The trailblazing artist tells how she fused feminist sensibilities with production methods in works that were initially written off by male critics and peers—and are now being celebrated in retrospectives and salutes.
The final article in the series offers some closely guarded data about audience gender breakdowns, and insights from filmmakers Mira Nair (shown left), Ava DuVernay (shown right), Nancy Meyers and Stacy Title.
The ’80s and ’90s brought welcome advances for female filmmakers. But would the bias that produced the term “chick flick” remain? (Shown: A screen shot from Mira Nair’s 1991 film “Mississippi Masala.”)
Those who emerged between 1966 and 1983 challenged the prevailing image of the central hero and marginal heroine by creating a "countercinema."
Dorothy Arzner and Ida Lupino were two exceptions to the women who found it increasingly difficult to launch film projects in the 20th century. (This is the second installment of a five-part series.)
Hollywood’s gender gap is most apparent with regard to female filmmakers, but their prospects weren’t always as bad as they are today. (Part 1 of our five-part series.)
Hey, did you hear that an American woman of historical import is slated to appear on the $10 bill? Is anyone investigating whether her ten-spot will be worth the same as the one with Alexander Hamilton on it -- or would its actual value come in at, say, $7.70?
Some of you may have heard of the Bechdel test—a simple method used to identify whether a film is gender biased based on a question posed by comic strip artist Allison Bechdel. Cinemas in the ever-progressive Scandinavian country are now incorporating this gauge into their film ratings. And the results are embarrassing for Hollywood.
In the modern-day discussion about misogyny, women are often accused of “reverse sexism.” This is usually because they apply their arguments about gender bias to “all men” and it hurts some people’s feelings. What if that’s the point?