As critic Guy Lodge notes in Variety, “now in its third year, the Lumiere Festival’s ongoing Permanent History of Women Filmmakers section isn’t a series of disconnected annual retrospectives — its three editions thus far build a chronological narrative of female innovation behind the camera. This year’s Lumiere fest expands the gender conversation beyond its own borders, with Hollywood feminist trailblazer Ida Lupino the subject of 2014’s section.
Her direction there went un-credited, but that same year, she made her solo helming debut with Never Fear, an unsentimental study of a dancer’s cruelly disrupted career.
It’s far from a complete retrospective — her seething, still-resonant rape drama Outrage is but one omission — but it’s a valuable snapshot of a career that astonishes today, in an industry where female filmmakers are still forcibly on the back foot. Read more about this important artist in my essay on her work in Senses of Cinema, by clicking here.

About the AuthorWheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism.
In 2012, the festival appropriately began at the beginning, celebrating narrative cinema pioneer Alice Guy; 2013 kept the focus French, as Impressionist filmmaker Germaine Dulac was put under the spotlight. British-born actor and filmmaker Lupino’s onscreen work alone would earn her a place on the historical honor roll of American studio cinema: Her intelligent, decidedly modern star presence was put to memorably flinty use in such films as Raoul Walsh’s High Sierra and Sam Peckinpah’s Junior Bonner.
The first actress to seize creative control of her screen legacy by developing and directing her own independent projects, she subverted a studio system that otherwise stage-managed its stars’ careers at every turn. Both Not Wanted and Never Fear will be screened at the Lumiere fest, as well as her landmark 1953 film noir The Hitch-Hiker, in which the erstwhile movie femme fatale strikingly revised the gender norms of the genre.Rounding out the Festival’s selection is another 1953 noir, The Bigamist (the first film in which Lupino directed herself as star), as well as two of her most famous vehicles as an actress, Raoul Walsh’s They Drive By Night and Jean Negulesco’s Road House.

He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. You may use without enabling JavaScript, but certain functions may not be available. DubbingUNL Film Studies professor Wheeler Winston Dixon compares foreign-languagefilm dubbing to subtitles.

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