the documentary

Following some successful fundraising via Kickstarter, myself and Kate Wieteska embarked on a month in the US, filming interviews with key contributors to Women & Film and figures from the radical press of the period.

Here is our recent trailer, made by the fabulous Geraldine Heaney.

 

Watch our kickstarter video and find out more about the project.

We talked to so many fascinating people and heard so many great stories from the Women & Film days. We’re working on sharing these stories with you. In the meantime, our backers will be receiving their rewards for their pledges and we’ll be recounting some of our own stories from our trip here on the blog. Stay tuned!

THE WOMEN & FILM PROJECT

Featuring interviews with

Siew-Hwa Beh

Saundra Salyer

Bill Nichols

Chuck Kleinhans

Julia Lesage

Marsha Kinder

Alexis Krasilovsky

Jeanne Cordova

Sandy Flitterman-Lewis

Debra Zimmerman

Produced by

Clarissa Jacob & Kate Wieteska

Kickstarter Video by

Fiona Williams

Music by

Krakatoa

Additional Audio by

ThienVinh Nguyen

Los Angeles Production Crew

Richard Garza

Anai Ramirez

Special Thanks to

Niles Lichenstein

Bella & Kyle

Kenny & Aimee

Raoul Gallyot

2 thoughts on “the documentary

  1. Hello. as feminist film-makers since the 1970s, working in Yorkshire, we didn’t need this US magazine to tell us how to pick up a camera. We worked it out for ourselves, thanks. This magazine was not an influence on women filmmakers over here – we never saw it and anyhow it wouldn’t have been relevant. We had our own feminist publications in England, local and national ones, where we could read/write/discuss film, art, politics and everything else… Hope you don’t intend to promote the view that US film history equals world film history?

    • Certainly not, though this project is US-centric. Women & Film emerged from a specifically 1970s, Californian context, and did not have an official distributor, nationally or internationally. But it did reach beyond its home state, with readers’ letters published from Sweden, Germany, Poland and the UK. It even had articles by British contributors and its editors travelled to Edinburgh to cover the women’s event at the 1972 Film Festival. The same can probably be said for many British feminist publications, with many being read by women in the US and elsewhere, having been passed on by friends or sent via subscription. I think these very ephemeral networks of circulation at work in a pre-internet age are what makes these kinds of publications so interesting.

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