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• W1519363002 abstract "Krasilovsky, Alexis. Women behind the Camera: Conversations with Camerawomen. Westport, Conn.: Praeger, 1997, 213 pp., 25 photos. Paper and cloth. Women behind the Camera contains 23 interviews conducted by Alexis Krasilovsky between 1988 and 1996 with camerawomen at various stages of their film and video careers. Although the women are diverse age, ethnic background, and class, the interviews have consistent focus-the difficult task of competing for work traditionally male arena. Krasilovsky's research is extensive and wideranging. Presenting her findings the words of the camerawomen themselves, she dramatically conveys their personal and professional journeys. The 23 interviewees offer multiple and diverse personalities and perspectives. Gradually, bits of truth about the film industry and the women who choose camera emerge. The interviews reveal haunting similarities the women's experiences. Discussions of obstacles, harassment, and even subterfuge are prevalent. So too is the clear message that despite common beliefs that women aren't strong enough to hoist 35mm camera, are unable to gain proficiency loading film, and are incapable of mastering technical challenges such as pulling focus, women can and do succeed camera work. And these women offer far more than brawn. They have strong aesthetic visions, drawing on backgrounds dance and the visual arts their approaches to the myriad tasks of camera work. The interviewees share moving stories of bitterness and joy. Although some tell of diffculties getting hired and betrayal by male crews, others discuss the help they received from supportive male cinematographers. Haskell Wexler, director and cinematographer, gave several of the women their first opportunities to work camera (59, 6243, 79, 134). The personal sacrifices and physical dangers the women describe are of concern both as practical challenges and the ways which they contributed to the myths that justify male dominance of the field. Camera operators and assistants tell of risking physical danger as they waited at the bottom of ravine to capture the image of an exploding car (46-47) and of floating high above crowd scene held aloft by only the slim arm of crane. According to Madelyn Most, Cameramen, camera operators LA are common fodder. Many get killed on the job film accidents every year (107). The weight of the camera, its delicacy, and the expense if it's dropped, along with society's ambivalence about practices that put females in harm's way, provide rationales for the prejudice against women camera. These myths play out not only hiring practices but also the ways women students are treated cinematography classes. For those who overcome the prejudices and gain entry into camera work, the emotional challenges are far from over. Although some of the women describe outright acts of sabotage aimed at humiliating them and forcing them off crews, others emphasize the more subtle reasons camera work is difficult career choice for women: the stress of being freelancer, the problems of working on location far from home, and the lack of camaraderie below the line. The problems of maintaining stable relationships and of raising children while traveling constantly, combined with the irregular, long hours, prompted more than one interviewee to say she wished for that person who seemed so easily available to her male counterparts: a wife. Several of the interviewees mention the importance of dressing professionally, not sexily, on the set. Several have also felt compelled to maintain their distance from the males the camera crew, to the point that one woman has not even allowed herself to smile while working for fear that it would be perceived as come-on or sign of weakness. This fear of appearing too sexy or too female was more prevalent among the pioneers the field, for whom gender-based prejudice was fairly common occurrence. …" @default.
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• W1519363002 date "1998-07-01" @default.
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• W1519363002 title "Women Behind the Camera: Conversations with Camerawomen" @default.
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