directorial pipeline. Past performance and future potential should demonstrate an era of female directorial prowess is on its way. We the audience needs to be patient and vigilant while we wait.

      • Comic Relief May 9, 2013 at 6:06 AM #

        In terms of the title: “Women’s Silent Era Success and New Century Supremacy.” Sorry the title is overblown or extreme to provoke interest in the subject. The issue isn’t about women taking over as much as we need to wait for women to find them selves comfortable enough to perform as well as they have in other art forms.

        • Open Book May 9, 2013 at 6:59 PM #

          LOL! I like the title of the article.

          • Comic Relief May 9, 2013 at 7:41 PM #

            Thanks. I didn’t it to sound like one of those cheesey 60’s horror flicks.

            The one’s where amazons start enslaving men…

            ….
            ….
            ….
            ….

            • Comic Relief May 9, 2013 at 7:47 PM #

              You asked about things I learned while writing this article. I did not realize how creatively powerful these silent era directing women were.

              Some were producers, but so many started out as actresses. Here’s a few,…

              • Comic Relief May 9, 2013 at 7:47 PM #

                Ruth Ann Baldwin
                Writer | Director

                Directing filmography:

                1917 ’49-’17

                1917 When Liz Lets Loose (short)

                1917 The Storm Woman (short)

                1917 The Woman Who Would Not Pay (short)

                1917 A Wife on Trial

                1917 A Soldier of the Legion (short)

                1917 Three Women of France (short)

                1917 The Black Mantilla (short)

                1917 ‘Twixt Love and Desire (short)

                1917 Is Money All? (short)

                1917 It Makes a Difference (short)

                1917 The Rented Man (short)

                • Comic Relief May 9, 2013 at 7:48 PM #

                  Cleo Madison (I) (1883–1964)
                  Actress | Director | Producer

                  Directing filmography:

                  1916 To Another Woman (short)

                  1916 Triumph of Truth (short)

                  1916 Along the Malibu (short)

                  1916 The Girl in Lower 9 (short)

                  1916 Priscilla’s Prisoner (short)

                  1916 The Crimson Yoke (short)

                  1916 When the Wolf Howls (short)

                  1916 Alias Jane Jones (short)

                  1916 Virginia (short)

                  1916 Her Bitter Cup

                  1916 A Soul Enslaved

                  1916 Her Defiance (short)

                  1916 His Return (short)

                  1916 Eleanor’s Catch (short)

                  1915 The Power of Fascination (short)

                  1915 The Ring of Destiny (short)

                  1915 Liquid Dynamite (short)

                  • Open Book May 9, 2013 at 7:51 PM #

                    OMGOSH! THAT IS AMAZING!!! Great research.

                • Comic Relief May 9, 2013 at 7:50 PM #

                  Lois Weber (1879–1939)
                  Director | Writer | Actress

                  Directing filmography:

                  1934 White Heat

                  1927 The Angel of Broadway

                  1927/I Topsy and Eva (uncredited)

                  1927 Sensation Seekers

                  1926 The Marriage Clause

                  1923 A Chapter in Her Life

                  1921 What Do Men Want?

                  1921 The Blot

                  1921 Too Wise Wives

                  1921 What’s Worth While?

                  1920 To Please One Woman

                  1920 Life’s Mirror

                  1920 Mum’s the Word

                  1919 Forbidden

                  1919 Home

                  1919 Mary Regan

                  1919 A Midnight Romance

                  1919 When a Girl Loves

                  1918 Borrowed Clothes

                  1918 For Husbands Only

                  1918 The Doctor and the Woman

                  1917 The Price of a Good Time

                  1917 Hand That Rocks the Cradle

                  1917 Even As You and I

                  1917 The Boyhood He Forgot (short)

                  1917 The Mysterious Mrs. Musslewhite

                  1917 The Face Downstairs (short)

                  1916 The Gilded Life (short)

                  1916 The Rock of Riches (short)

                  1916 The People vs. John Doe

                  1916 The Celebrated Stielow Case

                  1916 Wanted: A Home

                  1916 Idle Wives

                  1916 Under the Spell (short)

                  1916 Saving the Family Name

                  1916 Shoes

                  1916 The Eye of God

                  1916 Where Are My Children? (uncredited)

                  1916 John Needham’s Double

                  1916 The Dance of Love (short)

                  1916 The Dumb Girl of Portici

                  1916 There Is No Place Like Home (short)

                  1916/I The Flirt (short)

                  1916 Hop – The Devil’s Brew

                  1916 Discontent (short)

                  1915 Jewel (uncredited)

                  1915 A Cigarette – That’s All (short)

                  1915 Scandal

                  1915 Betty in Search of a Thrill (co-director)

                  1915 Captain Courtesy

                  1915 Sunshine Molly (short)

                  1915 Hypocrites (uncredited)

                  1915 It’s No Laughing Matter

                  1914 Helping Mother (short)

                  1914 Daisies (short)

                  1914 Behind the Veil (short)

                  1914 Plain Mary (short)

                  1914 Lost by a Hair (short)

                  1914 The Pursuit of Hate (short)

                  1914 Closed Gates (short)

                  1914 The Stone in the Road (short)

                  1914 Avenged (short)

                  1914 The Triumph of Mind (short)

                  1914 The Career of Waterloo Peterson (short)

                  1914 An Episode (short)

                  1914/I On Suspicion (short)

                  1914 The Man Who Slept (short)

                  1914 The Baby’s Doll (short)

                  1914 In the Days of His Youth (short)

                  1914 The Spider and Her Web (short)

                  1914 A Modern Fairy Tale (short)

                  1914 The Weaker Sister (short)

                  1914 The Merchant of Venice

                  1914 Woman’s Burden (short)

                  1914 An Old Locket (short)

                  1914 The Coward Hater (short)

                  1914 The Leper’s Coat (short)

                  1914 A Fool and His Money (short)

                  1914 The Female of the Species (short)

                  1914 The Traitor (short)

                  1913 The Wife’s Deceit (short)

                  1913 The Jew’s Christmas (short)

                  1913 The Mask (short)

                  1913 James Lee’s Wife (short)

                  1913 The Blood Brotherhood (short)

                  1913 The Haunted Bride (short)

                  1913 Two Thieves and a Cross (short)

                  1913/II The Clue (short)

                  1913 The Thumb Print (short)

                  1913/I Memories (short)

                  1913 Shadows of Life (short)

                  1913 His Brand (short)

                  1913 Never Again (short)

                  1913 The Light Woman (short)

                  1913 Just in Time (short)

                  1913 Civilized and Savage (short)

                  1913 The Fallen Angel (short)

                  1913 How Men Propose (short) (uncredited)

                  1913 Through Strife (short)

                  1913 Suspense. (short)

                  1913 The Pretender (short)

                  1913 The King Can Do No Wrong (short)

                  1913 The Trifler (short)

                  1913 The Cap of Destiny (short)

                  1913 The Poverty of Riches (short)

                  1913 The Rosary (short)

                  1913 The Dragon’s Breath (short)

                  1913 A Book of Verses (short)

                  1913 Until Death (short)

                  1913 Bobby’s Baby (short)

                  1913 The Peacemaker (short)

                  1913 An Empty Box (short)

                  1913 Troubled Waters (short)

                  1913 In the Blood (short)

                  1913 Two Thieves (short)

                  1913/I His Sister (short)

                  1912 Leaves in the Storm (short)

                  1912 Faraway Fields (short)

                  1912 A Japanese Idyll (short)

                  1912 An Old Fashioned Girl (short)

                  1912 The Greater Christian (short)

                  1912 The Troubadour’s Triumph (short)

                  1912/II The Greater Love (short)

                  1912 The Power of Thought (short)

                  1912 The Price of Peace (short)

                  1912 Eyes That See Not (short)

                  1912 The Final Pardon (short)

                  1912 The Bargain (short)

                  1912 Fine Feathers (short)

                  1912 Angels Unaware (short)

                  1911 The Martyr (short)

                  1911 A Breach of Faith (short)

                  1911/II Fate (short)

                  1911 On the Brink (short)

                  1911 The Realization (short)

                  1911/I The Heiress (short)

                  1911 The Heroine of 1976

                  • Comic Relief May 9, 2013 at 7:51 PM #

                    Yes that is 137 films. Thanks to IMDB

                    • Open Book May 9, 2013 at 7:53 PM #

                      O! FREAKIN Goodness sake! That is so AMAZING! I had no idea.

                    • Comic Relief May 9, 2013 at 7:55 PM #

                      Most of us don’t. That’s why we put up with the Cannes crap.

                  • ozzie20 May 9, 2013 at 8:39 PM #

                    Wow, what amazing ladies!

  2. Open Book May 8, 2013 at 1:28 PM #

    I noticed all the directors (u featured in the videos from Sundance) are first time directors. Not to take anything away from these brave women featured. However, I wonder is it easier to sell a film on a first time female director? IMO HW has an obsession with promoting first and young stuff like that somehow gives some credibility to innovation. When we all know real innovation comes with trial and error and experience. I guess my point is are experienced female directors getting passed over because they aren’t seen as innovative as first time directors?

    • Open Book May 8, 2013 at 1:57 PM #

      Let me dig a little deeper. Do u think seasoned female directors are being overlooked because they are more threatening? Not to be a downer but for me red flags automatically go up when I don’t see diversity.

    • Comic Relief May 10, 2013 at 3:52 AM #

      OB,

      That’s an incredible assessment that I unfortunately can’t make ANY sense of. I’m not faulting your evaluation as much as I know our institutions have fallen way behind in their capacity to represent us responsibly. The range of hostilities expressed against women including the childish “mature versus young” wars should give us the motivation to remove all current leadership in favor of fresh, enlightened, and studied leadership that is currently unavailable.

      Expressed on a yearly basis (at Cannes and other institutions) ultimately leave me thinking these bodies need a serious boycott rather than a debate. These forms of sexism have to be challenged and the sooner this occurs the better. Seeing that women culturally are worse off today than they were in the 1910’s and twenties should sicken us.

      Most will hear of these kinds of debates and regulate women to evaluations that question their competency for the field. This is purely outrageous and actually resist factual knowledge.

      Because the silent era history is not well-circulated, yet is extremely well-documented; we know:

      • Women provided many of the directorial building blocks for the international film industry that we enjoy today.

      • The challenges women face are not factually or exclusively isolated to issues of creativity and ingenuity but instead are impacted by every challenge women face in today’s “ “questionably civilized” western world.

      • We owe women an incredible debt of gratitude for the contributions already made in the service of this industry. We can only work to assure our institutions will eventually catch up and tell the truth, as we should know it.

  3. Open Book May 8, 2013 at 1:31 PM #

    Granted “The Host” sucked but its nice to see Stephanie Myers trying to grow as a producer. Austenland doesn’t look like a multiple viewing film as Jane Seymour suggest but it does look funny. The concept sounds funny at least. Here is the trailer below.

  4. Rachael Bradshaw May 8, 2013 at 9:54 PM #

    The movie is not without appeal, and Schroeder and Mulroney are persuasive. But it tries to do too much, especially in the plot structure and some directorial choices. The film spends a lot of time on Gracie’s coming-of-age social struggles, and in case we aren’t getting it, repeatedly plays Bruce Springsteen’s “Growing Up.” When Gracie’s father initially won’t train her, she rebels, partying and going after the wrong boys. There are some good moments in these scenes, and they do capture some of what it was to be a middle class U.S. teenager in the 1970’s. But the film spends so much time on them that it does not have time to credibly develop Gracie’s eventual interactions with her soccer team peers. Key elements of the story feel tacked on for easy emotional impact.

    • Comic Relief May 9, 2013 at 7:35 PM #

      Rachel I respect your opinion. Yet tonight, I would like assume everyone who cares about female opinions and artistry in film needs to support these women more than debate their relevance.

      If you would like I can find a less than approving review for many of the younger directors mentioned in this article, yet I think we have a more serious crisis when half the population has little or no ability to speak subjectively or as artists in this field?

      Maybe I am assuming you are being critical, (which I think is perfectly fine under other circumstances). But I think you may agree with me that women are really getting more than the short end of the stick when it comes to visibility in the film and cinema world. I hope I did not misinterpret you.

      I either way I hope you come back to the site and comment often.

  5. Open Book May 9, 2013 at 6:57 PM #

    Hi Everyone!

    • Comic Relief May 9, 2013 at 7:20 PM #

      Hi OB, sorry for being late 🙂

      I still want to catch up on your earlier comments.

      • Open Book May 9, 2013 at 7:23 PM #

        Hi CR-No problem! Take your time. Let me find some great elevator music.

        • Comic Relief May 9, 2013 at 7:25 PM #

          O.K. What does that mean? Whatever, I’ll let it pass.

          • Open Book May 9, 2013 at 7:31 PM #

            Chill out to this!

            • Comic Relief May 9, 2013 at 7:37 PM #

              “Giggle” You’re insane.

              • Open Book May 9, 2013 at 7:49 PM #

                Yes! Clinical as well.

  6. Open Book May 9, 2013 at 7:11 PM #

    CR- It’s funny u mentioned the Cannes Film Festival not having any women in the competition last year. They do have one women in the competition this year. Do u think that’s an improvement?

    • Comic Relief May 9, 2013 at 7:23 PM #

      Absolutely not! Who are those pretentious S.O.B’s trying to impress????

      To make this article fit within the “word limit” I hacked quite a bit out of the text. The French cinema world really needs to join the 21st century. I can barely bring myself to talk about them anymore.

      • Open Book May 9, 2013 at 7:26 PM #

        Hmm! How do u really feel CR? Hahahaha!

        I have a Q. Should gender or race play a role when selecting a good film? Do u think it might help if the jury was more diverse?

        • Open Book May 9, 2013 at 7:37 PM #

          Check out the jury for Cannes this year.

          http://www.guardian.co.uk/film/2013/apr/24/cannes-jury-nicole-kidman-ang-lee-steven-spielberg

          • Comic Relief May 9, 2013 at 7:53 PM #

            OB,

            That’s so depressing. Where’s Paris, I need a xanex.

            • Open Book May 9, 2013 at 7:56 PM #

              LOL!!! Paris where are u?????? CR needs a volume or xanax stat. Hahaha!

            • Open Book May 9, 2013 at 7:59 PM #

              Do u think sprinkling a few female actors on the jury is enough to combat directors when some of the actors might want to work with these directors? Do u think its fair?

  7. Open Book May 9, 2013 at 8:06 PM #

    CR-What do u think of Sundance and The LA Film festival jury. Do u think they are more diverse?

    • Comic Relief May 9, 2013 at 8:10 PM #

      Far more so than the traditional media leads us to believe.

  8. Comic Relief May 9, 2013 at 8:11 PM #

    Sorry, I don’t want anyone to think Paris is my medication supplier. Actually, this will make me feel better instead.

    Bigelow’s female film peers might finally get some respect now that people are taking her seriously. Here’s an introduction to a few….

    • Open Book May 9, 2013 at 8:25 PM #

      Hahaha! I’m sure Paris will be pleased.

  9. Comic Relief May 9, 2013 at 8:12 PM #

    Possibly one of her best-known movies is “Daughters of the Dust,” (1991) Julie Dash’s many may not have considered her a contemporary of much better known African American directors like Spike Lee.

    Julie Dash’s “Daughters of the Dust”

    • Comic Relief May 9, 2013 at 8:14 PM #

      Sorry, I’m really tired. Hope you understood. Watch the clip and ignore me.

      • Comic Relief May 9, 2013 at 8:15 PM #

        The 20th Anniversary of Daughters of the Dust | The New School for Public Engagement

        • Open Book May 9, 2013 at 8:41 PM #

          This is great. Its long. I will have to come back and watch this.

          • ozzie20 May 9, 2013 at 9:05 PM #

            Another to add to my long “must watch” list, lol!

  10. Open Book May 9, 2013 at 8:13 PM #

    Hi Ozzie!

    In case u are lurking I would like to know your thoughts on Cannes selecting one female director this year. I know u are a francophile so I would love to hear your thoughts about their selection process.

    • ozzie20 May 9, 2013 at 8:33 PM #

      Boo!

      It’s a shame because the one of their aims is to promote new talent. I’m sure there is more than one female director who’s film is eligible to partake in the festival!

      • Open Book May 9, 2013 at 8:49 PM #

        That’s what I don’t understand they are suppose to embrace new talent? Do u think its the jury causing the problem?

        • ozzie20 May 9, 2013 at 9:01 PM #

          I think it’s more likely to be those who pick the films to be in the festival who are at fault.

  11. ozzie20 May 9, 2013 at 8:14 PM #

    Hi everyone!

    Wow! What an informative article CR! I did not know women had that much of a role in the early film era. I assumed it was mainly a man’s world from the beginning and that women were kept to wardrobe, make up and actresses. I’m glad to stand corrected! It is a shame that it didn’t last long. I’m sure in the next decade or so (hopefully less) the sexes will be back on equal footing.

    • Comic Relief May 9, 2013 at 8:17 PM #

      We can only hope and buy tickets.

    • Open Book May 9, 2013 at 8:26 PM #

      Hi Ozzie!

      Nice to see u!

      • ozzie20 May 9, 2013 at 8:36 PM #

        Hi OB!

        Nice to see you too! 🙂

  12. Comic Relief May 9, 2013 at 8:18 PM #

    Hi Ozzie.

    • ozzie20 May 9, 2013 at 8:34 PM #

      Hi CR!

  13. Comic Relief May 9, 2013 at 8:18 PM #

    Maybe best known for her (1993) hit “The Piano,” which had both Holly Hunter and Anna Panquin nominated for Oscars, Jane Campion continues to stun audiences with the rigor and honesty of her films.

    • Comic Relief May 9, 2013 at 8:19 PM #

      Jane Campion’s “The Piano”

      • ozzie20 May 9, 2013 at 8:38 PM #

        I enjoyed this film. The music is beautiful!

        • Comic Relief May 9, 2013 at 8:41 PM #

          She’s still a big deal in the independent film world.

  14. Comic Relief May 9, 2013 at 8:20 PM #

    With her recent Academy award nomination for “The Kids are Alright,” (2010) Lisa Cholodenko seems to delight by taking audiences places otherwise unexplored in contemporary movies.

    • Comic Relief May 9, 2013 at 8:20 PM #

      Lisa Cholodenko ’s “The kids are Alright”

  15. Open Book May 9, 2013 at 8:29 PM #

    CR- U did not answer my question up above as to why HW tends to support first time female directors rather than experienced ones?

    • Comic Relief May 9, 2013 at 8:39 PM #

      Sorry, no I did not. I don’t think the women in this article are nearly as supported as well as men of similar experience.

      • Comic Relief May 9, 2013 at 8:40 PM #

        …..I still need to go back address your previous comments.

  16. Comic Rlief May 9, 2013 at 8:36 PM #

    Do either of you think these other women may ever catch up and find the kind of audiences
    Bigalow eventually found?

    We’ve spent time worrying about Katherine Hardwicke’s hollywood challenges but isn’t the problem much greater than that?

    • Open Book May 9, 2013 at 8:45 PM #

      Yes! Again CH wasn’t given an opportunity to continue with Twilight.

      • Open Book May 9, 2013 at 8:53 PM #

        The problem I think is due to competition. Women aren’t being given an opportunity to grow and hone their skills as a director like men are. Its sad. I mean all this emphasis on first time directors is great but it should not be used to replace more seasoned directors. There should be the same amount of marketing and support for both.

    • ozzie20 May 9, 2013 at 8:54 PM #

      I think they will. I don’t think it’ll be in the next few years but I can see it in 10 years. I’m hoping for it in 5 years time but that might be too optimistic.

      • Open Book May 9, 2013 at 9:01 PM #

        I hope u are right Oz. I know one thing. They need to stop doing this one female director at a time can sit at the table crap. At that rate it will take longer than 10 years.

        • ozzie20 May 9, 2013 at 9:03 PM #

          I agree with you there!

          • Open Book May 9, 2013 at 9:08 PM #

            Oz! I have to go for the evening. It was nice talking to u as always.

            Goodnight!

            • ozzie20 May 9, 2013 at 9:19 PM #

              It was nice talking to you both too. Sorry I was on slow mode again! Night from me too!

  17. Open Book May 9, 2013 at 9:05 PM #

    Everyone!

    CR will back he had an emergency come up. He apologizes!

    • ozzie20 May 9, 2013 at 9:07 PM #

      Oh no! I hope everything is ok soon.

      • Open Book May 9, 2013 at 9:10 PM #

        Yes! No worries. It was a phone call meeting. He will be back later.

        • ozzie20 May 9, 2013 at 9:17 PM #

          Ah, that’s good! I was worried that he or someone else was hurt.

  18. Comic Relief May 9, 2013 at 9:53 PM #

    Thanks everyone for coming. I hope you’re as amazed and or pissed off as I am. Great series idea OB!!!!

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