“Women in­stinc­tively know that the slen­der, la­dy­humped Al­pha Girls of are ut­terly bo­gus, but they’d rather not take flak for say­ing so”

The Irish Times - Friday - The Ticket - - Film -

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

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