“Women instinctively know that the slender, ladyhumped Alpha Girls of are utterly bogus, but they’d rather not take flak for saying so”
The new cinema was a shiny cinema, a noisy cinema, a cinema of novelty, of explosions, of car-chases and, most of all, it was a cinema made for 23-year-old boy-men. Movies weren’t movies for the masses anymore; they were male-oriented events.
As cinema changed, so did the people who wrote about cinema. Back in the day, both men and women made movies but only women wrote film reviews. As the gender which, in plain Darwinian speak, requires sharper critical faculties, women twigged the potential of the medium long before their male counterparts.
Women invented film criticism. Women such as Bryher and Hilda Doolittle, the lesbian hipster couple who founded and wrote for Close Up, an film quarterly published between 1927 and 1933. Women such as Lotte Eisner, the patron saint of all film critics, who, from 1927 championed such talents as GW Pabst and Fritz Lang in the wildly influential magazine FilmKurier. A concentration camp survivor, later a scribe