TL;DRAbstract
In classical Hollywood cinema, it was not rare to find women hired by the studios. However, we are barely able to trace any women directors. When we think about the most visible female faces of the classical films, we only remember the actresses and stars; but one of these stars, Ida Lupino, became one of the most interesting – and least recognised – directors of the classical era. Although most of her films remain forgotten today, they are a counterpoint to the dominant morals and aesthetics of classical films. Outrage (1950), The Hitch-Hiker (1953) or The Bigamist (1953) explored the margins of classicism, they offered more complex and adult visions of women and sentimental Relationships, and they often went beyond what could be said or thought inside the Hollywood discourses. This paper revisits Ida Lupino’s career as a film director, recounts her determination to achieve creative independence inside the stifling studio system and focuses on how her narrative structures and film aes
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In classical Hollywood cinema, it was not rare to find women hired by the studios. However, we are barely able to trace any women directors. When we think about the most visible female faces of the classical films, we only remember the actresses and stars; but one of these stars, Ida Lupino, became one of the most interesting – and least recognised – directors of the classical era. Although most of her films remain forgotten today, they are a counterpoint to the dominant morals and aesthetics of classical films. Outrage (1950), The Hitch-Hiker (1953) or The Bigamist (1953) explored the margins of classicism, they offered more complex and adult visions of women and sentimental Relationships, and they often went beyond what could be said or thought inside the Hollywood discourses. This paper revisits Ida Lupino’s career as a film director, recounts her determination to achieve creative independence inside the stifling studio system and focuses on how her narrative structures and film aes
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