601:, she said "With a few summer months in the office of a fine surgeon and meeting with the sick, I decided that was not what I wanted. I wanted to be like Jesus – 'Heal the sick and raise the dead', instantly, without surgery, pills, etcetera." It was then, two years into her degree, that she left and decided to find a job so she could acquire economic independence. Arzner, in spite of having abandoned the degree, had a broad education, which included architecture and art history courses. As soon as she left the university she began working for Paramount Studios doing jobs such as that of a cutter or editor, work for which she would receive a credit on
565:
498:"foregrounds dance as women's avenue to self-expression and economic independence." In a scene in the latter half of the film, O'Hara's character, Judy, stops her stage performance to directly address the male audience watching her act. Judy confronts the men with a stirring admonishment of their objectification of women. In feminist film studies, this scene has been read as a "returning" of the male gaze and a larger address to the real-life audience, not just the diegetic audience within the film.
266:, the head of Paramount's New York studio. When she told Wanger she was leaving, he offered her a job in the scenario department and a discussion about directing some time in the future. Arzner replied, "Not unless I can be on a set in two weeks with an A picture. I'd rather do a picture for a small company and have my own way than a B picture for Paramount." Wanger then offered her a chance to direct a comedy based on the play
31:
177:, where she spent two years studying medicine with hopes of becoming a doctor. During World War I she joined a local Southern California ambulance unit. After spending a summer working in the office of a respected surgeon, however, Arzner decided that she did not want a career in medicine. "I wanted to be like Jesus," she said. "'Heal the sick and raise the dead,' instantly, without pills, surgery, et cetera."
125:, from 1927 until her retirement from feature directing in 1943, Arzner was the only female director working in Hollywood. She was one of a very few women able to establish a successful and long career in Hollywood as a film director until the 1970s. Arzner made a total of twenty films between 1927 and 1943 and launched the careers of a number of Hollywood actresses, including
647:
earliest forms of feminist film criticism, including Claire
Johnston's landmark 1973 essay, "Women's Cinema as Counter-Cinema". Arzner's films are notable for the depictions of women's relationships, with Arnzer typically reversing societal expectations of women, allowing them to find solidarity with one another. In addition to this, many of her films, such as
469:, Arzner offers the possibility of women's community after the instability of heterosexual romance with a final scene between Harriet and her widowed next door neighbor. Both women have been left by their husbands, in vastly different ways, and their next potentially meaningful connection is with each other.
734:, is interviewed in the documentary, saying, "I love the fact that history of woman filmmakers now would include Dorothy Arzner and Esther Eng as the two of the real exceptions, who proved it was entirely possible to build a successful film career without necessarily being a part of mainstream identity."
512:(1943), Arzner retired from Hollywood. Though her reasons for retirement are not known, it is speculated that it was due to a decline in the critical and commercial performance of her films. It could also have been due to the increase in sexism and anti-gay bigotry that followed the implementation of the
434:
turned conventional societal views of women upside-down. Instead of pitting the two women against each other, buying into the narrative of women as rivals, Arzner complicates and interrogates typical views of women by portraying a genuine moment of connection between
Cynthia and Elaine. In an article for
444:
as reflecting Arzner's belief that "heterosexual monogamy cripples the imagination and curbs the appetite for living." Arzner herself noted that the film was well-liked at the time but that she never considered it her favorite. "I could hardly consider any one a favorite," she said. "I always saw too
261:
if she was not given a picture to direct. "I had an offer to write and direct a film for
Columbia," Arzner said, "It was then I closed out my salary at Paramount and was about to leave for Columbia." Before leaving, Arzner decided to say goodbye to "someone important and not just leave unnoticed and
579:
Dorothy Arzner was born in San
Francisco, California on January 3, 1897, then moved with her parents, Louis and Jenetter Arzner, to Los Angeles, where her father opened a very prestigious restaurant next to a theatre in Hollywood. Arzner spent her childhood surrounded by celebrities who came to the
489:
is yet another example of the ways in which Arzner subverted and complicated traditional depictions of women and female-female relationships. The film is Arzner's best-known and most studied work and thematizes the issues of female performance, female-female relationships, and social mobility. Most
455:
but differed in its treatment of its female protagonist. The play, in a much more misogynistic look at the
American housewife, sided with Harriet's husband, portraying Harriet as cold and disinterested. Arzner's version turned the story into what So Mayer calls "a plea for women to become their own
676:
In 1972, the First
International Festival of Women's Films honored her by screening "The Wild Party", and her oeuvre was given a full retrospective at the Second Festival in 1976. In 1975, the Directors Guild of America honored her with "A Tribute to Dorothy Arzner." During the tribute, a telegram
433:
follows a female aviator named
Cynthia Darrington, played by Katharine Hepburn, who begins an affair with a married man, Christopher Strong. Towards the end of the film, Strong's wife, Elaine, appears both to acknowledge and forgive Cynthia for the affair. This plot is an example of the way Arzner
216:
When Arzner met with DeMille in 1919, he asked her in which department she would like to start working. "I might be able to dress sets," Arzner replied. After asking her a question about the furniture in his office that she did not know the answer to, DeMille suggested Arzner explore the different
190:
After World War I the film industry was in need of workers. According to Arzner herself this was her opportunity to get a foot in the door. "It was possible for even inexperienced people to have an opportunity if they showed signs of ability or knowledge" she said in a 1974 interview published in
633:
In 1930, Arzner and Morgan moved to
Mountain Oak Drive, where they lived until Morgan's death in 1971. While they lived in Hollywood, Arzner assisted various cinematographic events. In her last years, Arzner left Hollywood and went to live in the desert. In 1979, at the age of 82, Arzner died in
646:
Arzner's work, as both a female and gay film-maker, has been an important area of film studies. Perhaps due to her leave from
Hollywood in the 1940s, much of her work was all but forgotten until the 1970s, when she was rediscovered by feminist film theorists. Arzner's films inspired some of the
464:
is an example of a running theme in Arzner's work: the repressiveness of heterosexual marriage. Mayer writes that Arzner's films "show again and again that when a man believes he can own a woman and women have to compete for men, then romance, loyalty and friendship go out the window." In
239:(1922). This proved to be Arzner's opportunity to try her hand at directing. Although she went uncredited, Arzner shot some of the bull-fighting scenes for the film and edited this footage, intercutting it with stock footage, thereby saving Paramount thousands of dollars. Arzner's work on
528:
In 1952, she joined the staff of the
College of the Arts of the Playhouse as the head of the Cinema and Television Department. She taught first-year courses in cinema at the university. In the late fifties, she became the entertainment and publicity consultant at the
717:, in which Oberon starred – in a never-completed final film. The play also depicts Arzner and Oberon as lovers. It is told in a prologue, four acts, and an epilogue in the form of a post-show interview that contains actual quotations from Arzner.
365:
in his first leading role. Because Bow found it awkward to move around the cumbersome sound equipment, Arzner had a rig made in which a microphone was attached to the end of a fishing rod, thus freeing Bow to move more easily. That invention was the first
157:, where her father owned the Hoffman Café, "a famous Hollywood restaurant next to a theatre". Her parents' restaurant was the first place Arzner came into contact with Hollywood elite; it was frequented by many silent film stars and directors, including
224:
At the recommendation of DeMille's secretary, Arzner decided to start in the script department, typing scripts so she could learn "what the film was to be all about." Within six months Arzner became an editor at a subsidiary of Paramount,
523:
In 1950, Arzner became associated with the Pasadena Playhouse, a well-known theatre company in southern California, where she founded film-making classes. She produced some plays and starred in a radio program called
656:
Since the resurgence of Arzner's films, they have been studied by feminist and gay theorists alike for their depictions of gender and female sexuality, as well as for Arzner's focus on the female relationship.
370:. The film, about a college girl, played by Bow, who leads a party lifestyle and falls for one of her professors, played by March, was a huge commercial and critical success. According to William S. Kenly,
247:
who would later employ her as a writer and editor for a number of his films. According to Arzner, Cruze told people she was "his right arm." She eventually wrote the shooting script for and edited Cruze's
451:
tells the story of Harriet Craig, played by Rosalind Russell, a woman so consumed by the upkeep of her home that nothing else interests her. The film was based on a stage play of the same name by
481:
as "an unlikely-female-buddy burlesque movie that conceals a withering attack on the male gaze under its showgirl wardrobe of sequins and feathers," the film starred Lucille Ball and
335:
is a tale of illicit love among the English aristocracy, in which the title character, a married man, falls in love with another woman, after his daughter's boyfriend does the same.
374:
was such a success that it kicked off a series of films "set on college campuses where the fun-loving, hard-drinking students include coeds who fall in love with their professors."
743:, which portrays a fictionalized, exaggerated version of 1920s Hollywood, the character of director Ruth Adler is mainly inspired by Arzner and her collaborations with Clara Bow.
213:
in 1929 that the friend thought she would be well suited to the industry. "Then she drove me over to the Paramount studio and dumped me out in front of the main office" she said.
630:
and Katharine Hepburn. She never hid her sexual orientation, nor her identity; her clothing was unconventional for a woman of that time, as she wore suits or straight dresses.
415:(1930), for which she was not credited. After 1932, she left the studio to work on a freelance basis. During her time freelancing, Arzner made some of her best-known films:
2660:
221:, after which she made the observation "If one was going to be in this movie business, one should be a director because he was the one who told everyone else what to do."
548:, in the Motion Picture division as a staff member, where she spent four years supervising advanced cinema classes before retiring in June 1965. There she taught
460:
Judith Mayne writes that "it is Harriet's husband who married for love, not money" whereas Harriet approached the marriage as "a business contract." In this way,
1604:
595:
Arzner began studying for a medical degree at the University of Southern California, but in a 1974 interview with Karin Kay and Gerald Peary published in
597:
614:, a dancer and choreographer who was sixteen years older than Arzner. Morgan choreographed some dancing sequences in some of Arzner's movies, such as
1562:
1861:
2116:
618:. Even though she tried to keep her private life as private as possible, Arzner was linked romantically with a number of actresses, including
552:
and became an influence on his later work. Arzner's documents, files and films are preserved in Cinema and Television File in UCLA, thanks to
2695:
2685:
1260:
1250:
2364:
2273:
1731:
1704:
1467:
1278:
Harris, Gloria G.; Hannah S. Cohen (2012). "Chapter 10. Entertainers – Dorothy Arzner: Noted Film Director During Hollywood Golden Age".
545:
1966:
2675:
329:
is about a businessman who is attracted to his secretary, who ends up marrying another, shadier man, which leads to a love triangle.
1503:
2447:
2319:
2245:
2655:
2690:
2645:
2630:
2680:
2670:
2665:
1387:
825:
200:
2228:
2169:
2149:
1289:
1759:
653:, analyze the role of traditional femininity in women's lives, often criticizing the importance society places on it.
2705:
2640:
2635:
2306:
2193:
283:, Arzner had not directed a thing. "In fact, I hadn't told anyone to do anything before," she said. The film starred
217:
departments for a week and talk to his secretary. Arzner spent the week watching the sets at work, including that of
174:
121:
spanned from the silent era of the 1920s into the early 1940s. With the exception of long-time silent film director
1522:
681:
was read: "Isn't it wonderful that you've had such a great career, when you had no right to have a career at all?"
607:. Later, the studios would offer her a two-year contract as a director, after which she began a freelance career.
287:
and was a commercial success. Arzner's success led Paramount to hire her as director for three more silent films,
2164:
Mann, William J. (2001). Behind the Screen: How Gays and Lesbians Shaped Hollywood, 1910–1969. New York:Viking.
1331:
2650:
1423:
611:
569:
105:
1893:
427:(1940), featuring Lucille Ball. Arzner worked with RKO, United Artists, Columbia, and MGM during this time.
2700:
2440:
1676:
1363:
1220:
945:
1917:
Casella, Donna R. (2009). "What Women Want: The Complex World of Dorothy Arzner and Her Cinematic Women".
1313:
2573:
2389:
2385:
2320:"'Babylon': Meet the Real Old Hollywood Stars Who Inspired the Characters of Damien Chazelle's Wild Epic"
1442:
1300:
843:
336:
2501:
1255:
1185:
1053:
603:
306:
257:
Through her work with Cruze, Arzner gained considerable leverage and threatened to leave Paramount for
234:
138:
2359:
2541:
2493:
1323:
1070:
911:
648:
452:
300:
2485:
2124:
1816:
1097:
400:
294:
2379:
2477:
2433:
1115:
289:
170:
1901:
1833:
666:
2218:
592:, among others, but she was so used to them that she was never attracted to the cinema world.
564:
2549:
1974:
1336:
894:
635:
517:
77:
730:, Hong Kong's first female director who was a Chinese American. Judith Mayne, the author of
2625:
2620:
1203:
549:
249:
8:
2597:
2517:
2411:
1658:
1585:
1151:
983:
774:
739:
713:
508:
209:
2373:
2082:
Mayne, Judith (1981). "The Woman at the Keyhole: Women's Cinema and Feminist Critique".
541:. Arzner made a series of successful commercials for Pepsi, most of them with Crawford.
2589:
2581:
2557:
2533:
2525:
2469:
2250:
2095:
2059:
2051:
2047:
2004:
1942:
1934:
1133:
1017:
966:
928:
877:
808:
791:
707:
and fictitious actor Rose Lindstrom – the name of a character played by
665:
For her achievements in the field of motion pictures, Arzner was awarded a star on the
530:
477:
436:
411:
347:
331:
325:
272:
229:, where she edited 52 films. In 1922, she was recalled to Paramount proper to edit the
204:
196:
2417:
2407:
2355:
2246:"Francis Coppola Helps Paramount Dedicate Building to Pioneer Director Dorothy Arzner"
1081:
2350:
2302:
2224:
2199:
2189:
2165:
2145:
2063:
1946:
1897:
1869:
1530:
1395:
1318:
1285:
1265:
1168:
722:
678:
516:. Despite leaving Hollywood, Arzner continued to work in the field of film. She made
482:
396:
258:
230:
166:
126:
305:(1928), after which she was entrusted to direct the studio's first talking picture,
2565:
2425:
2368:
2087:
2043:
1926:
1847:
1736:
1709:
1035:
860:
405:
218:
130:
626:. It was rumored, though never confirmed, that Arzner also had relationships with
117:(January 3, 1897 – October 1, 1979) was an American film director whose career in
2139:
1279:
585:
388:
1846:(New York, N.Y.), volume 80, number 46, September 4, 1941, p. 17 of supplement.
1842:
589:
284:
226:
319:
Many of Dorothy Arzner's films had a similar theme of unconventional romance;
2614:
2509:
2400:
2394:
1873:
1681:
1534:
1399:
1000:
627:
619:
573:
538:
534:
383:
362:
263:
158:
150:
118:
58:
2203:
708:
704:
692:
623:
553:
162:
134:
2274:"Dorothy Arzner – pioneering lesbian film director – honored at Paramount"
2034:
Shrage, Laurie (1990). "Feminist Film Aesthetics: A Contextual Approach".
351:
is about two female dancers who fall for the same man and fight over him.
2183:
1724:
1605:"Hollywood Flashback: In 1929, a Woman Directed Paramount's First Talkie"
1240:
684:
In March 2018, Paramount dedicated its Dressing Room building to Arzner.
670:
581:
345:, though this eventually backfires when he has a run-in with the police.
342:
244:
154:
1938:
2346:
2055:
2008:
1930:
727:
700:
122:
2099:
1892:"Evening star. (Washington, D.C.) 1854–1972, July 7, 1929, Image 89"
513:
491:
358:
323:
is about a college student who is attracted to one of her teachers.
2091:
1245:
367:
381:, Arzner directed more features for Paramount, including included
153:, in 1897 to Jenetter (née Young) and Louis Arzner but grew up in
1862:"Dorothy Arzner Is Dead at 82; Directed in Hollywood in the 30's"
1810:
1808:
1806:
1804:
1802:
1800:
30:
1798:
1796:
1794:
1792:
1790:
1788:
1786:
1784:
1782:
1780:
726:, compares the news media representation of Arzner with that of
458:
The Woman at the Keyhole: Women's Cinema and Feminist Criticism,
1697:
953:
Paramount promotional film with excerpt of never-produced film
1995:
Kenly, William S. (1987). "Paramount: The Early Sound Years".
1960:
1958:
1956:
1468:"Top 100 films directed by women: A new golden age of cinema?"
1777:
1953:
1563:"Lumière Festival: Dorothy Arzner, a Hollywood Trailblazer"
399:, as well as two where she worked in tandem with director
311:(1929), a remake of a silent film that Arzner had edited.
1751:
1281:
Women Trailblazers of California: Pioneers to the Present
1760:"Dorothy Arzner, the First Female Director in Hollywood"
1314:"The Life of Director, Hollywood Pioneer Dorothy Arzner"
456:
people rather than beautiful possessions." In her essay
276:(1927). It became Arzner's first picture as a director.
195:. A girl friend from college suggested Arzner meet with
1284:. Charleston, SC: The History Press. pp. 151–65 .
699:
depicts the last day of Arzner's career. In the play,
475:
is one of Arzner's most celebrated films. Described by
1850:, San Francisco, California. Retrieved July 11, 2019.
1277:
610:
Arzner would maintain a forty-year relationship with
556:, who raised sufficient funds for their maintenance.
2455:
1652:
1650:
1648:
1646:
1644:
490:
notable, though, is the film's interrogation of the
2661:
UCLA School of Theater, Film and Television faculty
1669:
1642:
1640:
1638:
1636:
1634:
1632:
1630:
1628:
1626:
1624:
341:is about a woman who marries the titular character
1838:Production Guide and Directors' Annual Number 1941
16:American film director and film editor (1897–1979)
1443:"A CAPSULE HISTORY OF WOMEN DIRECTORS, 1900-1980"
2612:
1621:
1332:"Dorothy Arzner: A Prolific Hollywood Director"
2441:
2137:
1261:List of LGBT-related films directed by women
1251:List of female film and television directors
141:and the first woman to direct a sound film.
2420:, Library of Congress: LC-G412-T-5202-B-007
2220:Movies in American History: An Encyclopedia
1815:Kay, Karyn; Peary, Gerald (July 16, 2011).
546:UCLA School of Theater, Film and Television
440:, Jane Gaines argues it's possible to read
2448:
2434:
2271:
1919:Framework: The Journal of Cinema and Media
720:S. Louisa Wei's 2014 feature documentary,
559:
29:
2188:. Bloomington: Indiana University Press.
1834:"Directors' Biographies: Arzner, Dorothy"
1364:"Thoroughly modern Dorothy was a pioneer"
1311:
1079:lost, except for the montage sequence by
137:. Arzner was the first woman to join the
2144:. Indiana University Press. p. 42.
1814:
563:
1916:
1602:
1428:Jumpcut: A Review of Contemporary Media
703:fires her over a kissing scene between
423:(1936), starring Rosalind Russell; and
2613:
2216:
2111:
2109:
2077:
2075:
2073:
2033:
1656:
1421:
2429:
2317:
2301:. Toronto: Coach House Books, 2000;
2272:Valenzuela, Beatriz (March 3, 2018).
2243:
2181:
2081:
2029:
2027:
1994:
1912:
1910:
1677:"Forgotten Hollywood: Dorothy Arzner"
1501:
1440:
1298:
687:
537:, who was married to Pepsi president
169:. After finishing high school at the
2376:— UC Berkeley Media Resources Center
1859:
1580:
1578:
1576:
1560:
1556:
1554:
1552:
1550:
1520:
1504:"Dorothy Arzner: Queen of Hollywood"
1497:
1495:
1493:
1491:
1489:
1487:
1417:
1415:
1388:"DOROTHY ARZNER; Producer as Auteur"
1361:
520:training films during World War II.
485:as a pair of showgirl best friends.
173:in Los Angeles, she enrolled at the
2696:20th-century American screenwriters
2686:20th-century American women writers
2123:. November 13, 2015. Archived from
2106:
2070:
1757:
1301:"Scandale! Dorothy Arzner in Paris"
533:, with the influence of her friend
314:
13:
2399:Photographs of Dorothy Arzner and
2048:10.1111/j.1527-2001.1990.tb00422.x
2024:
1907:
1271:
14:
2717:
2676:Film directors from San Francisco
2340:
2318:Gates, Marya (21 December 2022).
1964:
1573:
1547:
1523:"THE STRUGGLE OF WOMEN DIRECTORS"
1484:
1465:
1412:
361:in her first talking picture and
243:caught the attention of director
175:University of Southern California
2418:Dorothy Arzner and Marion Morgan
2408:Dorothy Arzner and Marion Morgan
2244:Chuba, Kirsten (March 1, 2018).
1590:UCLA Film and Television Archive
1561:Wise, Damon (October 10, 2016).
1312:Lundstrom, Jim (16 March 2018).
419:(1933), with Katharine Hepburn;
270:, which would later be retitled
201:Famous Players–Lasky Corporation
2386:Dorothy Arzner: A Genuine Woman
2311:
2291:
2265:
2237:
2210:
2175:
2158:
2131:
2015:
1988:
1886:
1853:
1827:
1817:"Interview with Dorothy Arzner"
1596:
673:, the only award she received.
501:
268:The Best Dressed Woman in Paris
185:
2656:American silent film directors
1514:
1459:
1434:
1380:
1355:
1299:Mayne, Judith (12 July 2017).
746:
1:
2691:20th-century American writers
2646:American LGBTQ film directors
2631:American women film directors
1732:"Arzner, Dorothy (1897–1979)"
1348:
262:forgotten," which led her to
144:
2681:American women screenwriters
2671:American LGBTQ screenwriters
2666:LGBTQ people from California
2380:Literature on Dorothy Arzner
1657:Geller, Theresa (May 2003).
1603:Higgins, Bill (2017-12-07).
1342:PODCAST SEASON 1 EPISODE 5
946:The House That Shadows Built
7:
2390:David Soren (archaeologist)
2374:Dorothy Arzner bibliography
2365:Arzner, Dorothy (1897–1979)
1971:Women Film Pioneers Project
1860:Lask, Thomas (1979-10-12).
1502:Mayer, So (March 7, 2015).
1441:Mills, Nancy (1986-11-20).
1424:"Dorothy Arzner's Trousers"
1234:
660:
544:In 1961, Arzner joined the
494:. As Teresa Geller writes,
10:
2722:
2217:DiMare, Philip C. (2011).
2185:Directed by Dorothy Arzner
2141:Directed by Dorothy Arzner
2117:"Dorothy Arzner Biography"
1521:Ogle, Sally (1981-01-11).
1362:King, Susan (2003-01-25).
1256:List of lesbian filmmakers
732:Directed by Dorothy Arzner
139:Directors Guild of America
2464:
2223:. ABC-CLIO. p. 558.
1840:, two-part supplement to
1324:Baileys Harbor, Wisconsin
1106:Missing two of six reels
957:to be directed by Arzner
641:
180:
171:Westlake School for Girls
151:San Francisco, California
101:
93:
85:
66:
40:
28:
21:
2706:American lesbian writers
2641:American lesbian artists
2636:American cinema pioneers
1085:released in 2005 on DVD
826:The Last of Mrs. Cheyney
203:, the parent company of
2478:Ten Modern Commandments
2360:Encyclopædia Britannica
1904:. Retrieved 2018-10-23.
1116:Ten Modern Commandments
711:in Arzner's last film,
560:Personal life and death
290:Ten Modern Commandments
199:, a major director for
2414:: LC-G412-T-5202-002-x
2182:Mayne, Judith (1994).
2138:Mayne, Judith (1994).
1965:Field, Allyson Nadia.
1609:The Hollywood Reporter
1508:British Film Institute
667:Hollywood Walk of Fame
580:restaurant, including
576:
506:In 1943, after making
108:(1927–1971; her death)
2651:Lesbian screenwriters
2550:Merrily We Go to Hell
2127:on November 22, 2018.
1896:. 1929-07-07. p. 15.
1422:Gaines, Jane (1992).
1337:Tribeca Film Festival
895:Merrily We Go to Hell
636:La Quinta, California
604:Blood and Sand (1922)
567:
78:La Quinta, California
1204:The Six Best Cellars
955:Stepdaughters of War
650:Working Girls (1931)
550:Francis Ford Coppola
526:You Wanna Be a Star.
2701:Women film pioneers
2598:First Comes Courage
2518:Paramount on Parade
2412:Library of Congress
2084:New German Critique
1191:Additional Footage
1152:Inez from Hollywood
984:Paramount on Parade
775:First Comes Courage
752:
714:First Comes Courage
509:First Comes Courage
149:Arzner was born in
115:Dorothy Emma Arzner
45:Dorothy Emma Arzner
2590:Dance, Girl, Dance
2582:The Bride Wore Red
2558:Christopher Strong
2534:Honor Among Lovers
2494:Manhattan Cocktail
2470:Fashions for Women
2456:Films directed by
1931:10.1353/frm.0.0033
1866:The New York Times
1758:Dunkley, Hillary.
1685:. 16 February 2022
1527:The New York Times
1392:The New York Times
1134:Fashions for Women
1071:Manhattan Cocktail
1018:Behind the Make-Up
929:Honor Among Lovers
878:Christopher Strong
809:The Bride Wore Red
792:Dance, Girl, Dance
751:
688:In popular culture
616:Dance, Girl, Dance
577:
531:Pepsi-Cola Company
518:Women's Army Corps
496:Dance, Girl, Dance
487:Dance, Girl, Dance
473:Dance, Girl, Dance
442:Christopher Strong
431:Christopher Strong
425:Dance, Girl, Dance
417:Christopher Strong
412:Behind the Make-Up
393:Honor Among Lovers
348:Dance, Girl, Dance
332:Christopher Strong
326:Honor Among Lovers
302:Manhattan Cocktail
281:Fashions for Women
273:Fashions for Women
207:. Arzner told the
61:, California, U.S.
2608:
2607:
2324:www.indiewire.com
2021:Mayne, p. 54, 183
1705:"Arzner, Dorothy"
1659:"Arzner, Dorothy"
1447:Los Angeles Times
1368:Los Angeles Times
1319:Door County Pulse
1232:
1231:
1169:The Covered Wagon
1121:Director, Writer
737:In the 2022 film
723:Golden Gate Girls
679:Katharine Hepburn
572:, 1927, photo by
397:Claudette Colbert
395:(1931), starring
387:(1930), starring
231:Rudolph Valentino
167:Douglas Fairbanks
127:Katharine Hepburn
112:
111:
94:Years active
2713:
2450:
2443:
2436:
2427:
2426:
2369:Encyclopedia.com
2334:
2333:
2331:
2330:
2315:
2309:
2295:
2289:
2288:
2286:
2284:
2269:
2263:
2262:
2260:
2258:
2241:
2235:
2234:
2214:
2208:
2207:
2179:
2173:
2162:
2156:
2155:
2135:
2129:
2128:
2113:
2104:
2103:
2079:
2068:
2067:
2031:
2022:
2019:
2013:
2012:
1992:
1986:
1985:
1983:
1982:
1973:. Archived from
1967:"Dorothy Arzner"
1962:
1951:
1950:
1914:
1905:
1890:
1884:
1883:
1881:
1880:
1857:
1851:
1848:Internet Archive
1831:
1825:
1824:
1812:
1775:
1774:
1772:
1770:
1755:
1749:
1748:
1746:
1744:
1737:Encyclopedia.com
1728:
1722:
1721:
1719:
1717:
1710:Encyclopedia.com
1701:
1695:
1694:
1692:
1690:
1673:
1667:
1666:
1663:Senses of Cinema
1654:
1619:
1618:
1616:
1615:
1600:
1594:
1593:
1586:"Dorothy Arzner"
1582:
1571:
1570:
1558:
1545:
1544:
1542:
1541:
1518:
1512:
1511:
1499:
1482:
1481:
1479:
1478:
1463:
1457:
1456:
1454:
1453:
1438:
1432:
1431:
1419:
1410:
1409:
1407:
1406:
1384:
1378:
1377:
1375:
1374:
1359:
1344:
1327:
1308:
1295:
1221:Too Much Johnson
1036:Charming Sinners
753:
750:
406:Charming Sinners
315:Directing career
131:Rosalind Russell
73:
54:
52:
33:
19:
18:
2721:
2720:
2716:
2715:
2714:
2712:
2711:
2710:
2611:
2610:
2609:
2604:
2526:Anybody's Woman
2460:
2454:
2343:
2338:
2337:
2328:
2326:
2316:
2312:
2297:Vaughan, R. M.
2296:
2292:
2282:
2280:
2270:
2266:
2256:
2254:
2242:
2238:
2231:
2215:
2211:
2196:
2180:
2176:
2163:
2159:
2152:
2136:
2132:
2115:
2114:
2107:
2080:
2071:
2032:
2025:
2020:
2016:
1993:
1989:
1980:
1978:
1963:
1954:
1925:(1/2): 235–70.
1915:
1908:
1891:
1887:
1878:
1876:
1858:
1854:
1832:
1828:
1813:
1778:
1768:
1766:
1756:
1752:
1742:
1740:
1730:
1729:
1725:
1715:
1713:
1703:
1702:
1698:
1688:
1686:
1675:
1674:
1670:
1655:
1622:
1613:
1611:
1601:
1597:
1584:
1583:
1574:
1559:
1548:
1539:
1537:
1519:
1515:
1500:
1485:
1476:
1474:
1464:
1460:
1451:
1449:
1439:
1435:
1420:
1413:
1404:
1402:
1386:
1385:
1381:
1372:
1370:
1360:
1356:
1351:
1330:
1292:
1274:
1272:Further reading
1237:
1082:Slavko Vorkapić
967:Anybody's Woman
749:
690:
663:
644:
586:Sarah Bernhardt
562:
504:
389:Ruth Chatterton
317:
197:William DeMille
188:
183:
147:
81:
75:
71:
70:October 1, 1979
62:
56:
55:January 3, 1897
50:
48:
47:
46:
36:
24:
17:
12:
11:
5:
2719:
2709:
2708:
2703:
2698:
2693:
2688:
2683:
2678:
2673:
2668:
2663:
2658:
2653:
2648:
2643:
2638:
2633:
2628:
2623:
2606:
2605:
2603:
2602:
2594:
2586:
2578:
2570:
2562:
2554:
2546:
2538:
2530:
2522:
2514:
2506:
2502:The Wild Party
2498:
2490:
2482:
2474:
2465:
2462:
2461:
2458:Dorothy Arzner
2453:
2452:
2445:
2438:
2430:
2424:
2423:
2422:
2421:
2415:
2392:
2382:
2377:
2371:
2362:
2356:Dorothy Arzner
2353:
2347:Dorothy Arzner
2342:
2341:External links
2339:
2336:
2335:
2310:
2290:
2264:
2236:
2230:978-1598842968
2229:
2209:
2194:
2174:
2170:978-0670030170
2157:
2151:978-0253208965
2150:
2130:
2105:
2092:10.2307/487935
2069:
2023:
2014:
1987:
1952:
1906:
1885:
1852:
1843:The Film Daily
1826:
1776:
1750:
1723:
1696:
1668:
1620:
1595:
1572:
1546:
1513:
1483:
1458:
1433:
1411:
1394:. 2000-03-05.
1379:
1353:
1352:
1350:
1347:
1346:
1345:
1328:
1309:
1305:Film Quarterly
1296:
1291:978-1609496753
1290:
1273:
1270:
1269:
1268:
1266:Women's Cinema
1263:
1258:
1253:
1248:
1243:
1236:
1233:
1230:
1229:
1227:
1224:
1217:
1213:
1212:
1210:
1207:
1200:
1196:
1195:
1192:
1189:
1186:Blood and Sand
1182:
1178:
1177:
1175:
1172:
1165:
1161:
1160:
1158:
1155:
1148:
1144:
1143:
1140:
1137:
1130:
1126:
1125:
1122:
1119:
1112:
1108:
1107:
1104:
1101:
1094:
1090:
1089:
1077:
1074:
1067:
1063:
1062:
1060:
1057:
1054:The Wild Party
1050:
1046:
1045:
1042:
1039:
1032:
1028:
1027:
1024:
1021:
1014:
1010:
1009:
1007:
1004:
997:
993:
992:
990:
987:
980:
976:
975:
973:
970:
963:
959:
958:
951:
949:
942:
938:
937:
935:
932:
925:
921:
920:
918:
915:
908:
904:
903:
901:
898:
891:
887:
886:
884:
881:
874:
870:
869:
867:
864:
857:
853:
852:
850:
847:
840:
836:
835:
832:
829:
822:
818:
817:
815:
812:
805:
801:
800:
798:
795:
788:
784:
783:
781:
778:
771:
767:
766:
763:
760:
757:
748:
745:
695:'s 2000 play,
689:
686:
662:
659:
643:
640:
590:David Warfield
561:
558:
503:
500:
483:Maureen O'Hara
379:The Wild Party
372:The Wild Party
355:The Wild Party
321:The Wild Party
316:
313:
308:The Wild Party
285:Esther Ralston
241:Blood and Sand
236:Blood and Sand
227:Realart Studio
187:
184:
182:
179:
146:
143:
110:
109:
103:
99:
98:
95:
91:
90:
87:
83:
82:
76:
74:(aged 82)
68:
64:
63:
57:
44:
42:
38:
37:
35:Arzner in 1934
34:
26:
25:
23:Dorothy Arzner
22:
15:
9:
6:
4:
3:
2:
2718:
2707:
2704:
2702:
2699:
2697:
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2669:
2667:
2664:
2662:
2659:
2657:
2654:
2652:
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2618:
2616:
2600:
2599:
2595:
2592:
2591:
2587:
2584:
2583:
2579:
2576:
2575:
2571:
2568:
2567:
2563:
2560:
2559:
2555:
2552:
2551:
2547:
2544:
2543:
2542:Working Girls
2539:
2536:
2535:
2531:
2528:
2527:
2523:
2520:
2519:
2515:
2512:
2511:
2510:Sarah and Son
2507:
2504:
2503:
2499:
2496:
2495:
2491:
2488:
2487:
2483:
2480:
2479:
2475:
2472:
2471:
2467:
2466:
2463:
2459:
2451:
2446:
2444:
2439:
2437:
2432:
2431:
2428:
2419:
2416:
2413:
2409:
2406:
2405:
2403:
2402:
2401:Marion Morgan
2396:
2395:Arnold Genthe
2393:
2391:
2387:
2383:
2381:
2378:
2375:
2372:
2370:
2366:
2363:
2361:
2357:
2354:
2352:
2348:
2345:
2344:
2325:
2321:
2314:
2308:
2307:1-55245-055-4
2304:
2300:
2299:Camera, Woman
2294:
2279:
2275:
2268:
2253:
2252:
2247:
2240:
2232:
2226:
2222:
2221:
2213:
2205:
2201:
2197:
2195:0-585-01955-X
2191:
2187:
2186:
2178:
2171:
2167:
2161:
2153:
2147:
2143:
2142:
2134:
2126:
2122:
2118:
2112:
2110:
2101:
2097:
2093:
2089:
2086:(23): 27–43.
2085:
2078:
2076:
2074:
2065:
2061:
2057:
2053:
2049:
2045:
2042:(2): 137–48.
2041:
2037:
2030:
2028:
2018:
2010:
2006:
2002:
1998:
1991:
1977:on 2019-03-15
1976:
1972:
1968:
1961:
1959:
1957:
1948:
1944:
1940:
1936:
1932:
1928:
1924:
1920:
1913:
1911:
1903:
1899:
1895:
1889:
1875:
1871:
1867:
1863:
1856:
1849:
1845:
1844:
1839:
1835:
1830:
1822:
1818:
1811:
1809:
1807:
1805:
1803:
1801:
1799:
1797:
1795:
1793:
1791:
1789:
1787:
1785:
1783:
1781:
1765:
1761:
1754:
1739:
1738:
1733:
1727:
1712:
1711:
1706:
1700:
1684:
1683:
1682:Golden Globes
1678:
1672:
1664:
1660:
1653:
1651:
1649:
1647:
1645:
1643:
1641:
1639:
1637:
1635:
1633:
1631:
1629:
1627:
1625:
1610:
1606:
1599:
1591:
1587:
1581:
1579:
1577:
1568:
1564:
1557:
1555:
1553:
1551:
1536:
1532:
1528:
1524:
1517:
1509:
1505:
1498:
1496:
1494:
1492:
1490:
1488:
1473:
1469:
1466:Jones, Emma.
1462:
1448:
1444:
1437:
1429:
1425:
1418:
1416:
1401:
1397:
1393:
1389:
1383:
1369:
1365:
1358:
1354:
1343:
1339:
1338:
1333:
1329:
1325:
1321:
1320:
1315:
1310:
1306:
1302:
1297:
1293:
1287:
1283:
1282:
1276:
1275:
1267:
1264:
1262:
1259:
1257:
1254:
1252:
1249:
1247:
1244:
1242:
1239:
1238:
1228:
1225:
1223:
1222:
1218:
1215:
1214:
1211:
1208:
1206:
1205:
1201:
1198:
1197:
1193:
1190:
1188:
1187:
1183:
1180:
1179:
1176:
1173:
1171:
1170:
1166:
1163:
1162:
1159:
1156:
1154:
1153:
1149:
1146:
1145:
1141:
1138:
1136:
1135:
1131:
1128:
1127:
1123:
1120:
1118:
1117:
1113:
1110:
1109:
1105:
1102:
1100:
1099:
1095:
1092:
1091:
1088:
1087:Unseen Cinema
1084:
1083:
1078:
1075:
1073:
1072:
1068:
1065:
1064:
1061:
1058:
1056:
1055:
1051:
1048:
1047:
1043:
1040:
1038:
1037:
1033:
1030:
1029:
1025:
1022:
1020:
1019:
1015:
1012:
1011:
1008:
1005:
1003:
1002:
1001:Sarah and Son
998:
995:
994:
991:
988:
986:
985:
981:
978:
977:
974:
971:
969:
968:
964:
961:
960:
956:
952:
950:
948:
947:
943:
940:
939:
936:
933:
931:
930:
926:
923:
922:
919:
916:
914:
913:
912:Working Girls
909:
906:
905:
902:
899:
897:
896:
892:
889:
888:
885:
882:
880:
879:
875:
872:
871:
868:
865:
863:
862:
858:
855:
854:
851:
848:
846:
845:
841:
838:
837:
833:
830:
828:
827:
823:
820:
819:
816:
813:
811:
810:
806:
803:
802:
799:
796:
794:
793:
789:
786:
785:
782:
779:
777:
776:
772:
769:
768:
764:
761:
758:
755:
754:
744:
742:
741:
735:
733:
729:
725:
724:
718:
716:
715:
710:
706:
702:
698:
697:Camera, Woman
694:
685:
682:
680:
674:
672:
668:
658:
654:
652:
651:
639:
637:
631:
629:
628:Joan Crawford
625:
621:
620:Alla Nazimova
617:
613:
612:Marion Morgan
608:
606:
605:
600:
599:
593:
591:
587:
583:
575:
574:Arnold Genthe
571:
570:Marion Morgan
566:
557:
555:
551:
547:
542:
540:
539:Alfred Steele
536:
535:Joan Crawford
532:
527:
521:
519:
515:
511:
510:
499:
497:
493:
488:
484:
480:
479:
474:
470:
468:
463:
459:
454:
450:
446:
445:many flaws."
443:
439:
438:
432:
428:
426:
422:
418:
414:
413:
408:
407:
402:
401:Robert Milton
398:
394:
390:
386:
385:
384:Sarah and Son
380:
375:
373:
369:
364:
363:Fredric March
360:
356:
352:
350:
349:
344:
343:for his money
340:
339:
334:
333:
328:
327:
322:
312:
310:
309:
304:
303:
298:
297:
292:
291:
286:
282:
277:
275:
274:
269:
265:
264:Walter Wanger
260:
255:
253:
252:
251:Old Ironsides
246:
242:
238:
237:
232:
228:
222:
220:
219:Cecil DeMille
214:
212:
211:
206:
202:
198:
194:
178:
176:
172:
168:
164:
160:
159:Mary Pickford
156:
152:
142:
140:
136:
132:
128:
124:
120:
116:
107:
106:Marion Morgan
104:
100:
96:
92:
89:Film director
88:
84:
79:
69:
65:
60:
59:San Francisco
43:
39:
32:
27:
20:
2596:
2588:
2580:
2574:Craig's Wife
2572:
2564:
2556:
2548:
2540:
2532:
2524:
2516:
2508:
2500:
2492:
2486:Get Your Man
2484:
2476:
2468:
2457:
2398:
2384:Erin Stein.
2327:. Retrieved
2323:
2313:
2298:
2293:
2281:. Retrieved
2278:Q Voice News
2277:
2267:
2255:. Retrieved
2249:
2239:
2219:
2212:
2184:
2177:
2160:
2140:
2133:
2125:the original
2120:
2083:
2039:
2035:
2017:
2000:
1996:
1990:
1979:. Retrieved
1975:the original
1970:
1922:
1918:
1888:
1877:. Retrieved
1865:
1855:
1841:
1837:
1829:
1820:
1767:. Retrieved
1763:
1753:
1741:. Retrieved
1735:
1726:
1714:. Retrieved
1708:
1699:
1687:. Retrieved
1680:
1671:
1662:
1612:. Retrieved
1608:
1598:
1589:
1566:
1538:. Retrieved
1526:
1516:
1507:
1475:. Retrieved
1471:
1461:
1450:. Retrieved
1446:
1436:
1430:(37): 88–98.
1427:
1403:. Retrieved
1391:
1382:
1371:. Retrieved
1367:
1357:
1341:
1335:
1317:
1304:
1280:
1219:
1202:
1184:
1167:
1150:
1132:
1114:
1098:Get Your Man
1096:
1086:
1080:
1069:
1052:
1041:Co-Director
1034:
1023:Co-Director
1016:
999:
989:Co-Director
982:
965:
954:
944:
927:
910:
893:
876:
866:Co-Director
859:
844:Craig's Wife
842:
824:
807:
790:
773:
738:
736:
731:
721:
719:
712:
709:Isobel Elsom
705:Merle Oberon
696:
693:R.M. Vaughan
691:
683:
675:
664:
655:
649:
645:
632:
624:Billie Burke
615:
609:
602:
596:
594:
578:
568:Arzner with
554:Jodie Foster
543:
525:
522:
507:
505:
502:Later career
495:
486:
476:
472:
471:
467:Craig's Wife
466:
462:Craig's Wife
461:
457:
453:George Kelly
449:Craig's Wife
448:
447:
441:
435:
430:
429:
424:
421:Craig's Wife
420:
416:
410:
404:
392:
382:
378:
376:
371:
354:
353:
346:
338:Craig's Wife
337:
330:
324:
320:
318:
307:
301:
299:(1927), and
296:Get Your Man
295:
288:
280:
278:
271:
267:
256:
250:
240:
235:
223:
215:
208:
192:
189:
186:Early career
163:Mack Sennett
148:
135:Lucille Ball
114:
113:
72:(1979-10-01)
2626:1979 deaths
2621:1897 births
2003:(44): 6–7.
1821:Agnès Films
1472:www.bbc.com
1241:Female gaze
1194:Uncredited
1044:Uncredited
1026:Uncredited
834:Uncredited
747:Filmography
671:Vine Street
582:Maude Adams
409:(1929) and
245:James Cruze
210:Sunday Star
155:Los Angeles
2615:Categories
2329:2023-08-21
1981:2014-11-03
1879:2022-02-08
1614:2023-04-10
1540:2023-04-10
1477:2023-04-10
1452:2023-04-10
1405:2023-04-10
1373:2023-04-10
1349:References
728:Esther Eng
701:Harry Cohn
145:Early life
123:Lois Weber
86:Occupation
51:1897-01-03
2121:Biography
2064:143955001
1947:191317098
1902:2331-9968
1874:0362-4331
1535:0362-4331
1400:0362-4331
1139:Director
1103:Director
1076:Director
1059:Director
1006:Director
972:Director
934:Director
917:Director
900:Director
883:Director
849:Director
831:Director
814:Director
797:Director
780:Director
514:Hays Code
492:male gaze
359:Clara Bow
279:Prior to
205:Paramount
119:Hollywood
97:1922–1943
2204:42854137
1939:41552560
1764:Women In
1246:Feminism
1235:See also
669:at 1500
661:Tributes
368:boom mic
357:starred
293:(1927),
259:Columbia
254:(1926).
2397:(1927)
2283:4 March
2257:4 March
2251:Variety
2056:3810161
2036:Hypatia
2009:4381023
1894:Loc.gov
1836:in the
1567:Variety
1226:Editor
1209:Editor
1174:Editor
1157:Editor
740:Babylon
478:Variety
437:Jumpcut
102:Partner
2601:(1943)
2593:(1940)
2585:(1937)
2577:(1936)
2569:(1934)
2561:(1933)
2553:(1932)
2545:(1931)
2537:(1931)
2529:(1930)
2521:(1930)
2513:(1930)
2505:(1929)
2497:(1928)
2489:(1927)
2481:(1927)
2473:(1927)
2388:— via
2305:
2227:
2202:
2192:
2168:
2148:
2100:487935
2098:
2062:
2054:
2007:
1945:
1937:
1900:
1872:
1769:13 May
1743:13 May
1716:13 May
1689:13 May
1533:
1398:
1288:
765:Notes
759:Title
642:Legacy
598:Cinema
588:, and
391:, and
377:After
193:Cinema
181:Career
165:, and
133:, and
80:, U.S.
2096:JSTOR
2060:S2CID
2052:JSTOR
2005:JSTOR
1943:S2CID
1935:JSTOR
1216:1919
1199:1920
1181:1922
1164:1923
1147:1924
1142:Lost
1129:1927
1124:Lost
1111:1927
1093:1927
1066:1928
1049:1929
1031:1929
1013:1930
996:1930
979:1930
962:1930
941:1931
924:1931
907:1931
890:1932
873:1933
856:1934
839:1936
821:1937
804:1937
787:1940
770:1943
762:Role
756:Year
677:from
233:film
2566:Nana
2351:IMDb
2303:ISBN
2285:2018
2259:2018
2225:ISBN
2200:OCLC
2190:ISBN
2166:ISBN
2146:ISBN
1997:MoMA
1898:ISSN
1870:ISSN
1771:2022
1745:2022
1718:2022
1691:2022
1531:ISSN
1396:ISSN
1286:ISBN
861:Nana
622:and
67:Died
41:Born
2349:at
2088:doi
2044:doi
1927:doi
2617::
2410:,
2404::
2367:—
2358:—
2322:.
2276:.
2248:.
2198:.
2119:.
2108:^
2094:.
2072:^
2058:.
2050:.
2038:.
2026:^
2001:44
1999:.
1969:.
1955:^
1941:.
1933:.
1923:50
1921:.
1909:^
1868:.
1864:.
1819:.
1779:^
1762:.
1734:.
1707:.
1679:.
1661:.
1623:^
1607:.
1588:.
1575:^
1565:.
1549:^
1529:.
1525:.
1506:.
1486:^
1470:.
1445:.
1426:.
1414:^
1390:.
1366:.
1340:.
1334:.
1322:.
1316:.
1303:.
638:.
584:,
403:,
161:,
129:,
2449:e
2442:t
2435:v
2332:.
2287:.
2261:.
2233:.
2206:.
2172:.
2154:.
2102:.
2090::
2066:.
2046::
2040:5
2011:.
1984:.
1949:.
1929::
1882:.
1823:.
1773:.
1747:.
1720:.
1693:.
1665:.
1617:.
1592:.
1569:.
1543:.
1510:.
1480:.
1455:.
1408:.
1376:.
1326:.
1307:.
1294:.
53:)
49:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
