This entry of the “Vulnerable Spectator” column draws upon Jennifer Fox's autobiographical film The Tale (2018), which struggles with the filmmaker's memories of the 1970s, in order to reconsider the 1974 film Alice Doesn't Live Here Anymore (dir. Martin Scorsese). Situating Alice within the history of women's contributions to US commercial film production and feminist film theory, Hastie argues both for a recognition of Ellen Burstyn's authorial role in regard to the film and for a more expansive theoretical and historiographic practice in relation to the era. This column kicks off a series of VS columns that will revisit U.S. films of the 1970s in order to understand their historical, theoretical, and contemporary relevance.
The Vulnerable Spectator: “It Was the Seventies”
Amelie Hastie is the author of two books on women's film authorship, Cupboards of Curiosity: Women, Recollection and Film History (Duke University Press, 2007) and The Bigamist (BFI Film Classics, 2009). Her current scholarship is situated around U.S. film and television of the 1970s, including a forthcoming volume on the television series Columbo (Duke University Press) and essays on women's work as film critics, stars, producers and directors during the era. She is Professor and founding chair of Film and Media Studies at Amherst College.
Amelie Hastie; The Vulnerable Spectator: “It Was the Seventies”. Film Quarterly 1 September 2018; 72 (1): 58–63. doi: https://doi.org/10.1525/fq.2018.72.1.58
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