Podcasts about Dorothy Arzner

Ep. 328: Michael Koresky on his new book Sick and Dirty: Hollywood's Gay Golden Age and the Making of Modern Queerness - The Children's Hour, These Three, Tea and Sympathy, Dance Girl Dance, and more Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. I was a huge fan of Michael Koresky's last book, Films of Endearment, and so I leapt into action when I heard about his latest, Sick and Dirty: Hollywood's Gay Golden Age and the Making of Modern Queerness. Koresky is now Senior Curator of Film at Museum of the Moving Image, and, as he points out, his book has roots in his column I had the privilege of editing at Film Comment, Queer and Now and Then. I spoke with him about some pivotal titles in his deeply researched chronicle of under-the-radar queer cinema from the 1930s to the 1960s, and the fascinating work that could emerge under Hollywood's censorship regime: These Three and The Children's Hour, two adaptations of Lillian Hellman's play, both directed by William Wyler; Dorothy Arzner's Dance, Girl, Dance; Vincente Minnelli's oft-maligned Tea & Sympathy; and more. “Sick and Dirty: Hollywood's Gay Golden Age and the Making of Modern Queerness” by Michael Koresky is available now, published by Bloomsbury. On June 22, Tea & Sympathy will screen with Koresky in conversation at the Museum of the Moving Image as part of a special book event. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Tracy and Holly talk about Dorothy Arzner's reluctance to talk about her past projects. Holly questions some of the statistics about strawberry consumption. See omnystudio.com/listener for privacy information.

Dorothy Arzner wasn’t the first female film director in the U.S., but she was really the only one working in the studio system during most of the period that’s known as the Hollywood Golden Age. Her short career was still incredibly prolific. Research: "Dorothy Arzner." Encyclopedia of World Biography Online, Gale, 2022. Gale In Context: U.S. History, link.gale.com/apps/doc/K1631009688/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=19d5d3af. Accessed 11 Mar. 2025. Bryant, Sara. “Dorothy Arzner’s Talkies: Gender, Technologies of Voice, and the Modernist Sensorium.” Modern Fiction Studies , Summer 2013, Vol. 59, No. 2, Women's Fiction, New Modernist Studies, and Feminism (Summer 2013) Via JSTOR. https://www.jstor.org/stable/26287651 Casella, Donna R. “What Women Want: The Complex World of Dorothy Arzner and Her Cinematic Women.” Framework: The Journal of Cinema and Media , SPRING & FALL 2009, Vol. 50, No. 1/2 (SPRING & FALL 2009). https://www.jstor.org/stable/41552560 Chuba, Kirsten. “Francis Coppola Helps Paramount Dedicate Building to Pioneer Director Dorothy Arzner.” Variety. https://variety.com/2018/film/news/dorothy-arzner-paramount-building-francis-coppola-1202715056/ D’Alessandro, Anthony. “Francis Ford Coppola & Paramount Dedicate Studio Building To Trailblazing Female Filmmaker Dorothy Arzner.” Deadline. 3/1/2018. https://deadline.com/2018/03/francis-ford-coppola-paramount-dorothy-arzner-jim-gianopulos-1202307320/ Field, Allyson Nadia. “Dorothy Arzner.” Women Film Pioneers Project. https://wfpp.columbia.edu/pioneer/ccp-dorothy-arzner/ Geller, Theresa L. “Arzner, Dorothy.” Senses of Cinema. 5/2003. https://www.sensesofcinema.com/2003/great-directors/arzner/ Kuperberg, Julia & Clara. “Dorothy Arzner, Pioneer, Queer, Feminist.” Wichita Films. 2022. Lane, Christina. "Directed by Dorothy Arzner." Velvet Light Trap, fall 1996, pp. 68+. Gale OneFile: Business, link.gale.com/apps/doc/A90190315/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=04146780. Accessed 11 Mar. 2025. Levy, Carly. “Dorothy Arzner: The Only Female Director of the Golden Age.” Video Librarian. 4/21/2023. https://videolibrarian.com/articles/essays/dorothy-arzner-a-golden-age-era-female-director/ Lewis, Maria. “Dorothy Arzner: mother of invention.” ACMI. https://www.acmi.net.au/stories-and-ideas/dorothy-arzner-mother-invention/ Lugowski, David M. “Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood's Production Code.” Cinema Journal , Winter, 1999, Vol. 38, No. 2 (Winter, 1999). Via JSTOR. https://www.jstor.org/stable/1225622 Madsen, Axel. “The Sewing Circle : Hollywood's greatest secret : female stars who loved other women.” London : Robson. 1996. Mayer, So. “Dorothy Arzner: Queen of Hollywood.” BFI. 3/7/2015. https://www.bfi.org.uk/sight-and-sound/features/dorothy-arzner-queen-hollywood Norden, Martin F. “Exploring the work of Dorothy Arzner as a film-making teacher in southern California.” Film Education Journal. 2022. https://doi.org/10.14324/FEJ.05.2.01 Norden, Martin F., editor. “Dorothy Arzner: Interviews.” University Press of Mississippi. 2024. Tangcay, Jazz. “Women Were Better Represented in Hollywood During the Silent Film Era, AFI Study Reports (EXCLUSIVE).” 1/6/2023. https://variety.com/2023/film/news/women-hollywood-silent-film-era-american-film-institute-afi-1235480998/ Tatna, Meher. “Forgotten Hollywood: Dorothy Arzner.” Golden Globes. 2/16/2022. https://goldenglobes.com/articles/forgotten-hollywood-dorothy-arzner-articles-forgotten-hollywood-dorothy-arzner/ Tietjen, Jill S. and Barbara Bridges. “How Women Were Pushed Out of Hollywood—and Fought Their Way Back In.” Excerpt from "Hollywood: Her Story" The Helm. 4/22/2021. https://thehelm.co/hollywood-herstory-book/ See omnystudio.com/listener for privacy information.

We've got a big one for you this week: four main movies plus four Fear and Moviegoing viewings. Our main feature is Stanning for Sten: Anna Sten's three movies for Samuel Goldwyn, Nana (1934), based on (more like inspired by) the Zola novel, We Live Again (1934), with a Tolstoy source, and The Wedding Night (1935), plus a glimpse at one of her later supporting roles in Let's Live a Little (1948), a Robert Cummings comedy vehicle. Goldwyn infamously brought Sten to Hollywood with the intention of creating his own Dietrich-Garbo hybrid and lavished the most prestigious Hollywood talent (Arzner, Mamoulian, Vidor, Gregg Toland, and co-stars like Frederic March and Gary Cooper) and literary source material on her, only to have the public reject her; but we argue that Goldwyn's care didn't go to waste. And in Fear and Moviegoing, we look at the career of actress/director Mai Zetterling, discussing two movies directed by her, and two early films in which she appears (one directed by Ingmar Bergman, the other written by him).      Time Codes: 0h 00m 25s:    A Few Words About Sten and Goldwyn 0h 08m 02s:    NANA (1934) [dir. Dorothy Arzner] 0h 28m 11s:    WE LIVE AGAIN (1934) [dir. Rouben Mamoulian] 0h 58m 08s:    THE WEDDING NIGHT (1935) [dir. King Vidor] 1h 27m 28s:    LET'S LIVE A LITTLE (1948) [dir. Richard Wallace] 1h 39m 20s:    FEAR & MOVIEGOING IN TORONTO: Mai Zetterling's Loving Couples (1964) & Scrubbers (1982); Ingmar Bergman's Music in Darkness (1948); Alf Sjoberg's Torment (1944) +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Z małym poślizgiem podsumowujemy 15. edycję American Film Festival, gdzie rozmawiamy o najgorętszych filmach w twojej okolicy, które tylko czekają aż je obejrzysz, czyli między innymi o "Anorze" Seana Bakera i "Prawdziwym bólu" Jessego Eisenberga. Poza tym w odcinku Marcin przedstawia swoich faworytów i czarne konie tegorocznego programu. Lista omawianych filmów: ⭐ “Anora”, reż. Sean Baker ⭐ “Brutalista”, reż. Brady Corbet ⭐ “Prawdziwy ból”, reż. Jesse Eisenberg ⭐ "My Old Ass", reż. Megan Park ⭐ "Gra wojenna", reż. Tony Gerber, Jesse Moss ⭐ "Twarz w tłumie", reż. Elia Kazan ⭐ "Ten najlepszy", reż. Franklin J. Schaffner ⭐ "Długie pożegnanie", reż. Robert Altman ⭐ "Tańcz, dziewczyno, tańcz", reż. Dorothy Arzner

Pionierka – to słowo idealnie opisuje Dorothy Arzner, żyjącą na przełomie wieków amerykańską scenarzystkę oraz reżyserkę, której filmy mogliśmy oglądać podczas 15. edycji American Film Festival we Wrocławiu. Po blisko pól wieku od śmierci reżyserki, jej filmy wciąż rezonują, a jedną z osób, która podtrzymuje pamięć o jej twórczości jest dr hab. Monika Talarczyk, profesorka Szkoły Filmowej w Łodzi, badaczka historii kina polskiego oraz kina mniejszości, autorka takich książek jak „Biały mazur. Kino kobiet w polskiej kinematografii” czy „Wanda Jakubowska. Od nowa”. Rozmowę w przestrzeni Kina Nowe Horyzonty poprowadził Mateusz Nowak.  

Opowiadam o karierze amerykańskiej reżyserki Dorothy Arzner (1897-1979). Odcinek powstał we współpracy z American Film Festival we Wrocławiu. Gościnny udział: Rafał Glapiak ("Mocne punkty").

Join us for a quick, captivating dive into the hidden world of the 19th-century Sewing Circle. In this episode, we unravel the stories of bold, trailblazing women like Mercedes de Acosta, Dorothy Arzner, and Djuna Barnes, who navigated societal constraints to live and love authentically. Discover how these women used their sewing circles as a cover to build a supportive, secret community where their true selves could flourish. It's a tale of resilience, passion, and the unstoppable power of love. Enjoyed these mini-episodes? Leave a review and let me know which historical ideas or events you'd love to hear about next! Your resident History Nerd

Dorothy Arzner war eine wegweisende Filmemacherin, die als eine der wenigen Frauen in der frühen Hollywood-Ära Regie führte. Als Stenotypistin bei der Famous Players-Lasky Corporation begann sie ihre Karriere, stieg schnell zur Editorin auf und nutzte ihr Talent, um 1927 ihren ersten Film „Fashions for Women“ zu inszenieren. Dieser Erfolg eröffnete ihr die Tür zu weiteren Regieprojekten. Arzners Filme, wie der ikonische „Dance, Girl, Dance“ aus dem Jahr 1940, waren bekannt für ihre feministische Perspektive und die Darstellung starker, unkonventioneller Frauenrollen. Ihre Werke setzten neue Maßstäbe für die Darstellung weiblicher Charaktere im Film. Trotz ihrer beeindruckenden Erfolge zog sie sich in den 1950er Jahren aus der Filmregie zurück, um sich dem Lehren an der UCLA zu widmen, wo sie ihr Wissen und ihre Erfahrungen an aufstrebende Filmemacher weitergab. Ihr persönliches Leben war ebenso inspirierend; sie lebte in einer langjährigen Beziehung mit der Choreografin Marion Morgan, was ihre künstlerische und persönliche Reise bereicherte."Historische Heldinnen" lässt mithilfe von Künstlicher Intelligenz wichtige Frauen der Weltgeschichte auf ihr eigenes Leben zurückblicken. Selbstbewusst erzählen sie uns von ihrem Mut und ihrer Durchsetzungskraft.Viertausendhertz 2024 Hosted on Acast. See acast.com/privacy for more information.

On this week's episode, Morgan is joined by host of And the Runner Up Is and critic Kevin Jacobsen to discuss Dorothy Arzner's 1932 film, "Merrily We Go to Hell."You can follow KevinTwitterInstagramLetterboxdYou can follow And the Runner Up IsTwitterInstagramPatreon99% Invisible Episode and Transcript"Walk of Fame" with Gillian Jacobs You can follow Female Gaze: The Film ClubInstagram

The only female director working in the Hollywood studios in the 1930s + 40s - Dorothy Arzner's Dance Girl Dance (1940) is a saucy exploration of female friendships, the artist in real life, and how the male gaze is every damn where. This movie has everything: besties who beat the crap out of each other over art, a breathtakingly sexy Lucille Ball who has no shits to give, and Fernando. + + + + + + Our movie ⁠⁠Citywide⁠⁠ is now available to stream on Amazon!! To learn more about the film, how it is the first zero waste movie ever made, watch the trailer, or listen to the kick ass soundtrack - go to ⁠⁠citywidemovie.com⁠⁠ And here is a secret promo code for 50% off the purchase of the film on vimeo: ⁠⁠StumbleUpon⁠⁠ We believe that movies should not come at the expense of the planet and so, since 2016, we have been making all of our films without generating any garbage. It is not easy, but it is essential. Demand sustainable art! + + + + + + Movie streaming algorithms suck. This podcast takes you back to the days of wandering through the video store, looking to be inspired for your next movie night. Independent filmmakers Austin Elston + Emily Gallagher, of ⁠⁠Fishtown Films⁠⁠, will help you stumble upon movies you've never heard of, or rediscover ones you've long forgotten. Any film you can dream of, eventually these two indie filmmakers will discuss with joy and reverence for the fine art of cinema. Grab some popcorn and stumble upon a new movie. + + + + + + Follow us on tiktok, IG + youtube ⁠⁠@fishtownfilms⁠⁠ to see what film we will be discussing next, drop a note for any requests, and if you are an indie filmmaker as well - slide into our DMs and share with us your work. Make Art. Not Trash. Original Music by ⁠⁠Black Cactus⁠⁠, you can listen to more of Victoria's incredible work on instagram ⁠⁠here.⁠⁠ Stumble Upon Movies is produced by ⁠⁠Fishtown Films⁠⁠. --- Support this podcast: https://podcasters.spotify.com/pod/show/fishtownfilms/support

Sie trug Hosen statt Kleid, lebte offen lesbisch und drehte Filme: Die Rede ist von Dorothy Arzner, in den 1930ger und 40ger Jahren die einzige weibliche Schauspielerin Hollywoods. Das Kino Rex widmet ihrem cineastischen Erbe eine Retrospektive. Eine Szene in einem schwummriger Nachtclub in irgendeiner amerikanischen Stadt, auf der Bühne tanzt eine Gruppe leichtbekleideter Frauen. ... >

The only female director working in the Hollywood studios in the 1930s - Dorothy Arzner's Merrily We Go To Hell (1932) is a wonderful exploration of societal expectations turned on their head. This movie has everything: polyamory, charm for days, and a single word that will have you putting out your cigarettes before you even get a chance to smoke them. + + + + + + Our movie ⁠⁠Citywide⁠⁠ is now available to stream on Amazon!!!  To learn more about the film, how it is the first zero waste movie ever made, watch the trailer, or listen to the kick ass soundtrack - go to ⁠⁠citywidemovie.com⁠⁠ And here is a secret promo code for 50% off the purchase of the film on vimeo: ⁠⁠StumbleUpon⁠⁠ We believe that movies should not come at the expense of the planet and so, since 2016, we have been making all of our films without generating any garbage. It is not easy, but it is essential. Demand sustainable art! + + + + + + Movie streaming algorithms suck. This podcast takes you back to the days of wandering through the video store, looking to be inspired for your next movie night. Independent filmmakers Austin Elston + Emily Gallagher, of ⁠⁠Fishtown Films⁠⁠, will help you stumble upon movies you've never heard of, or rediscover ones you've long forgotten. Any film you can dream of, eventually these two indie filmmakers will discuss with joy and reverence for the fine art of cinema. Grab some popcorn and stumble upon a new movie. + + + + + + Follow us on tiktok, IG + youtube ⁠⁠@fishtownfilms⁠⁠ to see what film we will be discussing next, drop a note for any requests, and if you are an indie filmmaker as well - slide into our DMs and share with us your work. Make Art. Not Trash. Original Music by ⁠⁠Black Cactus⁠⁠, you can listen to more of Victoria's incredible work on instagram ⁠⁠here.⁠⁠ Stumble Upon Movies is produced by ⁠⁠Fishtown Films⁠⁠. --- Support this podcast: https://podcasters.spotify.com/pod/show/fishtownfilms/support

WE DO IT FOR JOHNNY! Today is the 41st Anniversary of the release of THE OUTSIDERS (1983), a passion project if ever there was one. EPISODE NOTESVictoria and Chelsea recap the 96th Academy Awards. SUPPORT THE SHOW  https://www.patreon.com/user?u=84434074 FOLLOW THE SHOWhttps://www.instagram.com/freshmoviepod/https://twitter.com/freshmoviepodhttps://www.tiktok.com/@fresh.movie.pod?is_from_webapp=1&sender_device=pcFOLLOW CHELSEA https://www.instagram.com/chelseathepope/https://twitter.com/chelseathepopeFOLLOW VICTORIA https://letterboxd.com/vicrohar/  EMAIL THE SHOWabreathoffreshmovie@gmail.com  SHOP THE SHOWhttp://tee.pub/lic/bvHvK3HNFhk  YouTube Channel 

Send us a Text Message.We wrap up our celebration of Women's History Month by honoring the most prolific American female filmmaker in history, Dorothy Arzner. In this episode, we highlight some of Arzner's industry-shaking contributions to cinema. We also deep-dive into three of her films: the 1931 pre-code drama Working Girls, the Joan Crawford film The Bride Wore Red, and the classic feminist film Dance, Girl, Dance, which stars Maureen O'Hara and Lucille Ball. Support the Show.Sign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

Nesse podcast conversamos sobre o filme The Watermelon Woman (1996), considerado o primeiro longa dirigido por uma mulher negra e lésbica a estrear nos cinemas nos Estados Unidos. Nele a cineasta Cheryl Dunye cria um falso documentário para ressaltar o apagamento de mulheres negras e sáficas na Hollywood clássica. Comentamos a proposta ousada e provocativa do filme, o humor da narrativa em meio a um tema sério, bem como a linguagem e as escolhas de direção de arte. O programa é apresentado por Isabel Wittmann e Stephania Amaral, com participação de Yasmine Evaristo. Feedback: contato@feitoporelas.com.br Mais informações: https://feitoporelas.com.br/feito-por-elas-203-the-watermelon-woman Pesquisa, pauta, roteiro e apresentação: Isabel Wittmann, Stephania Amaral e Yasmine Evaristo Produção do programa e arte da capa: Isabel Wittmann Edição: Domenica Mendes Vinheta: Felipe Ayres Locução da vinheta: Deborah Garcia (deh.gbf@gmail.com) Música de encerramento: Bad Ideas - Silent Film Dark de Kevin MacLeod está licenciada sob uma licença Creative Commons Attribution (https://creativecommons.org/licenses/by/4.0/) Origem: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489 Artista: http://incompetech.com/ Agradecimento: Carolina Ronconi, Leticia Santinon, Lorena Luz, Isadora Oliveira Prata, Helga Dornelas, Larissa Lisboa, Tiago Maia e Pedro dal Bó Assine nosso financiamento coletivo: https://orelo.cc/feitoporelas/apoios Vote no Troféu Alice aqui! https://feitoporelas.us15.list-manage.com/track/click?u=72c5cd4b45b3d483f9aba324a&id=ca03f20065&e=be72a9d2e3 Links patrocinados (Como associado da Amazon, recebemos por compras qualificadas): [LIVRO] Cinema Soviético de Mulheres https://amzn.to/3lnC37b [LIVRO] Mulheres Atrás das Câmeras- As cineastas brasileiras de 1930 a 2018 https://amzn.to/3AC6wnl [LIVRO] Olhares Negros https://amzn.to/417Djhz Mencionados: [FILME] Born in Flames (1983), dir. Lizzie Borden [FILME] This is Spinal Tap (1984), dir. Rob Reiner [SERIADO] Na Real (The Real World, 1992–), criado por Jonathan Murray, Mary-Ellis Bunim [FILME] The Watermelon Woman (1996), dir. Cheryl Dunye [FILME] Psicopata Americano (American Psycho, 2000), dir. Mary Harron [FILME] Beyoncé: Lemonade (2016), dir. Beyoncé, Kahlil Joseph e Dikayl Rimmasch [FILME] Retrato de uma Jovem em Chamas (Portrait de la jeune fille en feu, 2019), dir. Céline Sciamma [FILME] Brainwashed: Sex-Camera-Power (2022), dir. Nina Menkes [LIVRO] Olhares Negros: raça e representação, de bell hooks Relacionados: [PODCAST] Feito por Elas #73 Barbara Hammer https://feitoporelas.com.br/feito-por-elas-73-barbara-hammer/ [PODCAST] Feito por Elas #91 Retrato de uma Jovem em Chamas https://feitoporelas.com.br/feito-por-elas-91-retrato-de-uma-jovem-em-chamas/ [PODCAST] Feito por Elas #113 Dorothy Arzner https://feitoporelas.com.br/feito-por-elas-113-dorothy-arzner/ [PODCAST] Feito por Elas #198 Born in Flames https://feitoporelas.com.br/feito-por-elas-198-born-in-flames/

durée : 00:05:56 - Info médias - Leur documentaire sur la première réalisatrice d'Hollywood sera diffusé dimanche 12 novembre sur OCS

Welcome to another episode of Queernundrum, where we explore the lives and legacies of remarkable individuals who have left a mark on history. In today's episode, we dive into the incredible life and career of Dorothy Arzner, an American film director, a true pioneer in the entertainment industry, and an LGBTQ+ icon.Dorothy Arzner was a trailblazer, and her story is nothing short of inspirational. Born 1897, she would go on to become one of the most prolific and innovative directors in the history of American cinema. In an era when female directors were a rarity, Arzner shattered glass ceilings and blazed a trail for future generations of women in film.In 1927, she directed her first feature film, "Fashions for Women," making her the first woman to direct a sound film. One of Arzner's most iconic films is "The Wild Party" (1929), starring the legendary Clara Bow, a Hollywood sweetheart. It was a critical and commercial success and solidified Arzner's reputation as a director who could bring out the best in her actors and push the boundaries of storytelling. She was known for her meticulous attention to detail, innovative camera work, and her ability to create dynamic and compelling narratives.Throughout her career, Dorothy Arzner directed numerous films, working with some of the biggest stars of her time, including Katharine Hepburn, Joan Crawford, and Lucille Ball. Her work covered a wide range of genres, from comedies and dramas to musicals, and consistently pushed the boundaries of what was possible in filmmaking.But Dorothy Arzner's story is not just one of cinematic achievement; it's also a story of personal courage and resilience. Arzner was openly gay in an era when such a revelation was met with hostility and discrimination. She lived her life authentically and unapologetically, making her a queer icon and an inspiration to the LGBTQ+ community. Her work often featured strong, independent female characters, which was a reflection of her own determination to break through the barriers imposed by a male-dominated industry.Arzner's influence on Hollywood extended far beyond her own films. She mentored and inspired a new generation of filmmakers, both male and female, and her legacy can be seen in the work of directors who followed in her footsteps.In this episode, we explore the life and career of Dorothy Arzner, a visionary director, a pioneer in cinema, and a queer icon. Join us as we celebrate her groundbreaking contributions to the world of film and honor her legacy as a trailblazer who fearlessly shattered the glass ceiling, both in Hollywood and in matters of the heart.Q-News:LGBTQ+ Montanans have celebrated another brief win after a judge prolonged the injunction on the state's vaguely-worded drag banBiden honors Matthew Shepard and condemns anti-LGBTQ violence - On the 25th anniversary of Shepard's death, President Biden condemned anti-LGBTQ violenceCasting gay actors to play gay characters is about ‘authenticity'60th anniversary of the March on Washington Gay and targeted in Uganda: Inside the extreme crackdown on LGBTQ...

Our guest, the hilarious stand-up and writer Mia Pinchoff, picked perhaps the film people think of when they think of feminist films - “Thelma & Louise.” This was an over-do rewatch for Devin and Andrea, and a first time watch for Mia. This was a lively and engaging conversation about not only our takeaways and impressions of the film, but the massive impact this film still has today. Mia and Andrea are long time friends, and we were so thrilled she joined us to talk about rom-coms, thrillers, about Devin's dog, about “meat flowers” (which you'll just have to tune in to see what that is and how we got there) - this was such a fun chat :) Our women in film history highlighted, appropriately, the Geena Davis Institute On Gender In Media and the groundbreaking filmmaker Dorothy Arzner, who, among her many accomplishments, also invented the first boom microphone! Check out Mia's website miapinchoff.com for upcoming show dates or follow her on instagram @miapinchoff - trust us, go check out her stand-up, this lady is a petite powerhouse of comedy and her shows do not disappoint! (00:00) Introduction (06:46) Women in Film History (15:21) Ice Breakers (31:37) Thelma & Louise Talk

In the seventh episode of Season 9 (Keep It Musical!) Kyle is joined by screenwriter David Gutierrez and editor Kristi Shimek to discuss the backstage musical oddity of  dissonant artistry and the audience as voyeur that makes up Dorothy Arzner's half experimental take on the conventional musical form and its romantic assumptions that defines the B-movie flair of Dance, Girl, Dance (1940).

This podcast has been graciously sponsored by JewishPodcasts.fm. There is much overhead to maintain this service so please help us continue our goal of helping Jewish lecturers become podcasters and support us with a donation: https://thechesedfund.com/jewishpodcasts/donate

Neste programa, Fernando Machado (@femesmo) , Leandro Luz (@leandro_luz), Marina Oliveira (@coelho_limao) e Pedro Tobias (@pedromtobias) se reúnem para debater a obra da cineasta da era de ouro hollywoodiana, Dorothy Arzner, responsável por obras como Quando a Mulher Se Opõe (1932), Assim Amam as Mulheres (1933) e A Vida é uma Dança (1940). Pegue o seu fone de ouvido, prepare o café e nos acompanhe nesta jornada, pois a partir de agora você está em um plano-sequência!===================================================== Ficha Técnica: Duração: 02h27min | Pauta: Fernando Machado | Arte da Capa: Marina Oliveira | Edição e Montagem: Marina Oliveira | Sonorização: Fernando Machado | Publicação: Marina Oliveira ===================================================== Caso você queira ouvir os comentários apenas sobre um dos filmes, confira a minutagem em que cada um entra: Minutagem: 00:21:57 - Garotas na Farra (The Wild Party, 1929) 00:39:25 - Quando a Mulher Se Opõe (Merrily We Go to Hell, 1932) 01:00:05 - Assim Amam as Mulheres (Christopher Strong, 1933) 01:20:12 - Felicidade de Mentira (The Bride Wore Red, 1937) 01:44:21 - A Vida é uma Dança (Dance, Girl, Dance, 1940) 02:05:04 - TOP 3, Considerações Finais e etc. ===================================================== Dúvidas, sugestões, críticas ou feedbacks podem ser enviados para o e-mail contato@plano-sequencia.com ou através de nossas redes sociais. Estamos no Twitter @planoseqcast, no Instagram @planoseqcast e no Facebook/planosequenciapodcast. Não deixe de avaliar o podcast no iTunes para que possamos ter mais visibilidade dentro da plataforma. =====================================================

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We're coming in hot with the season five premier to talk about Dorothy Arzner's Dance, Girl, Dance (1940) with Keith Rich and Preston Mitchell. Follow the Cult Movies Podcast on Twitter and Instagram Support the show on Patreon Follow Keith on Instagram and Letterboxd Follow Preston on Twitter and Letterboxd Follow Anthony on Twitter, Instagram, and Letterboxd

A un paso de celebrarse la 95 edición de los premios Oscar rendimos homenaje a Dorothy Arzner, la única mujer directora de cine en el Hollywood de los años 30. En sus 94 ediciones solo tres mujeres han logrado el reconocimiento del Oscar a mejor dirección y hubo que esperar a 2010 para que la primera lo obtuviera, pero es que hasta 1977 ninguna mujer estuvo nominada en esa categoría. A Arzner le encargaron la primera película sonora de la Paramount en 1923.

WE DO IT FOR JOHNNY!Shop the Store: http://tee.pub/lic/bvHvK3HNFhkTheme Music "A Movie I'd Like to See" by Al Harley. Show Art: Cecily Brown Follow the Show @freshmoviepod YouTube Channel abreathoffreshmovie@gmail.com

Cine en la March: Protagonistas del Hollywood Pre-Code (V). Presentación de Hacia las alturas (1933) de Dorothy Arzner. . Hacia las alturas (Christopher Strong, 1933, EE. UU.) de Dorothy Arzner, con Katharine Hepburn, Cloin Clive y Helen Chandler. Presentación: Manuel Hidalgo Durante una "caza del tesoro", Mónica Strong y su novio casado salen en busca de un marido fiel y de una mujer que no haya tenido nunca un amante. Así aparece, en la vida de los primeros, una intrépida aviadora de vida solitaria. Un melodrama romántico en el que el personaje de Katharine Hepburn afirma ya con plena autoridad su famoso arquetipo de mujer independiente y heterodoxa, capaz de colocar sus deseos y la autenticidad del amor por encima de convenciones sociales y de clase. El sábado se proyecta el vídeo de la presentación del día anterior. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Hacia las alturas (Christopher Strong, 1933, EE. UU.) de Dorothy Arzner, con Katharine Hepburn, Cloin Clive y Helen Chandler. Presentación: Manuel Hidalgo Durante una "caza del tesoro", Mónica Strong y su novio casado salen en busca de un marido fiel y de una mujer que no haya tenido nunca un amante. Así aparece, en la vida de los primeros, una intrépida aviadora de vida solitaria. Un melodrama romántico en el que el personaje de Katharine Hepburn afirma ya con plena autoridad su famoso arquetipo de mujer independiente y heterodoxa, capaz de colocar sus deseos y la autenticidad del amor por encima de convenciones sociales y de clase. El sábado se proyecta el vídeo de la presentación del día anterior.Más información de este acto

Our Valentine's Day 2023 episode is all about loves from the past who have inconveniently returned. In My Favorite Wife (1940), Irene Dunne is newly remarried Cary Grant's presumed dead wife, while in Kiss Me Goodbye (1982), James Caan is Sally Field's actually dead, or undead, husband, interfering with her engagement to the (ostensibly) less charismatic Jeff Bridges. We apply Stanley Cavell's concept of the "comedy of remarriage" to these movies and conclude that the comedy of My Favorite Wife really has nothing to do with its premise, whereas Kiss Me Goodbye does perform some interesting twists on comedy of remarriage tropes. In Fear and Moviegoing in Toronto, two more movies about love pick up these themes: Stanley Kwan's Rouge (1987) and Dorothy Arzner's Merrily We Go to Hell (1932). Happy Haunted Valentine's Day! Time Codes: 0h 0m 45s:        MY FAVORITE WIFE (1940) [dir. Garson Kanin] 0h 29m 59s:      KISS ME GOODBYE (1982) [dir. Robert Mulligan] 0h 49m 58s:      FEAR & MOVIEGOING IN TORONTO – ROUGE (1987) by Stanley Kwan & MERRILY WE GO TO HELL (1932) by Dorothy Arzner   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Picture the first “It Girl,” and you're likely to imagine young, fun Clara Bow, sex symbol of the Roaring '20s. But behind the frame is the woman who wrote It: Elinor Glyn, an English-gentlewoman-turned-Hollywood-screenwriter whose romantic novels inspired so much of the era's glamorous aesthetic. Hilary Hallett, a professor of history at Columbia University, brings Glyn back into the spotlight in her new biography, Inventing the It Girl. Glyn's story, like that of so many of her heroines—and unlike her contemporaries—begins after her marriage in 1892 to a spendthrift noble with a gambling problem. The blockbuster success of her scandalous 1907 sex novel, Three Weeks, catapulted her to literary stardom and, as it so often does, to Hollywood, where she worked on dozens of films and styled silent-era superstars like Rudolph Valentino and Gloria Swanson. Hallett joins the podcast to discuss how Glyn paved the way for a century of sexual, romantic, and psychological independence.Go beyond the episode:Hilary Hallett's Inventing the It Girl: How Elinor Glyn Created the Modern Romance and Conquered Early HollywoodWatch It, the “Elinor Glyn–Clarence Badger Production” that made Clara Bow a star in 1927Meet more neglected Hollywood women: Dorothy Arzner remains the most prolific woman studio director in the history of cinema; start with Merrily We Go to Hell from 1932Jean Smart will play a mostly accurate version of Elinor Glyn in Damien Chazelle's upcoming film Babylon, about the decadence of the Roaring '20sVisit our episode page for more photographs of Glyn, including her scintillating turn as the Tiger QueenTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes • Stitcher • Google Play • AcastHave suggestions for projects you'd like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! See acast.com/privacy for privacy and opt-out information.

There is no shortage of recent articles regarding the too long overlooked subject of female directors. While many of these articles are specific to the women directing films today (Patty Jenkins, Kelly Reichardt, Kathryn Bigelow, etc.), there are many more that claim to be comprehensive overviews of the contributions made by women to the art of cinema. These articles are careful to remember female directors from the distant past (Lotte Reiniger, Alice Guy-Blaché) and the ones who boldly made films in Hollywood when women weren't even considered for jobs as directors (Dorothy Arzner, Ida Lupino, Barbara Loden). They are careful to include women of color (Gina Prince-Bythewood, Chloé Zhao), and they don't forget the well-known foreign women directors (Lina Wertmüller, Agnès Varda, Chantal Akerman). But there's one group of female directors who haven't been given due credit for their work: The female directors of East Germany. You can go through as many articles on the topic of female directors as you're willing to read, and you won't find Iris Gusner, Evelyn Schmidt, or Hannelore Unterberg mentioned at all. Never mind that the films by these women are often better than any of the films made by some of the directors that did make those lists. Even the list of female directors Wikipedia includes no female East German directors. Join us today as we speak with Jim Morton, author of the East German Cinema Blog, and Jeffrey Babcock, who curated a program on East German cinema for the Goethe Institute in Amsterdam, on the often overlooked topic of female directors in DEFA films.  Our ability to bring you stories from behind the Berlin Wall is dependent on monthly donors like you. Visit us at  https://www.eastgermanypodcast.com/p/support-the-podcast/ to contribute. For the price of a Berliner Pilsner, you can feel good you are contributing to preserve one of the most important pieces of Cold War history. If you feel more comfortable leaving us a review to help us get more listeners, we appreciate it very much and encourage you to do so wherever you get your podcasts or at  https://www.eastgermanypodcast.com/reviews/new/. For discussions about podcast episodes and GDR history, please do join our Facebook discussion group. Just search Radio GDR in Facebook. Vielen dank for being a listener!

As Pride month continues, the girls cover three gay Hollywood icons: Innovative director Dorothy Arzner, Hollywood pimp Scotty Bowers and "Latin lover" Ramon Navarro.

Conrado and Rachel are joined by film critic and classic film fan Katie Carter to talk about Merrily We Go to Hell, starring Silvia Sidney, Fredric March and directed by Dorothy Arzner - one of the very few female directors of the classic Hollywood era. Comedy, romance, drama... this pre-code classic has it all! Follow us on itunes and leave you ratings and reviews: https://podcasts.apple.com/us/podcast/the-criterion-project/id1479953904 Follow us on anchor https://anchor.fm/criterionproject Follow our twitter at https://twitter.com/criterionpod Follow Katie on Twitter: https://twitter.com/katiel_carter And check out her work: https://katieatthemovies.com/ Check out Conrado's webseries WORMHOLES on youtube https://www.youtube.com/channel/UC51Tg9gR5mXxEeaansRUYRw Follow Conrado's blog cocohitsny.wordpress.com/ Follow Conrado on Letterboxd https://letterboxd.com/cofalco21/ Listen to Conrado's other podcasts like Foreign Invader and Movie Marriage: https://podcasts.apple.com/us/podcast/foreign-invader/id1552560225 Follow Rachel's blog at rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Listen to Rachel's Reviews on Itunes: https://itunes.apple.com/us/podcast/rachels-reviews/id1278536301?mt=2 Listen to Hallmarkies Podcast at https://podcasts.apple.com/us/podcast/hallmarkies-podcast/id1296728288 Our intro is written by Michael Lloret: https://www.michael-lloret.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/criterionproject/support

In this episode, we discuss MERRILY WE GO TO HELL (1932; dir. Dorothy Arzner).

This week, the Film Buds are joined by Friend of the Show Madelaine Davis as we continue to Highlight Women in Film for Women's History Month. For this episode, we're covering Women in History, specifically the early half of the 20th century.Our first filmmaker is Lois Weber and her controversial social-issue film Where Are My Children from 1916. Why is it controversial? Well, probably because it is about birth control and abortion. Guess you could say it is still controversial to this day. We'll discuss thematic elements of the film, Weber's career, and the legacy of the film.Second is Dorothy Arzner, another pioneering woman, and her showgirl-centric comedy Dance, Girl, Dance from 1940. Arzner and her sensibilities are wildly different, so beyond reviewing the film we'll discuss her legacy, compare the filmmakers, and also talk about the differences in when they were working.You can find Madelaine @MadelaineD_ on Twitter and @madelained_ on Instagram. Also, check out Taking an Accurate Sexual History here and “The Women on Screen, the Women in the Mirror”. If you haven't already, be sure to check out last week's episode, and if you want more history on Lucille Ball make sure to check out Episode 205.Thanks y'all,The BudsEpisode GuideIntro - 00:00Discussion on Representation - 03:37Where Are My Children Review and Lois Weber History - 25:05Dance, Girl, Dance Review and Dorothy Arzener History - 01:04:07Total Runtime - 01:43:35Be a Friend to the Film Buds:thefilmbuds.comthefilmbudspodcast@gmail.compatreon.com/thebudsthefilmbuds.bandcamp.com@filmbuds on Twitter@thefilmbudspodcast on InstagramPaul's Letterboxd

This week, the Film Buds are joined by Friend of the Show Madelaine Davis as we continue to Highlight Women in Film for Women's History Month. For this episode, we're covering Women in History, specifically the early half of the 20th century.Our first filmmaker is Lois Weber and her controversial social-issue film Where Are My Children from 1916. Why is it controversial? Well, probably because it is about birth control and abortion. Guess you could say it is still controversial to this day. We'll discuss thematic elements of the film, Weber's career, and the legacy of the film.Second is Dorothy Arzner, another pioneering woman, and her showgirl-centric comedy Dance, Girl, Dance from 1940. Arzner and her sensibilities are wildly different, so beyond reviewing the film we'll discuss her legacy, compare the filmmakers, and also talk about the differences in when they were working.You can find Madelaine @MadelaineD_ on Twitter and @madelained_ on Instagram. Also, check out Taking an Accurate Sexual History here and “The Women on Screen, the Women in the Mirror”. If you haven't already, be sure to check out last week's episode, and if you want more history on Lucille Ball make sure to check out Episode 205.Thanks y'all,The BudsEpisode GuideIntro - 00:00Discussion on Representation - 03:37Where Are My Children Review and Lois Weber History - 25:05Dance, Girl, Dance Review and Dorothy Arzener History - 01:04:07Total Runtime - 01:43:35Be a Friend to the Film Buds:thefilmbuds.comthefilmbudspodcast@gmail.compatreon.com/thebudsthefilmbuds.bandcamp.com@filmbuds on Twitter@thefilmbudspodcast on InstagramPaul's Letterboxd

This week, the Film Buds are joined by Friend of the Show Madelaine Davis as we continue to Highlight Women in Film for Women's History Month. For this episode, we're covering Women in History, specifically the early half of the 20th century.Our first filmmaker is Lois Weber and her controversial social-issue film Where Are My Children from 1916. Why is it controversial? Well, probably because it is about birth control and abortion. Guess you could say it is still controversial to this day. We'll discuss thematic elements of the film, Weber's career, and the legacy of the film.Second is Dorothy Arzner, another pioneering woman, and her showgirl-centric comedy Dance, Girl, Dance from 1940. Arzner and her sensibilities are wildly different, so beyond reviewing the film we'll discuss her legacy, compare the filmmakers, and also talk about the differences in when they were working.You can find Madelaine @MadelaineD_ on Twitter and @madelained_ on Instagram. Also, check out Taking an Accurate Sexual History here and “The Women on Screen, the Women in the Mirror”. If you haven't already, be sure to check out last week's episode, and if you want more history on Lucille Ball make sure to check out Episode 205.Thanks y'all,The BudsEpisode GuideIntro - 00:00Discussion on Representation - 03:37Where Are My Children Review and Lois Weber History - 25:05Dance, Girl, Dance Review and Dorothy Arzener History - 01:04:07Total Runtime - 01:43:35Be a Friend to the Film Buds:thefilmbuds.comthefilmbudspodcast@gmail.compatreon.com/thebudsthefilmbuds.bandcamp.com@filmbuds on Twitter@thefilmbudspodcast on InstagramPaul's Letterboxd

We start off 1939 with a bang with two Paramount movies that gave us a lot to discuss. First, Cafe Society (directed by Edward H. Griffith), the first of several pairings of Fred MacMurray with early Hitchcock blonde Madeleine Carroll, with an original screenplay by future Columbia Pictures producer Virginia Van Upp, takes the screwball (for the most part) out of class-conscious 30s romantic comedy, replacing it with a high degree of sexual tension and, especially, an unusual focus on the moral growth of the heroine. We discuss the textual evidence of female auteurship and note certain similarities with Dorothy Arzner's The Wild Party (discussed in our Clara Bow series). Next, we explain why Frank Borzage's Disputed Passage, based on the Lloyd C. Douglas novel, is really a superhero movie, in what sense it is and isn't a soap opera, and how it's not about the proper way to be a doctor but rather about the proper way to lead the religious life. And in our returning (again) Fear and Moviegoing in Toronto segment, we revisit the great I Am A Fugitive From a Chain Gang (1932) and its subtextual subject matter of the corruption and perversion of the South by slavery, as a particular instance of the human tendency to find opportunities to create systems of cruelty.    Time Codes: 0h 01m 00s:     CAFE SOCIETY [dir. Edward H. Griffith] 0h 37m 19s:    DISPUTED PASSAGE [dir: Frank Borzage] 1h 13m 45s:    Fear and Moviegoing in Toronto – I AM A FUGITIVE FROM A CHAIN GANG (revisited)        Studio Film Capsules provided The Paramount Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com  

Well, here we are. DANCE, DOROTHY, DANCE, the podcast dedicated to the works of Dorothy Arzner, has reached its conclusion. Marc Edward Heuck and B Peterson wrap up the series by going back over everything they've seen, talking what surprised them, what hit them hardest and what missed the mark. Most importantly, they thank Arzner for everything she offered the world. We hope you've enjoyed this journey as much as we have! Thank you for your time. NOTE: This podcast was recorded on June 8th, 2021.

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast, has arrived at its penultimate episode as Marc and B discuss Arzner's final film, the 1943 dramatic war thriller FIRST COMES COURAGE (1943). Finished by Charles Vidor after Arzner fell ill during production, the film stars Merle Oberon as a British spy undercover in Nazi Europe as the girlfriend of a Nazi officer. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 8th, 2021.

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast, nears its conclusion with Marc and B discussing their penultimate film, the 1932 melodrama MERRILY WE GO TO HELL, which was recently released into The Criterion Collection. Arzner's last job for Paramount and last collaboration with Friedrich March, the film stars March alongside Sylvia Sydney as a doomed couple who attempt to endure family pressures, alcoholism, and even experimenting with an open marriage. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 8th, 2021.

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast, continues with Marc and B discussing Arzner's biggest flop, the light romantic comedy WORKING GIRLS (1931). The film stars Judith Wood and Dorothy Hall as sisters recently moved to New York who get jobs and find love. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 8th, 2021.

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast continues with Marc and B discussing THE WILD PARTY (1929), which was not only Dorothy Arzner's first sound film, but the first feature-length sound film directed by any woman. It stars Clara Bow in her first sound performance alongside Arzner regular Friedrich March, as student and professor who get romantically involved at an all-girls University in California (don't worry, it's gayer than it sounds). We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 7th, 2021.

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast, continues with Marc and B discussing Arzner's first of two of her films that were released in 1931, HONOR AMONG LOVERS. Starring Claudette Colbert and Arzner regular Friedrich March, the film tells of a working woman who gets caught up in dire straits both romantically and economically, and must maneuver herself out of it before the men in her life bring her down with them. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 6th, 2021.

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast, continues with Marc and B discussing CHRISTOPHER STRONG (1933), Arzner's first outing as an freelance director and one of her most recognized works today. The film stars Katherine Hepburn in her first starring role as Cynthia Darrington, a world-famous aviator who ends up falling for the titular man, played by Colin Clive, who is already married to Lady Strong, played by Billie Burke. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 6th, 2021.

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast, continues with Marc and B discussing NANA (1934), Arzner's second film as an independent director. It stars as Anna Sten as the titular character, a sex worker who succeeds in theater and love until those around her see to it that she doesn't. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 5th, 2021.

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast continues with Marc and B discussing Arzner's other 1930 film written by Zoe Akins (along with Doris Anderson) and starring Ruth Chatterton: ANYBODY'S WOMAN. The film tells the story of a burlesque dancer who ends up marrying a rich lawyer thanks to shenanigans, and deals with the social fallout. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded June 5th, 2021.

DANCE, DOROTHY, DANCE has returned!! Marc Heuck and B, now recording together live from LA, are going through every Dorothy Arzner-directed film, whether she got official credit for it or not! Today's film is BEHIND THE MAKE-UP, the 1930 Robert Milton film for which Arzner offered co-direction, and received no credit in return. Hal Skelly, William Powell and Fay Wray star in what is essentially an inferior male predecessor to DANCE, GIRL, DANCE, where two performers with different artistic goals try and work together to achieve success. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 4th, 2021.

This one's pretty great fam! You'll hear about the first female director in Hollywood who wasn't afraid to question gender norms and the first BIPOC mail carrier--who also happened to be a gun slinging, whiskey drinking bada**.    Mary Fields and Dorothy Arzner

This episode is dedicated to female film & TV directors worldwide bringing storytelling greatness and unprecedented representation onscreen and off. Love to Chantal Ackerman, Dee Rees, Kathryn Bigelow, Kasi Lemmons, Ida Lupino, Joanna Hogg, Nicole Holofcener, Sofia Coppola, Isabel Coixet, Kelly Reichardt, Gina Prince-Bythewood, Dorothy Arzner, Phoebe Waller-Bridge, Lulu Wang, Kimberly Reed, Patti Jenkins, Marielle Heller, Regina King, Alice Guy-Blache, Debra Granik, Agnieszka Holland, the Wachowskis, Barbara Kopple, Julie Dash, Yoko Ono, Greta Gerwig, Cheryl Dunye, Jane Campion, Melina Matsoukas, Catherine Hardwicke, Donna Deitch, Ana Lily Amirpour, Lina Wertmuller, Barbara Loden, Lucrecia Martel, Claire Denis, Sarah Polley, Maren Ade, Lisa Cholodenko, Miranda July, Dorota Kędzierzawska, Mary Harron, Barbara Streisand, Julie Taymor, Karyn Kusama, Kimberly Pierce, Alla Nazimova, Leslie Linka Glatter, Sara Driver, Kitty Green, Catherine Breillat, Josephine Decker, Lynne Ramsay, Ava DuVernay, Chloe Zhao, Mira Nair, Andrea Arnold and many more that will grow to many many many more. Brava!