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Judith M. Redding

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Night Shade : Gothic Tales by Women

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Film Fatales : Independent Women DirectorsFilm Fatales : Independent Women Directors by Judith M. Redding, Victoria Brownworth (Contributor)

"Why do women become independent directors?" asks columnist Victoria Brownworth in her introduction to the informative and compelling Film Fatales. The limitations of the Hollywood studio system, in large part, influence the choice (i.e., women filmmakers are traditionally denied access to financial support). In any country with a thriving film industry, vital funding has been withheld from women. Facts are cited and examples are drawn from the long history of women in film, but don't fancy this an ode to wishful thinking. Film Fatales celebrates a distinguished roster of outstanding independent filmmakers and documents the rich historical legacy of female directors.

Unless you're a true independent-film devotee, you won't have heard of many of these brilliant, iconoclastic, independent film directors--a fact that does little to diminish their place in the history of film. What is the value of seeing the world through the "female lens?" Take, for example, the work of Lizzie Borden, perhaps best known for her critically acclaimed Working Girls (1986). In the book's provocative essay on Borden, she is quoted as saying, "We are living in a very anti-sexual time; lack of sexual desire is epidemic," a comment made, ironically, after the sexually graphic Working Girls that brought her to Hollywood in the first place. The characterization of contemporary Hollywood as a victim to the de-sexing of the 1990s is certainly not a common one, but the points of view represented in this volume are anything but common.

Independent does not equal invisible, though. Fargo, a powerful example, only reinforces the trademark vitality of many independent films and their great contribution to culture. For fans and film buffs, Film Fatales is an outstanding resource that beautifully serves this marginalized, maverick, and wildly diverse population of independent women directors. Organized by category ("Documentary;" "Experimental;" "Narrative;" and "Beyond the Director's Chair," a profile of pioneers in the areas of film distribution and production), Film Fatales catalogs and critiques the work of 29 independent female filmmakers.

Film Fatales comprises 33 interview-based profiles of women in independent film. Most of those included are directors, but there are also three distributors and a producer; more than half of the women are lesbians. Filmmaker Judith Redding and writer Victoria Brownworth (Too Queer: Essays from a Radical Life) are interested in showing how diverse women's filmmaking is. The book is divided into sections on documentary, narrative, and experimental film, and includes not only North Americans and Europeans but also a number of women from the filmmaking capital of the world: India. The type of work examined ranges from films with titles such as Superdyke and Women I Love by the goddess of experimental queer film, Barbara Hammer, to more mainstream movies such as Jane Campion's The Piano and Marleen Gorris's Antonia's Line. For those who prefer to view films from the comfort of their homes, the filmography at the back of the book has a handy listing of what's available on home video.

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