FILMS. 4th EDItION DANCE, GIRL, DANCE important is the full expression of a style that demands to be taken Johnston, Claire, editor, The Work of Dorothy Arzner: Towards morally. Even if Bresson has since rejected this effort as too theatrical (with its music, acting and studio lighting), the fact is that Les Dames Kay, Karyn, and Gerald Peary, editors, Women and the Cinema: du bois du boulogne showed the world the value of his search A Critical Anthology, New York, 1977 a search that is at once stylistic and metaphysical, and one his later Slide, Anthony, Early Women Directors, South Brunswick, New work has justified. It is a tribute to the French film community that Jersey, 1977 they recognized the presence and importance of something truly Heck -Rabi, Louise, Women Filmmakers: A Critical Reception, different Metuchen, New Jersey, 1984 Penley, Constance, editor, Feminism and Film Theory, London, 1988 -Dudley Andrew Mayne, Judith, Directed by Dorothy Arzner, Bloomington, 1995 THE DAMNED Crowther, Bosley, in New York Times, 11 September 1940. See LA Caduta dEgLi del Kine Weekly(London), 12 September 1940 Monthly Film Bulletin(London ) vol 7, no 81, 1940 Feldman. J. and H. Feldman. *Women Directors. in Films in Review(New York). November 1950. DANCE GIRL DANCE Pyros, J,"Notes on Women Directors, in Take One(Montreal) November-December 1970 USA.1940 Henshaw, Richard. Women Directors. ' in Film Comment(New York), November 1972 Director: Dorothy Arzner Parker, F, "Approaching the Art of Arzner, in Action (Los Ange les), July-August 1973 Velvet Light Trap(Madison, Wisconsin), Fall 1973 Production: RKO-Radio Pictures: black and white: running time: 90 Castle, W," Tribute to Dorothy Arzner, in Action(Los Angeles), minutes. Released September 1940 March-April 1975. Kaplan, E. Ann, Aspects of British Feminist Film Theory, 'in Jump Producers: Erich Pommer and Harry Edington; screenplay: Tess Cut(Berkeley ), nos. 12-13, 1976 lesinger, Frank Davis, from the novel by Vicki Baum; assistant Glaessner, Verina, in Focus on Film(London), Summer-Autumn 1976 director: James H. Anderson; photography: Russell Metty, editor: Laemmle, Ann, in Cinema Texas Program Notes, 28 February 1978 Robert Wise; sound: Hugh McDowell, Jr; art director: Van Nest Bergstrom, J, ""Rereading the Work of Claire Johnston, " in camera Polglase: associate art director: Al Herman; gowns: Edward Ste Obscura(Berkeley), Summer 1979. venson: music director: Edward Ward; dances: Ernst Matray Forster, A, in Skrien(Amsterdam), September-October 1984 Chell, S L, Dorothy Arzner's Dance, Girl, Dance, in CineAction Cast: Maureen O'Hara (udy): Louis Hayward (Jimmy Harris) oronto), Summer-Fall 1991 Lucille Ball(Bubbles): Ralph Bellamy(Steve Adams): Virginia Field (Elinor Harris): Maria Ouspenskaya (Madame Basilova): Mary Carlisle(Sally): Katherine Alexander(Miss Olmstead); Edward Brophie (Dwarfie): Walter Abel (udge ) Harold Huber(Hoboken Gent); Ernest Truex (Bailey 1): Chester Clute (Bailey 2): Vivian Fay Dance, Girl, Dance is one of the few films directed by a woman i (Ballerina); Lorraine Krueger( Dolly); Lola Jensen(Daisy): Emma what is known as the"classical Hollywood era, when, it has been Dunn(Ms. Simpson); Sidney Blackmer(Puss in Boots); Ludwi gued, the conventional narrative codes of cinema were fixed. This Stossel (Caesar); Erno Verebes( Fitch) unique position has inevitably informed the ways in which the film has been studied. Although Dorothy Arzner herself nist. it is due to feminism that she has been reassessed. In the mid- 970s feminist critics argued that while Dance, Girl, Dance may Publications appear to be just one example of the popular musical comedies and ens pictures produced by rKoin the 1930s and 1940s, Arzne Books ironic point of view questions the very conventions she uses. The film was made in the relative flexibility of RKO's production Johnston, Claire, Notes on Women's Cinema. London 1973 system, whereby independent directors were contracted to work Rosen, Marjorie, Popcorn Venus: Women, Movies and the American under minimal supervision. It was in this context that Arzner was reputedly able to rework a confusing and scrappy script to focus on Haskell, Molly, From Reverence to Rape: The Treatment of Women the ambivalent relationship between the two strong, but very differ- in the Movies, New York, 1974. ent, main female characters, Judy, an aspiring ballerina, and bubbles, Smith. Sharon. Women Who Make Movies. New York. 1975 a gold-digging showgirl. Bubbles, after finding work in burlesque,FILMS, 4 DANCE, GIRL, DANCE th EDITION 289 important is the full expression of a style that demands to be taken morally. Even if Bresson has since rejected this effort as too theatrical (with its music, acting, and studio lighting), the fact is that Les Dames du Bois du Boulogne showed the world the value of his search, a search that is at once stylistic and metaphysical, and one his later work has justified. It is a tribute to the French film community that they recognized the presence and importance of something truly different. —Dudley Andrew THE DAMNED See LA CADUTA DEGLI DEI DANCE, GIRL, DANCE USA, 1940 Director: Dorothy Arzner Production: RKO-Radio Pictures; black and white; running time: 90 minutes. Released September 1940. Producers: Erich Pommer and Harry Edington; screenplay: Tess Slesinger, Frank Davis, from the novel by Vicki Baum; assistant director: James H. Anderson; photography: Russell Metty; editor: Robert Wise; sound: Hugh McDowell, Jr.; art director: Van Nest Polglase; associate art director: Al Herman; gowns: Edward Ste￾venson; music director: Edward Ward; dances: Ernst Matray. Cast: Maureen O’Hara (Judy); Louis Hayward (Jimmy Harris); Lucille Ball (Bubbles); Ralph Bellamy (Steve Adams); Virginia Field (Elinor Harris); Maria Ouspenskaya (Madame Basilova); Mary Carlisle (Sally); Katherine Alexander (Miss Olmstead); Edward Brophie (Dwarfie); Walter Abel (Judge); Harold Huber (Hoboken Gent); Ernest Truex (Bailey 1); Chester Clute (Bailey 2); Vivian Fay (Ballerina); Lorraine Krueger (Dolly); Lola Jensen (Daisy); Emma Dunn (Ms. Simpson); Sidney Blackmer (Puss in Boots); Ludwig Stossel (Caesar); Erno Verebes (Fitch). Publications Books: Johnston, Claire, Notes on Women’s Cinema, London 1973. Rosen, Marjorie, Popcorn Venus: Women, Movies and the American Dream, New York, 1973. Haskell, Molly, From Reverence to Rape: The Treatment of Women in the Movies, New York, 1974. Smith, Sharon, Women Who Make Movies, New York, 1975. Johnston, Claire, editor, The Work of Dorothy Arzner: Towards a Feminist Cinema, London, 1975. Kay, Karyn, and Gerald Peary, editors, Women and the Cinema: A Critical Anthology, New York, 1977. Slide, Anthony, Early Women Directors, South Brunswick, New Jersey, 1977. Heck-Rabi, Louise, Women Filmmakers: A Critical Reception, Metuchen, New Jersey, 1984. Penley, Constance, editor, Feminism and Film Theory, London, 1988. Mayne, Judith, Directed by Dorothy Arzner, Bloomington, 1995. Articles: Crowther, Bosley, in New York Times, 11 September 1940. Kine Weekly (London), 12 September 1940. Monthly Film Bulletin (London), vol. 7, no. 81, 1940. Feldman, J., and H. Feldman, ‘‘Women Directors,’’ in Films in Review (New York), November 1950. Pyros, J., ‘‘Notes on Women Directors,’’ in Take One (Montreal), November-December 1970. Henshaw, Richard, ‘‘Women Directors,’’ in Film Comment (New York), November 1972. Parker, F., ‘‘Approaching the Art of Arzner,’’ in Action (Los Ange￾les), July-August 1973. Velvet Light Trap (Madison, Wisconsin), Fall 1973. Castle, W., ‘‘Tribute to Dorothy Arzner,’’ in Action (Los Angeles), March-April 1975. Kaplan, E. Ann, ‘‘Aspects of British Feminist Film Theory,’’ in Jump Cut (Berkeley), nos. 12–13, 1976. Glaessner, Verina, in Focus on Film (London), Summer-Autumn 1976. Laemmle, Ann, in Cinema Texas Program Notes, 28 February 1978. Bergstrom, J., ‘‘Rereading the Work of Claire Johnston,’’ in Camera Obscura (Berkeley), Summer 1979. Forster, A., in Skrien (Amsterdam), September-October 1984. Chell, S. L., ‘‘Dorothy Arzner’s Dance, Girl, Dance,’’ in CineAction (Toronto), Summer-Fall 1991. *** Dance, Girl, Dance is one of the few films directed by a woman in what is known as the ‘‘classical Hollywood’’ era, when, it has been argued, the conventional narrative codes of cinema were fixed. This unique position has inevitably informed the ways in which the film has been studied. Although Dorothy Arzner herself was not a femi￾nist, it is due to feminism that she has been reassessed. In the mid- 1970s feminist critics argued that while Dance, Girl, Dance may appear to be just one example of the popular musical comedies and women’s pictures produced by RKO in the 1930s and 1940s, Arzner’s ironic point of view questions the very conventions she uses. The film was made in the relative flexibility of RKO’s production system, whereby independent directors were contracted to work under minimal supervision. It was in this context that Arzner was reputedly able to rework a confusing and scrappy script to focus on the ambivalent relationship between the two strong, but very differ￾ent, main female characters, Judy, an aspiring ballerina, and Bubbles, a gold-digging showgirl. Bubbles, after finding work in burlesque