Girl Talk is a weekly look at women in film — past, present, and future.
From July 20 – July 26, New York City’s BAMcinématek presents “Pioneers: First Women Filmmakers,” a new program in collaboration with Kino Lorber and The Library of Congress. Produced for Kino Lorber by Bret Wood and curated by historian Shelley Stamp, the series includes a number of brand-new 2K restorations of classic (and often forgotten) films, mostly focused on female directors from America’s rich silent-era in cinema.
As the series’ official synopsis notes, “as was frequently the case, women directors remained uncredited or were co-credited as director, even though for all intents and purposes, they were the de-facto directors and primary creative forces of the film.” For every Alice Guy-Blaché, there was a Ruth Ann Baldwin or an Ida May Park or a Mabel Normand, and that’s just the start of the rich history of women behind the camera.
From July 20 – July 26, New York City’s BAMcinématek presents “Pioneers: First Women Filmmakers,” a new program in collaboration with Kino Lorber and The Library of Congress. Produced for Kino Lorber by Bret Wood and curated by historian Shelley Stamp, the series includes a number of brand-new 2K restorations of classic (and often forgotten) films, mostly focused on female directors from America’s rich silent-era in cinema.
As the series’ official synopsis notes, “as was frequently the case, women directors remained uncredited or were co-credited as director, even though for all intents and purposes, they were the de-facto directors and primary creative forces of the film.” For every Alice Guy-Blaché, there was a Ruth Ann Baldwin or an Ida May Park or a Mabel Normand, and that’s just the start of the rich history of women behind the camera.
- 7/13/2018
- by Kate Erbland
- Indiewire
Editor’s note: The following is an exclusive excerpt from “Film Censorship in America: A State-by-State History” by Jeremy Geltzer. The book, which follows Geltzer’s previous effort “Dirty Words & Filthy Pictures: Film and the First Amendment,” will be released on December 19. In this excerpt, Geltzer explores the forgotten legacy of pioneering female filmmaker Nell Shipman.
Far from the soundstages of Hollywood, Nell Shipman ventured into the wild to produce movies that celebrated independent women in exciting scenarios. Although Shipman’s name may no longer be familiar, she deserves to be remembered as one of cinema’s important female pioneers.
Nell Shipman was born in British Columbia and arrived in Southern California by 1912. She found success as a writer—winning both first and second prize in a scriptwriting contest. In the early days of Hollywood before corporate structure was set in place, several women were able to develop behind-the-scenes power.
Far from the soundstages of Hollywood, Nell Shipman ventured into the wild to produce movies that celebrated independent women in exciting scenarios. Although Shipman’s name may no longer be familiar, she deserves to be remembered as one of cinema’s important female pioneers.
Nell Shipman was born in British Columbia and arrived in Southern California by 1912. She found success as a writer—winning both first and second prize in a scriptwriting contest. In the early days of Hollywood before corporate structure was set in place, several women were able to develop behind-the-scenes power.
- 11/8/2017
- by Indiewire Staff
- Indiewire
Last week Kino Lorber launched a new Kickstarter aimed to fund their latest project “Pioneers: First Women Filmmakers,” a collection of important American films directed by women, including Alice Guy Blaché, Lois Weber, Nell Shipman, Dorothy Davenport, and many more, between 1910 and 1929.
The ambitious project will be presented in association with the Library of Congress and be the largest commercially-released video collection of films by female helmers. It will include HD restorations of both the most important films of the era, as well as lesser-known works, including short films, fragments and isolated chapters of incomplete serials.
“By showcasing the ambitious, inventive films from the golden age of women directors, we can get a sense of what was lost by the marginalization of women to ‘support roles’ within the film industry,” reads the Kickstarter page.
Read More: ‘The Eyeslicer,’ A New Variety Series By and For Indie Filmmakers, Launches Kickstarter Campaign...
The ambitious project will be presented in association with the Library of Congress and be the largest commercially-released video collection of films by female helmers. It will include HD restorations of both the most important films of the era, as well as lesser-known works, including short films, fragments and isolated chapters of incomplete serials.
“By showcasing the ambitious, inventive films from the golden age of women directors, we can get a sense of what was lost by the marginalization of women to ‘support roles’ within the film industry,” reads the Kickstarter page.
Read More: ‘The Eyeslicer,’ A New Variety Series By and For Indie Filmmakers, Launches Kickstarter Campaign...
- 10/25/2016
- by Liz Calvario
- Indiewire
By Michael Atkinson
Todd Rohal's "The Guatemalan Handshake" is one of the most inventive, most poetic, most disarmingly authentic indies of the last few years . so, of course, you've never had a chance to see it. It's a movie that seems to have dropped out of the sky, inexplicably, like a satellite fragment landing on Main Street. Naturally, it's not a project constructed around a traditional idea of storytelling propulsion . Rohal has whipped his world from the weedy ground up into a fiery, relentless storm of quirk, but he's original enough in his cataract of details to keep us in a constant state of enchanted disorientation. Why was "Napoleon Dynamite," with its relatively stereotypical uber-misfit, a hit, while this 2006 daydream foundered out of sight?
Set in some Forgottentown, Pennsylvania, "The Guatemalan Handshake" encounters characters undramatically, and its narrative gradually coalesces around them: Donald the triangular-electric-car-driving nebbish (Will Oldham); his...
Todd Rohal's "The Guatemalan Handshake" is one of the most inventive, most poetic, most disarmingly authentic indies of the last few years . so, of course, you've never had a chance to see it. It's a movie that seems to have dropped out of the sky, inexplicably, like a satellite fragment landing on Main Street. Naturally, it's not a project constructed around a traditional idea of storytelling propulsion . Rohal has whipped his world from the weedy ground up into a fiery, relentless storm of quirk, but he's original enough in his cataract of details to keep us in a constant state of enchanted disorientation. Why was "Napoleon Dynamite," with its relatively stereotypical uber-misfit, a hit, while this 2006 daydream foundered out of sight?
Set in some Forgottentown, Pennsylvania, "The Guatemalan Handshake" encounters characters undramatically, and its narrative gradually coalesces around them: Donald the triangular-electric-car-driving nebbish (Will Oldham); his...
- 4/29/2008
- by Michael Atkinson
- ifc.com
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