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Producer, distributor, and director Doris Wishman (1912-2002) was a
pioneering woman in the film industry, leaving a body of work
almost 30 films strong. Largely overlooked by critical and cultural
analysis, Wishman worked in the normatively neglected film genre of
sexploitation and adult film, but works like Hideout in the Sun
(1960), Bad Girls Go To Hell (1965), Double Agent 73 (1974) and
Each Time I Kill (2007) demonstrate an interest in complicated,
ideological and often troubling social performances of the
contemporary human condition. ReFocus: The Films of Doris Wishman
positions Wishman as a significant and overlooked force in American
independent film, with an impact on how we currently understand the
categories of cult, exploitation, horror, experimental and
avant-garde cinema.
Producer, distributor, and director Doris Wishman (1912-2002) was a
pioneering woman in the film industry, leaving a body of work
almost 30 films strong. Largely overlooked by critical and cultural
analysis, Wishman worked in the normatively neglected film genre of
sexploitation and adult film, but works like Hideout in the Sun
(1960), Bad Girls Go To Hell (1965), Double Agent 73 (1974) and
Each Time I Kill (2007) demonstrate an interest in complicated,
ideological and often troubling social performances of the
contemporary human condition. ReFocus: The Films of Doris Wishman
positions Wishman as a significant and overlooked force in American
independent film, with an impact on how we currently understand the
categories of cult, exploitation, horror, experimental and
avant-garde cinema.
Winner of the the 2021 Best Edited Collection Award from BAFTSS
Winner of the 2021 British Fantasy Award in Best
Non-Fiction​ ​Finalist for the 2020 Bram Stoker Award® for
Superior Achievement in Non-Fiction Runner-Up for Book of the Year
in the 19th Annual Rondo Halton Classic Horror Awards​ “But
women were never out there making horror films, that’s why they
are not written about – you can’t include what doesn’t
exist.” “Women are just not that interested in making horror
films.”  This is what you get when you are a woman working
in horror, whether as a writer, academic, festival programmer, or
filmmaker. These assumptions are based on decades of flawed
scholarly, critical, and industrial thinking about the genre. Women
Make Horror sets right these misconceptions. Women have always made
horror. They have always been an audience for the genre, and today,
as this book reveals, women academics, critics, and filmmakers
alike remain committed to a film genre that offers almost unlimited
opportunities for exploring and deconstructing social and cultural
constructions of gender, femininity, sexuality, and the body. Women
Make Horror explores narrative and experimental cinema; short,
anthology, and feature filmmaking; and offers case studies of North
American, Latin American, European, East Asian, and Australian
filmmakers, films, and festivals. With this book we can transform
how we think about women filmmakers and genre.
The rare woman director working in second-wave exploitation,
Stephanie Rothman (b. 1936) directed seven successful feature
films, served as the vice president of an independent film company,
and was the first woman to win the Directors Guild of America's
student filmmaking prize. Despite these career accomplishments,
Rothman retired into relative obscurity. In The Cinema of Stephanie
Rothman: Radical Acts in Filmmaking, author Alicia Kozma uses
Rothman's career as an in-depth case study, intertwining
historical, archival, industrial, and filmic analysis to grapple
with the past, present, and future of women's filmmaking labor in
Hollywood. Understanding second wave exploitation filmmaking as a
transitory space for the industrial development of contemporary
Hollywood that also opened up opportunities for women
practitioners, Kozma argues that understudied film production
cycles provide untapped spaces for discovering women's directorial
work. The professional career and filmography of Rothman exemplify
this claim. Rothman also serves as an apt example for connecting
the structure of film histories to the persistent strictures of
rhetorical language used to mark women filmmakers and their labor.
Kozma traces these imbrications across historical archives.
Adopting a diverse methodological approach, The Cinema of Stephanie
Rothman shines a needed spotlight on the problems and successes of
the memorialization of women's directorial labor, connecting
historical and contemporary patterns of gendered labor disparity in
the film industry. This book is simultaneously the first in-depth
scholarly consideration of Rothman, the debut of the most
substantive archival materials collected on Rothman, and a feminist
political intervention into the construction of film histories.
The rare woman director working in second-wave exploitation,
Stephanie Rothman (b. 1936) directed seven successful feature
films, served as the vice president of an independent film company,
and was the first woman to win the Directors Guild of America's
student filmmaking prize. Despite these career accomplishments,
Rothman retired into relative obscurity. In The Cinema of Stephanie
Rothman: Radical Acts in Filmmaking, author Alicia Kozma uses
Rothman's career as an in-depth case study, intertwining
historical, archival, industrial, and filmic analysis to grapple
with the past, present, and future of women's filmmaking labor in
Hollywood. Understanding second wave exploitation filmmaking as a
transitory space for the industrial development of contemporary
Hollywood that also opened up opportunities for women
practitioners, Kozma argues that understudied film production
cycles provide untapped spaces for discovering women's directorial
work. The professional career and filmography of Rothman exemplify
this claim. Rothman also serves as an apt example for connecting
the structure of film histories to the persistent strictures of
rhetorical language used to mark women filmmakers and their labor.
Kozma traces these imbrications across historical archives.
Adopting a diverse methodological approach, The Cinema of Stephanie
Rothman shines a needed spotlight on the problems and successes of
the memorialization of women's directorial labor, connecting
historical and contemporary patterns of gendered labor disparity in
the film industry. This book is simultaneously the first in-depth
scholarly consideration of Rothman, the debut of the most
substantive archival materials collected on Rothman, and a feminist
political intervention into the construction of film histories.
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