Foster taught a broad variety of courses that reflect her diverse interests: Experimental Filmmakers, Queer theory and LGBTQ+ film, Apoco-tainment, Eco-Horror and Environmentalism in TV and Film, Italian Postwar Cinema, Challenging, Difficult and Disruptive Films, Spectators as co-authors, Women Filmmakers in Film History, the films of Luis Buñuel, Chantal Akerman, Lucrecia Martel, and Kelly Reichardt, Gender and Film Censorship, Feminist and Marxist Approaches to Film, "Woman's Pictures" and Melodrama, Female Spectatorship, Queer Spectatorship, Race & Post/colonialism in Film, Social Class and Social Mobility in Film, Moms, Maids, & Sex Workers – Redefining Female Heroes in Film, Masculinity in Media, Ozu, Bresson and Dreyer, Japanese and Asian Cinema, Latin American cinema, French Film Directors, Atomic anti-communist hysteria films, screenwriting, and many other courses.[citation needed]
Foster and Wheeler Winston Dixon are coauthors of the popular film history textbook, A Short History of Film.[citation needed] They are Series Editors of "Quick Takes: Movies and Popular Culture," a series of books offering fresh perspectives on film and popular culture published by Rutgers University Press; and "New Perspectives on World Cinema Series" a collection of monographs on global studies in international cinema published by Anthem in the UK.[citation needed]
In March and April 2018, the BWA Contemporary Art Gallery in Katowice, Poland, presented a month long retrospective of Foster's new video work.[24][25] In May 2018, she presented a screening of her videos, along with the work of Bill Domonkos and Wheeler Winston Dixon at The Museum of Human Achievement in Austin, Texas.[26] In the summer of 2018, she had a one woman show at Filmhuis Cavia in Amsterdam,[27] and her film Self Portrait [Détournement] was screened as part of NewFilmmakers at Anthology Film Archives on September 11, 2018.[28] Her one woman show, Queer Experimental Films was screened July/August 2018 on Salto Netherlands International TV,[29] and she had a one woman show at The Museum of The Future in Berlin, Germany on October 28, 2017.[30]
Chantal Anne Akerman was a Belgian film director, screenwriter, artist, and film professor at the City College of New York. She is best known for Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975), which The New York Times called a "masterpiece". According to film scholar Gwendolyn Audrey Foster, Akerman's influence on feminist and avant-garde cinema is substantial.
Experimental film, experimental cinema, or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.
Kasi Lemmons is an American film director, screenwriter, and actress.
Cinema Novo, "New Cinema" in English, is a genre and movement of film noted for its emphasis on social equality and intellectualism that rose to prominence in Brazil during the 1960s and 1970s. Cinema Novo formed in response to class and racial unrest both in Brazil and the United States. Influenced by Italian neorealism and French New Wave, films produced under the ideology of Cinema Novo opposed traditional Brazilian cinema, which consisted primarily of musicals, comedies and Hollywood-style epics. Glauber Rocha is widely regarded as Cinema Novo's most influential filmmaker. Today, the movement is often divided into three sequential phases that differ in tone, style and content.
Wheeler Winston Dixon is an American filmmaker and scholar. He is an expert on film history, theory and criticism. His scholarship has particular emphasis on François Truffaut, Jean-Luc Godard, American experimental cinema and horror films. He has written extensively on numerous aspects of film, including his books A Short History of Film and A History of Horror. From 1999 through the end of 2014, he was co-editor, along with Gwendolyn Audrey Foster, of the Quarterly Review of Film and Video. He is regarded as a top reviewer of films. In addition, he is notable as an experimental American filmmaker with films made over several decades, and the Museum of Modern Art exhibited his works in 2003. He taught at Rutgers University, The New School in New York, the University of Amsterdam in the Netherlands, and as of May, 2020, is the James E. Ryan professor emeritus of film studies at the University of Nebraska in Lincoln.
The Quarterly Review of Film and Video is a peer-reviewed academic journal covering moving image studies, considered to be among the best-known journals in this field. It is published by Routledge. From 1999 to 2014, Wheeler Winston Dixon and Gwendolyn Audrey Foster were the editors-in-chief of the journal; on December 23, 2014 David Sterritt became the new editor of the journal.
Warren Sonbert was an American experimental filmmaker whose work of nearly three decades began in New York in the mid-1960s, and continued in San Francisco throughout the second half of his life. Known for the exuberant imagery of films such as Carriage Trade and especially for their intricate and innovative editing, he has been described as "the supreme Romantic diarist of the cinema" as well as "both a probing and playful artist and a keen intellect reveling in the interplay between all the creative arts."
El ojo de la cerradura is a 1964 Argentine film.
Amy Taubin is an American author and film critic. She is a contributing editor for two prominent film magazines, the British Sight & Sound and the American Film Comment. She has also written regularly for The Village Voice, The Millennium Film Journal, and Artforum, and used to be curator of video and film at the non-profit experimental performance space The Kitchen.
Senses of Cinema is a quarterly online film magazine founded in 1999 by filmmaker Bill Mousoulis. Based in Melbourne, Australia, Senses of Cinema publishes work by film critics from all over the world, including critical essays, career overviews of the works of key directors, and coverage of many international festivals.
Storm de Hirsch (1912–2000) was an American poet and filmmaker. She was a key figure in the New York avant-garde film scene of the 1960s, and one of the founding members of the Film-Makers' Cooperative. Although often overlooked by historians, in recent years she has been recognized as a pioneer of underground cinema.
Tender Fictions is a 1996 autobiographical documentary film directed by American experimental filmmaker Barbara Hammer. It is the second of a trilogy of documentary films that includes Nitrate Kisses and History Lessons. Together, the three films are sometimes known as the "History trilogy". Tender Fictions details Hammer's life and her attempts to "construct" a self. The film was nominated for a prize at the 1996 Sundance Film Festival.
Zeinabu irene Davis is an American filmmaker and professor in the Department of Communication at the University of California, San Diego. Her works in film include narrative, documentary and experimental film.
Ngozi Onwurah is a British-Nigerian film director, producer, model, and lecturer. She is best known as a filmmaker for her autobiographical film The Body Beautiful (1991) and her first feature film, Welcome II the Terrordome (1994). Her work is reflective of the unfiltered experiences of Black Diaspora in which she was raised.
Raleigh Studios is a studio facility located in Hollywood, Los Angeles and has been under the ownership of Raleigh Enterprises since 1979. The location, active since 1915, is "the oldest continually running studio in the world". Raleigh "has no identifiable brand or logo", serving as a rental space for numerous films both before Raleigh Enterprises ownership and afterward. Author Tom Ogden describes Raleigh Studios as "an independent studio, unaffiliated with any of the majors" which in 2009 had nine soundstages available. As of 2022, the location has 13 soundstages.
Goodbye in the Mirror is a 1964 black-and-white experimental film produced and directed by Storm de Hirsch.
Barbara McCullough is a director, production manager and visual effects artist whose directorial works are associated with the Los Angeles School of Black independent filmmaking. She is best known for Water Ritual #1: An Urban Rite of Purification (1979), Shopping Bag Spirits and Freeway Fetishes: Reflections on Ritual Space (1980), Fragments (1980), and World Saxophone Quartet (1980).
The year 1925 was marked, in science fiction, by the following events.
Paradise is a 1932 Italian comedy film directed by Guido Brignone and starring Nino Besozzi, Sandra Ravel and Lamberto Picasso. It was part of a group of "White Telephone" films made during the decade. It was produced by Cines, the largest Italian film studio at the time.
Apotheosis is a 1970 film directed by John Lennon and Yoko Ono.
References
1 2 May 6, 1998, University of Nebraska-Lincoln, FOSTER RECEIVES EMERGING SCHOLAR AWARDArchived 2013-10-29 at the Wayback Machine , Accessed October 26, 2013, "...Gwendolyn Audrey Foster, assistant professor of English at the University of Nebraska, has won the American Association of University Women Recognition Award for Emerging Scholars. ... The award selection is based on demonstrated excellence in teaching, a documented and active research record, evidence of mentoring female students, and evidence of a potentially significant contribution to the awardee's field of study. ..."
1 2 The New York Times, 1991, review, Women Who Made the Movies (1991), Accessed August 25, 2013, "...This documentary by filmmakers Gwendolyn Foster and Wheeler Dixon pays homage to women directors and filmmakers..."
↑ Daily Nebraskan, Mike Hollins, December 3, 2010, Film professors share underappreciated holiday classic, Accessed October 26, 2013, "... Gwendolyn Audrey Foster, an English professor at UNL, said she dislikes the idyllic outlook of most holiday films..."
↑ Mayne, Judith. Book Review: Gwendolyn Audrey Foster. Women Filmmakers Of The African And Asian Diaspora: Decolonizing The Gaze, Locating Subjectivity and Kenneth W. Harrow, Ed. With Open Eyes: Women And African Cinema. In Research in African Literatures. Spring 1999, Vol. 30, No. 1, pp. 238–240. Accessed October 26, 2013
↑ Judith E. Pike, January 1, 1997, Literature/Film Quarterly, Women-of-Color Filmmakers, Accessed October 26, 2013, "...Foster, Gwendolyn Audrey. Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity. Carbondale and Edwardsville: Southern Illinois University Press, 1997. 177 pp...."
↑ Film Criticism, Allegheny College, Film Criticism, Accessed October 26, 2013, "...with Gwendolyn Audrey Foster, Editor-in-Chief of the Quarterly Review of Film and Video. ..."
1 2 Film Journal, 2013, Underground Resources: Index, Underground Film Bookshelf, Accessed October 26, 2013, "...Below is a list of books written about the history of underground film. ...Dixon, Wheeler Winston, and Gwendolyn Audrey. Foster. Experimental Cinema: the Film Reader, London: Routledge, 2002. ..."
↑ Stuart Minnis, July 1, 2003, Journal of Film and Video, Experimental Cinema: The Film Reader, Accessed October 26, 2013, "...EXPERIMENTAL CINEMA: THE FILM READER Wheeler Winston Dixon and Gwendolyn Audrey Foster, eds. ... the American avant-garde."
↑ Gwendolyn Audrey Foster, October 18, 2013...Gwendolyn Audrey Foster writes frequently for Film International...."
↑ Film Search, 1992, Chicago Reader, Women Who Made the Movies, Accessed October 26, 2013, "...Gwendolyn Foster and Wheeler Dixon's 1992 documentary surveys the history of women filmmakers in Hollywood..."
↑ Film listing, 1994, WorldCat, Squatters, Accessed October 26, 2013, "...Authors: Wheeler W Dixon; ... Gwendolyn Audrey Foster..."
↑ York, 32 2nd Avenue 10003 New; N, Nueva York Estados Unidos 40° 43' 28 8084"; Maps, 73° 59' 24 4356" W. See map: Google. "NewFilmmakers: Short Experimental Documentaries". Experimental Cinema. Retrieved 13 January 2019.{{cite web}}: |first3= has generic name (help)
↑ Wheeler Winston Dixon, July 2012, Screening the Past (film magazine), The Anatomy of Harpo Marx, Accessed October 26, 2013, "... 21st Century Hollywood: Movies in the Era of Transformation (co-written with Gwendolyn Audrey Foster, Rutgers University Press, 2011);..."
↑ 2012–2013 Graduate reading list, ACS List, University of New Mexico, American Studies, Accessed October 26, 2013, "...Gwendolyn Audrey Foster, Captive Bodies: Postcolonial Subjectivity in Cinema (SUNY Press, 1999) ..."
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