Rich provides more, however than intellectual and cinematic history. has written on virtually everything and everyone in feminist film culture worth writing on. She is unafraid to mix analysis, appreciation, and reporting in a work that is didactic in the best sense.” - Patricia Aufderheide, Feminist Studies “Rich writes in a fiercely independent style that rejects the conventions of the institutions that shelter most critical writers: the academy and journalism. Her memoir segments are both purposeful and intimate.” - Pat Aufderheide, The Independent Rich writes with an elegance whose accents range from the somber to the sassy. “For those who’ve been closely guarding their dog-eared copies of feminist critic Ruby Rich’s articles, this collection is a long-awaited gift. Powerfully explanatory and evocative.” - Susan Purdie, Year's Work in Critical and Cultural Theory It is also a demonstration of the passionate subjective involvement which impelled women to participate in its struggles (with institutional ideology) and internecine rows (with each other). “ personal history is a chart of the development of gender-related film theory. is not just another book of feminist film criticism: it is one woman’s account of how feminism changed her life both intellectually and personally, and why the history of the cine-feminism must continue to haunt and instruct us today.” - Annalee Newitz, Cineaste Chick Flicks showcases some of Rich’s most important work. “ wonderful piece of autobiography, with each chapter introduced with personal stories about the intersections between her life, relationships, and the events around the feminist movement.” - Simon Hunt, Sydney Star Observer And, in a very practical vein, the book does an invaluable service to that tradition by collecting ephemera, by putting between covers many inaccessible because never-before-republished articles which originally appeared in newspapers and catalogues.” - Susan Lord, Canadian Journal of Film Studies
“ delivers a timely sense of a feminist tradition of cultural, political, and intellectual engagement. The first book-length work from Rich-whose stature and influence in the world of film criticism and theory continue to grow- Chick Flicks exposes unexplored routes and forgotten byways of a past that’s recent enough to be remembered and far away enough to be memorable. The result is a volume that traces the development not only of women’s involvement in cinema but of one of its key players as well. Travel, softball, sex, and voodoo all somehow fit into a book that includes classic Rich articles covering such topics as the antiporn movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform.
Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in the Village Voice, Elle, Out, and the Advocate, and her commentaries on the public radio program “The World” have secured her a place as a central figure in the remarkable history of what she deems “cinefeminism.” In the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history, Rich introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose. Part journalistic chronicle, part memoir, and 100% pure cultural historical odyssey, Chick Flicks-with its definitive, the-way-it-was collection of essays-captures the birth and growth of feminist film as no other book has done.įor over three decades Rich has been one of the most important voices in feminist film criticism. If there was a moment during the sixties, seventies, or eighties that changed the history of the women’s film movement, B. Labor and Working-Class History Association.Association for Middle East Women's Studies.Author Resources from University Presses.Permissions Information for Journal Authors.Journals fulfilled by DUP Journal Services.
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