With this entry I’m happy to announce that I’ve recently begun a two-year postdoctoral
research fellowship on the topic of Women and New Hollywood. The fellowship is based in the department of media studies at Maynooth University and is sponsored by the Irish Research Council.
I’d also like to use this space to announce the launch of this blog, which is one component of the research project. To kick things off, I’ll say a few words about the fellowship’s topic, which I’ll expand on in a series of entries over the next couple of weeks.
It’s fair to say that it is generally well known among film scholars that an increasing number of women played major creative roles in 1970s Hollywood compared with previous decades – as editors, producers, writers, production designers, sound designers and more. However, while most film scholars know that Dede Allen edited Bonnie and Clyde or that Julia Philips produced The Sting, Taxi Driver and Close Encounters of the Third Kind, little actual academic work has been done on any of the women of this era. That’s why this is the full title of my fellowship:
Women and New Hollywood:
How the Auteur Paradigm Devalues Women’s Labour
I’ll spend my next few blog entries unpacking what I mean by this title, but here’s the gist: American cinema of the 1970s has been known, almost since its inception, as a director’s cinema. As with the rest of Hollywood history, in the 1970s almost all the directors were men. So men are given the credit for everything innovative, daring, or just plain good about ‘70s cinema. Continue reading