Contributors A-Z

Contributor Index

The following is an alphabetical list of the magazine’s various contributors that includes the titles of articles written for Women & Film and, in some cases, miscellaneous notes, information relating to other writings, websites and other biographical information.

Linda Artel

Women & Film

  • Review: Put Yourself in My Place 77 Vol. 1 No. 5/6

Mentioned in the Camera Obscura no 1 acknowledgements.

Other Writings

http://www.ejumpcut.org/archive/onlinessays/JC18folder/ArtelWengraf.html

Ÿ

Jacoba Atlas

‘has written for the Los Angeles Free Press, L.A. Magazine, Show Magazine, and Rolling Stone.’ ‘Notes on Contributors’, 4 Vol. 1 No. 3/4

Women & Film

  • Ÿ Beauty/Enigma/Mother: Woman in Children of Paradise, Jules and Jim, and Alice’s Restaurant 38-41 Vol. 1 No. 3/4

Freude Bartlett, founder of The Serious Business Company. PhotoFreude Bartlett

Women & Film

  • Review: Self-Health 81 Vol. 2 No. 7

Other Writings

  • Doing Serious Business: An Interview with Freude Bartlett, by John Hess and Chuck Kleinhans, Jump Cut, no. 31, March 1986, pp. 30-34
  • Distributing Independent Cinema, Jump Cut, no. 31, March 1986, pp. 29-30

Gretchen Bataille

‘“Preliminary Investigations” was first presented at the Third National Meeting of the Popular Culture Association in Indianapolis, Indiana, on April 14, 1973. […] she is presently teaching in the department of English at Iowa State University and working on a Doctor of Arts degree at Drake University. Next fall she will teach a new course entitled “Images of the American Indian.”’ ‘Notes on Contributors’, Vol. 1 No. 3/4, p. 4.

Profile from Fashion Institute  of Technology: http://www.fitnyc.edu/9036.asp

Women & Film

  • Preliminary Investigations: Early Suffrage Films 42-44 Vol. 1 No. 3/4

Sage Bergstrom

Women & Film

  • Review: The End of the Art World 83-84 Vol. 2 No. 7

Jeanne Betancourt

‘is compiling a catalog of films which deal with women as persons. Each film will be given extensive treatment, including summary/evaluation, biography and filmography of the filmmaker, groups for whom the film is appropriate and questions raised by the film. “The intention of the book is to serve as a resource for people in community groups who want to use film as part of their work but need a guide as to what is available and where to get it.”’ ‘Notes on Contributors’, 4 Vol. 1 No. ¾

Personal blog http://www.jeannebetancourt.com/about.html

Women & Film

  • High School Women & Film: A Report from New York City 56-60 Vol. 1 No. 2
  • Report from New York: Women’s Video Festival at the Kitchen 97-99 Vol. 1 No. 3/4

Other Writings

  • Women in Focus, Dayton, Ohio : Pflaum,1974

E. Servi Burgess

Possibly Elena?

‘is involved in film in Italy’ ‘Notes on Contributors’ Vol. 1 No. 5/6

Women & Film

  • Toward a Popular Feminist Cinema: An Interview with Lina Wertmuller 6-11 Vol. 1 No. 5/6

abigail_child_2011

Abigail Child

‘is an independent filmmaker who is currently editing a film of her mother’s marriage and beginning production on a half-hour dramatic movie about sex-typing for the American Film Institute. Her first two films were co-productions with Jon Child: Except the People, a documentary about the East Village non-community and Game, about two street hustlers, Tina and Yogi Slim.’ ‘Notes on Contributors’, 4 Vol. 1 No. ¾

Wikipedia Entry

Website

Women & Film

  • The Girls 73-76 Vol. 1 No. 3/4

Other Writing

Carol Davidson

Women & Film

  • Letter to Jane: A Critique 52-53 Vol. 1 No. 3/4

Donnie

‘is a “SWAM” (Straight, White, Adult, Male) who does not use his last name because it is a paronym – and thereby sexist. “I used to be a so-called ‘radical professor’ until I realized that even if I radicalized 10% of ‘my’ students – making them interested in changing the status quo – I was giving skills, information and certification to 90% of the students who wanted to maintain the status quo. A self-defeating situation making ‘radical’ and ‘professor’ mutually exclusive terms.” He is currently involved in writing and in politics and has published poems and other pieces in various movement publications.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

Women & Film

  • Bondage Series 61-65 Vol. 1 No. 2
  • The Movie Channel 105-107 Vol. 1 No. 3/4

Carol A. Emmens

‘is working part-time as the reference librarian for the Educational Film Library Association where she also helps edit their magazine Sightlines. She says, “ I am a semi-liberated woman making an attempt to be a successful mother, librarian, and writer (not necessarily in that order).” Her writing is concerned primarily with educational films for, about and by children.’ From ‘Notes on Contributors’, Vol. 2 No. 7 126.

Women & Film

  • New Day Films: An Alternative in Distribution

John W. English

‘teaches journalism at the University of Georgia and frequently writes about the popular arts, especially film. He is also working on a book about critics.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Women & Film

  • Review: Tub Film 82-83 Vol. 2 No. 7

Patricia Erens

‘film student at Northwestern University’ 1 VLT Vol. 1 No. 12 Spring 1974

‘teaches at the University of Chicago Extension, is co-editor of the Film Reader, and was a member of the steering committee for Films by Women/Chicago ’74.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Dominican University Profile

Women & Film

  • Interview with Jill Godmilov Vol. 2 No. 7

Other writing

Sandy Flitterman-Lewis

‘is a graduate student in comparative Literature at UC Berkeley. She has made a 15-minute film called Reflections with a women’s film collective in Berkeley.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

Named as Assistant Editor in Vol. 1 No. 5/6

Rutgers University Profile

Online CV

Women & Film

  • Heart of the Avant-garde: Some Biographical Notes on Germaine DuLac 58-61 Vol. 1 No. 5/6

April Ford

Los Angeles-based and a friend of Siew-Hwa Beh’s.

Women & Film

  • Hawk’s Women: Don’t You Think I Could Know a Girl? 26-29 Vol. 1 No. 1

Diane Giddis

‘has been publishing for 10 years and a book editor for six. Klute is her first published piece which she was moved to write after seeing that aspect of the film interesting to her ignored by other films reviewers.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

Women & Film

  • The Divided Woman: Bree Daniels in Klute 57-61 Vol. 1 No. 3/4

Naome Gilburt

Women & Film

  • The First International Festival of Women’s Films Part I – To Be Our Own Muse: The Dialectics of a Cultural Heroine 25-32 Vol. 1 No. 2

This article was republished in the Notes on Women’s Cinema pamphlet, edited by Claire Johnston for the 1973 BFI Women’s Cinema event.

Verina Glaessner

1973 – film editor of Time Out London.

Women & Film

  • Anielle Weinberger and Ginette Gablot at NFT 76 Vol. 1 No. 5/6
  • Review: The Point is to Change 76-77 Vol. 1 No. 5/6

Other writings

  • ‘Women’ Films at Knokke’, Jump Cut, no. 8, 1975, p. 23
  • Censorship in London, Film Comment 9.1 1973

Connie Greenbaum

‘has lived in Paris for the last 5 years studying linguistics at Nanterre, teaching audio-visual English and doing translations.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Women & Film

  • Musidora Vol. 2 No. 7

Kay Harris

Produced a collage of images from the First International Festival of Women’s Films in New York 1972 to accompany an article written about it by Marjorie Rosen (author of Popcorn Venus) in Saturday Review. 

Women & Film

  • The First International Festival of Women’s Films Part II – Interview with Nelly Kaplan 33-36 Vol. 1 No. 2

Sylvia Harvey

‘presently at UCLA Film School, is an Associate Editor of Screen. She is interested in French film theory post May ’68, the relationship between style and ideology, and the possibilities of developing a feminist film theory to be rooted in an analysis of the political function of the dominant ideology.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

Leeds University Profile

Women & Film

  • Third World Perspectives: Focus on Sarah Maladoror 71 Vol. 1 No. 5/6

Beverle Houston

‘has written Close-Up (Harcourt, Brace Javanovitch) in collaboration with Marsha Kinder, and is a professor at Pitzer College.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

Women & Film

  • Odd Couple: Woman and Manchild in Harold & Maude, Minnie & Moskowitz, Murmur of the Heart. 11-15 Vol. 1 No. 2
  • Woman and Manchild in the Land of Broken Promise: Ken Russell’s Savage Messiah and Paul Morrisey’s Heat 31-37 Vol. 1 No. 3/4
  • Review: Legacy 87-88 Vol. 2 No. 7

Lucille Iverson

‘has been active in the women’s movement since November, 1968, and a member of the N.Y. Radical Feminists since January 1970. She reviewed film and theatre for WBAI’s “Womankind” and The Militant and has extensive acting experience in Chicago and New York, including the New Feminist Theatre Group and the Judson Poets Theatre. She is currently co-editing a feminist poetry anthology to be published by Bantam, fall, 1973.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

Women & Film

  • Feminist Critique of the First Annual Erotic Film Festival (New York, 1972) 23-30 Vol. 1 No. 3/4

Sibyl James

‘belives in the idea of life as art and in lived myth. Since leaving school she’s held jobs ranging from manager of a rock band to teaching in an experimental program at the University of Washington. She will finish her doctorate in Buffalo, N.Y.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

Women & Film

  • The Movie’s Over (Poem) 54 Vol. 1 No. 3/4

Dora Kaplan

Women & Film

  • A Woman Looks at the San Francisco International Film Festival Vol. 1 No. 1
  • The First International Festival of Women’s Films Part III – Selected Short Subjects 37-45 Vol. 1 No. 2

keller_photoMarjorie Keller

‘is a filmmaker living in New York.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Wikipedia Entry

Women & Film

  • Report from Knokke: Exprmentl-5 Vol. 2 No. 7

Ellen Keneshea

Could this be the Ellen Keneshea who now works for DreamWorks animation as an editor? It looks like she was at UCLA in the early 1970s and at Occidental before that, so it could well be. An Ellen Keneshea also appears to have written on film for the Stanford Daily in the 70s.

ŸWomen & Film

  • Sirk: There’s Always Tomorrow and Imitation of Life 51-54

Marsha Kinder

‘is co-author of Close-Up and has written for Sight and Sound. She also teaches at Occidental College.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

University of Southern California Profile

Women & Film

  • Woman and Manchild in the Land of Broken Promise: Ken Russell’s Savage Messiah and Paul Morrisey’s Heat 31-37 Vol. 1 No. 3/4

Chuck Kleinhans

‘currently an unemployed graduate student, CK is finishing a dissertation on farce at Indiana University. He has worked on a variety of radical political projects in the Midwest.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

‘is co-editor of Jump Cut.’ ‘Notes on Contributors’ 110 Vol. 1 No. 5/6

Northwestern Profile

Women & Film

  • Two of Three Things I Know About Her 65-72
  • Lives of Performers 52-54 Vol. 1 No. 5/6

Alexis Krasilovsky

Website

Women & Film

  • A Woman Under the Influence of Hearts and Minds (Poem) 125 Vol. 2 No. 7

Julia Lesage

Named as a contributing editor in Vol. 1 No. 3/4

Named as an Associate Editor in Vol. 1 No. 5/6 and Vol. 2 No. 7

‘teaches film aesthetics at Indiana University and is doing her dissertation on Godard. She studied filmmaking in South America under Armando Robles Godoy in 1967-69. At I. U., Julia helped form the Bloomington Feminist Filmmaking Collective, which is currently planning a film on the Chicago women’s rock band called “The Family of Woman.”’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

‘teaches film in the English Department at the Circle Campus, University of Chicago. She has published extensively in Cineaste, Take One, and Jump Cut.’  ‘Notes on Contributors’ Vol. 1 No. 5/6

Online CV

Lesage Firing Protest by Chuck Kleinhans, Jump Cut, no. 15, 1977, pp. 34-35

Women & Film

  • The Green Wall, The Peruvian Woman and Us 62-64 Vol. 1 No. 3/4
  • Feminist Film Criticism: Theory and Practice 12-19 Vol. 1 No. 5/6
  • A Review Compilation shown at the Ann Arbor Women’s Film Festival (Feb. 6-10, 1974) 80-81 Vol. 1 No. 5/6

Jacqueline Levitin

Simon Fraser University Profile

Women & Film

  • Mother of the New Wave: An Interview with Agnes Varda 62-66 Vol. 1 No. 5/6

Other writings

Sharon Lieberman

‘has been working at the Library of Performing Arts at Lincoln Center for the past 4 years where she performed with the Mass Transit political street theater. She has just completed her Masters Degree in Community Health Education with the hope of working with and/or writing about women’s health issues.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Women & Film

  • Third World Perspectives: Memories of Underdevelopment 78-79 Vol. 2 No. 7

Madison Women’s Media Collective

‘often writes for Velvet Light Trap.’ Notes on Contributors 110 Vol. 1 No. 5/6

Women & Film

  • Barbara Loden Revisited 67-70 Vol. 1 No. 5/6

Sarah Maladoror

Wikipedia Entry

Women & Film

  • Review: It Take Times to March 72-73 Vol. 1 No. 5/6
  • Review: Monangambeee 73-74 Vol. 1 No. 5/6

Barbara Halpern Martineau (Sara Halprin)

‘teaches at Scarborough College, University of Toronto. Her article ‘Women’s Film Daily’ is being translated into French by Claire Clouzot for a book to be published in Paris.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

‘teaches at Scarborough College, University of Toronto and is finishing a book of interviews with women filmmakers.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

died 2006? Married to Herb Long?

Women & Film

  • Women’s Film Daily 36-44 Vol. 1 No. 5/6
  • Paris/Chicago: Women’s Film Festivals 1974 10-27 Vol. 2 No. 7

Other writings

Eileen McGarry

‘is finishing doctoral work in the film department at UCLA on the history and an analysis of Jay Ward Productions.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Women & Film

  • Documentary, Realism & Women’s Cinema 50-59 Vol. 2 No. 7

Kyoko Michishita

‘Studied journalism at University of Wisconsin…became involved in women’s movement in the early 1970s. Started making videos…’ Jayne Wark,Radical Gestures,  2006.

‘’lives in Tokyo and writes free-lance articles on the women’s movement. She is a videomaker and also interested in film.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

Women & Film

  • Tokyo-New York Video Express 86-87 Vol. 1 No. 5/6

Christine Mohanna

Possibly made film Ninja (1977) (from refs, Dyer, Now You See it; Kaplan, Women in Film Noir)

Women & Film

  • A One-sided story: Women in the Movies Vol. 1 No. 1 7-12

Joyce Newman

‘is presently a TV scriptwriter in New York and formerly editor of Super-8 Filmmaker.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Women & Film

  • Super-8 News 95 Vol. 1 No. 5/6
  • Super-8 News 110-112 Vol. 2 No. 7

Blake in KingstonBill Nichols

Editorial Associate at Cineaste Summer 1970 – Summer 1972

Contributing Editor at Cineaste Jan (?) 1973

Women & Film

  • Two Analyses of Women’s Role in the Media (with Irwin Sibler) Vol. 1 No. 1
  • Book Reviews 108-109 Vol. 1 No. 5/6?
  • Book Reviews 114-119 Vol. 2 No. 7

Books

  • Newsreel: documentary filmmaking on the American left, New York : Arno Press, 1980
  • Ideology and the image: social representation in the cinema and other media, Bloomington : Indiana University Press, 1981. ISBN 978-0-253-18287-6
  • Blurred boundaries: questions of meaning in contemporary culture, Bloomington : Indiana University Press, 1994. ISBN 978-0-253-20900-9
  • Representing Reality: Issues and Concepts in Documentary, Bloomington : Indiana University Press, 1991. ISBN 978-0-253-20681-7
  • Introduction to documentary, 2nd Edition. Bloomington, Ind. : Indiana University Press, 2010. ISBN 978-0-253-33954-6
  • The Cinema’s Alchemist: The Films of Péter Forgács (Co-editor Michael Renov). UniversIty of Minnesota Press, 2011. ISBN 978-0-8166-4875-7

Editor

Kristina Nordstrom

‘organized the First Festival of Women’s Films in New York City, June ’72, and is currently planning for the second Festival. The Festival collective would like to receive names and addresses of all women filmmakers in order to send them a call-for-entry brochure. (1582 York Avenue, N.Y. N.Y. 10028) Kristina is also currently teaching “Women & Film” course at the New School for Social Research.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

Women & Film

  • Mae West in Venice 93-96 Vol. 1 No. 3/4

Trevor Pateman

‘just finished at the Polytechnic of Central London.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

Personal Website

Women & Film

  • ŸThe Painted Face of Capitalism: The Technique of Film and Television Make-Up for Color and Black and White 97-99 Vol. 1 No. 5/6

Gerald Peary

‘writes regularly for The Velvet Light Trap for which he has done articles on Alice Guy Blache and Dorothy Arzner.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

‘is a former instructor in film and drama at Whitewater State University, and is currently working on a Ph.D. thesis in film in UW’s Communication Arts Department, studying the changing gangster genre at Warner Brothers studio, 1930-35. Mr. Peary writes a regular column of film criticism called Screen Gems for The Daily Cardinal, and has published on W.C Fields.’ ‘notes of contributors’ 1 VLT Vol. 1 No. 1 1971.

Online CV

Women & Film

  • Sanka, Pink Ladies, and Virginia Slims 82-84 Vol. 1 No. 5/6

Other writing

  • Hawks at Warner Brothers: 1932 (with Stephen Groark)  12-16 VLT Vol. 1 No. 1 1971
  • Notes on Early Gangster Comedy 16-18 VLT 1.3 19 1971/72

Constance Penley

‘is a graduate student in the Rhetoric Department at UC Berkeley and a shipping magnate on the loading dock at the Pacific Film Archive.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

Named as an ass. Ed Vol. 1 No. 5/6 and Vol. 2 No. 7

University of California Santa Barbara Profile

Online CV

Women & Film

  • Cries and Whispers 55-56 Vol. 1 No. 3/4
  • Theory of Film Practice: Analysis and Review 32-35 Vol. 1 No. 5/6

Sally Pugh

Women & Film

  • Home Born Baby 102-104 Vol. 1 No. 3/4

Susan Rice

Women & Film

  • Review: Three Lives  66 Vol. 1 No. 1

Brenda Roman

Women & Film

  • Review: Dirty Mary 67-68

Sashi

Women & Film

  • I Seen it in a Picture Show 100-101 Vol. 1 No. 3/4

Nancy Scholar

‘ is an assistant professor of English at Illinois Institute of Technology. She has published articles on Anais Nin and Marge Piercy.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Women & Film

  • Maedchen in Uniform 68-71 Vol. 2 No. 7

Norman R. Seider

‘is Director of Cinema Studies at the C. W. Post Center, Long Island University.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

http://normanseider.com/NormanSeiderCV.pdf

Women & Film

  • New East German Cinema: An Interview with Gitta Nickel 48-51 Vol. 1 No. 5/6

Michael Shedlin

‘has previously contributed to Women & Film (Rosselini’s Voyage in Italy, W&F no. 2)’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Also wrote for Film Comment  and Take One.

Women & Film

  • Love, Estrangement & CoAdunation in Rossellini’s Voyage to Italy 46-50 Vol. 1 No. 2
  • Ideological Massage: 15 Notes on Freebie and the Bean 90-105 Vol. 2 No. 7

Other writing

http://www.ejumpcut.org/archive/onlinessays/JC05folder/HawksInt.html

Laughing Gas: Nitrous Oxide

Irwin-Silber-006Irwin Silber

http://en.wikipedia.org/wiki/Irwin_Silber

ŸWomen & Film

  • Confronting The Consciousness Industry: Two Analyses of Women’s Role in the Media (with Bill Nichols) 35-42 Vol. 1 No. 1

Sharon Smith

‘Women Who Make Movies will be published by Hopkinson & Blake, fall, 1973. She attended Middlebury College and graduated from the University of Southern California with a masters degree in Film History.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

ŸWomen & Film

  • The Image of Women in Film: Some Suggestions for Future Research Vol. 1 No. 1 13-21.
  • Women Who Make Movies 77-92 Vol. 1 No. ¾

Thelma Soderquist

Illustrator

Chick Strand

Experimental filmmaker. She wrote in the magazine about her then works-in-progress El Maestro, Elasticity, Mujer de los muilfuegos and Guacamole.

  • ‘Works in progress – Chick Strand’, 86-87, Vol. 2 No. 7 (1975)

Beth Sullivan

‘graduated from the UCLA Film Department and has been active in the Women’s Movement for six years.’ ‘Notes on Contributors’ 110 1.5/6

Wikipedia Entry

Women & Film

  • Bed & Sofa/ Master of the House 21-25 Vol. 1 No. 1
  • Review: Tell Me Where it Hurts 90-90 1.5/6

Pat Sullivan

‘Presently a teacher at an all-female NYC inner-city high school, PS has a Masters in English Education from Fordham and spends all her time thinking about, or working on ½ inch videotape.

http://web.ics.purdue.edu/~psulliva/index.html ?

Women & Film

  • The Second Annual New York Women’s Video Festival 97-99 1.5/6

Judith Taylor

‘studied English at the University of Chicago and the University of California, Berkley. She has taught English and Women’s Studies at several universities, is currently a member of the media chapter of the LA Women’s Union and is working on a slide show on the history of women in the labor force.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Women & Film

  • The Movie Channel: The Rape of Women on T.V. 88-90 1.5/6
  • Movie Channel: Did she or didn’t she? Mystifying Women’s Opression 106 – 109 Vol. 2 No. 7

Mitch Tuckman

Wrote for Village Voice and Film Comment.

http://www.wcsr.com/lawyers/mitchell-tuchman ?

Women & Film

  • Interview with Judy Smith/ San Francisco Newsreel Vol. 1 No. 1

William Van Wert (Bill)

‘is working on his PhD at Indiana University. HE is working with the Women’s Studies Committee on a Women and Film Festival.’ ‘Notes on Contributors’ 1.5/6

Women & Film

  • Germaine DuLac: First Feminist Filmmaker 55-57 1.5/6

Other writing

Beverly Walker

‘respectfully declines to delineate specifities of title and credit, feeling that her writing is sufficient identification.’ ‘Notes on Contributors’ 4 Vol. 1 No. 3/4.

Various production roles on several films, including American Graffitti.

Pre 1968 – worked for John Springer associates, public relations. Walker was responsible for NY film Festival and ‘various foreign movies.’

1968 – quit job to work crew for Zabriskie Point

Women & Film

  • From Novel to Film: Kubrick’s Clockwork Orange 4-10 Vol. 1 No. 2
  • Moral Tales: Eric Rohmer Reviewed and Interviewed 15-22 Vol. 1 No. 3/4

Other Writing

  • Review: Womanhouse 77-78 1.5/6
  • Michelangelo and the Leviathan, Film Comment 28.5 1992 36-49
  • LA Journal, Film Comment  9.3, 9.4, 9.6
  • Interviewed Terence Malick for Sight Sound  44:2:82-83, Spring 1975

Teena Webb

http://mubi.com/films/the-chicago-maternity-center-story

http://kartemquin.com/films/viva-la-causa

Women & Film

  • Myths, Women & Movies 66-70 Vol. 1 No. 2

Other writing

Marion (Wolberg) Weiss

‘teaches The Images of Women in Contemporary Cinema at the University of Maryland, is a freelance TV writer, and a member of the Society for Cinema Studies.’ ‘Notes on Contributors’, Vol. 2 No. 7 126.

Appears to have written for Dan’s Paper, free underground paper founded in 1960 by Rattiner based in the Hamptons.

Women & Film

  • Interview with Eleanor Perry Vol. 2 No. 7

Carol Wikarska

Named as Contributing Ed. in 1.5/6 and as an Associate Editor in issue Vol. 2 No. 7.

‘is a free-lance writer and projectionist at the Pacific Film Acrhive in Berkeley. She is publishing an interview with Lotte Reiniger in the next issue of Film Quaterly.’ ‘Notes on Contributors’ Vol. 1 No. 5/6

Women & Film

  • An Interview with Tra Giang at the Moscow Film Festival 45-47 Vol. 1 No. 5/6
  • Feature Review: Attica  60-67 Vol. 2 No. 7
  • Third World Perspectives: Introduction to the Enemy 77-78 Vol. 2 No. 7
  • Review: Plumb Line 81 Vol. 2 No. 7
  • Review: Woman to Woman 85-86 Vol. 2 No. 7
  • Review: A Film About A Woman Who 86 Vol. 2 No. 7
  • Review: Old-Fashioned Woman 89 Vol. 2 No. 7
  • San Francisco-FILMEX 113 Vol. 2 No. 7

Samantha Willow (and Kathi, Steve and Dorothy)

Women & Film

  • The Ideological Massage: Review of Commercial Cinema – Summer Wishes, Winter Dreams 85 (103) Vol. 1 No. 5/6

Nancy Young

Credited with Design on issues 3/4

Leave a comment