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discouraged and... I tried to do the best I could... While I do not object to violence or nudity in principle, the reason audiences came to see these low-budget films without stars was because they delivered scenes that you could not see in major studio films or more supposedly ambitious independent
American films... Exploitation films required multiple nude scenes and crude, frequent violence. My struggle was to try to dramatically justify such scenes and to make them transgressive, but not repulsive. I tried to control this through the style in which I shot scenes. That was one of my greatest pleasures, determining how my style of shooting could enhance the content of a scene. Comedy was another method of control I used. I have always enjoyed writing and directing comedy– I was, in fact, more comfortable working in a comic idiom than a dramatic one–and so I also used comedy to modulate a scene's tone. Visual style and comic invention were my personal salvation or... the "special opportunity" to escape what troubled me about the exploitation genre.
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and violence. Since I was making exploitation films with unknown casts, I had to show more nudity than they could ordinarily see in major studio films, but less than in the soft porn that was then in release. Furthermore, I had to show up to the limit of what was allowed in an R-rated film (i.e., no pubic hair, no genitals, no simulated intercourse), which looks quite tame by today's standards, but wasn't at the time. Because of these scenes I also had to cast very attractive people, which meant that sometimes I couldn't cast the best actors, which I considered a very serious constraint then, and which continues to disturb me even now .
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individuals whose needs propel them to make a common bond. Despite a growing bitterness in her later work, Rothman's films are not so much a cinema of social problems as one of social solutions. More than anything else (and perhaps even more commercially damning than working in restrictive genres), Rothman's films are contemporary comedies of manners, centered around attitudes, around the way that style serves as both an expression of and a screen for meaning. She may be a graduate of the Roger Corman School of
Filmmaking, but her real model is Preston Sturges.
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important, information on how to efficiently organize work on the set so that a film could be shot on schedule. The schedules he set were much shorter than those of the major studios. Since it was his own money he was using, Roger did not want a film to go either over schedule or over budget. He also taught me a valuable lesson in psychology: he encouraged me, often expressing his confidence in my abilities, and I therefore tried to do the best work for him that I could.
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low-budget films that were transgressive in that they showed more extreme things than what would be shown in a studio film, and whose success depended on their advertising, because they had no stars in them. It was dismaying to me, but at the same time I decided to make the best exploitation films I could. If that was going to be my lot, then that's what I was going to try and do with it.
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reason, the so-called elephant in the room: I was a woman. No one told me directly, but I often learned indirectly that this was the decisive reason why many producers wouldn't agree to meet me. If that sounds exaggerated, remember that I worked in the
American film industry from 1965 to 1974, and some of those years I was the only woman directing feature films.
419:"I was never happy making exploitation films", said Rothman later. "I did it because it was the only way I could work." However her movies have come to receive much critical appraisal, particularly from feminist writers such as Pam Cook and Claire Johnson. She was honoured with a retrospective at the 2007 Vienna International Film Festival.
79:(1957), "what is still my favorite film of all time... I didn't, at that point, know how to become a filmmaker. I didn't even think it was possible. When I saw it I thought to myself, 'This is what I would like to do. I would like to make a film like this.' Highly thoughtful, European-like, small films. I wanted to be a writer-director."
110:"It was rare for anyone who did not have family connections to find employment in the film industry, in or outside of the jurisdiction of the labor unions", recalled Rothman later. "It was even rarer for a woman to be hired. It was traditional to exclude us from nearly all types of work behind the camera."
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For the next 10 years, I tried to find work making more ambitious films. My husband and I collaborated on a couple of challenging treatments and scripts that were well received, but never sold. I did sell a few options on scripts and screenplays on my own. I got a few offers to make more exploitation
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I couldn't get any work in television. No one would even meet me... When it came to feature films, I was once invited by an executive at MGM to go and meet her, which was in the days when there were very few female filmmakers at all. I went and met her and she said to me, "We were in a story meeting
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I had good agents and together we tried very hard to get me work, but we repeatedly discovered I was stigmatized by the films I had made. The irony was that I made them in order to prove that I had the skills to make more ambitious films, but no one would give me the chance. Then there was the other
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I didn't always get to choose the subjects of the film, but I did have control over the attitude toward and the treatment of the subjects. In this respect, I didn't feel compromised or constrained. Of course there were certain audience expectations that had to be satisfied, in particular for nudity
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How do I think the balance between genre constraints and creative freedom influenced my work? There was always a struggle in my mind between the two. I would have covered the same topics, but made the films very differently, if I had not had these constraints. I knew it then. But I tried not to be
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I did everything: write new scenes, scout locations, cast actors, direct new sequences and edit final cuts. It was a busy, exhilarating time. Roger did not teach me these skills, I learned them in film school. But he did share his greater experience with me, giving me useful criticism and, equally
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Satisfaction and regret. Regret that I couldn't have made more films. Regret that I couldn't have made films that gave me a larger platform unto which to work in terms of finances, in terms of not having certain obligations to a certain kind of audience, to just to make a film that was dear to my
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Rothman often parodied the codes of exploitation genres to expose their roots in male fantasies and so undermine them, and it is this use of formal play to subvert male myths of women that has interested some feminists and that, it has been argued, places
Rothman's work inside the tradition of
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I'm very tired of the whole tradition in western art in which women are always presented nude and men aren't. I'm not going to dress women and undress men – that would be a form of tortured vengeance. But I certainly am going to undress men, and the result is probably a more healthy environment,
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Rothman said Roger Corman "paid people very little and had to make a living. We were offered better pay at
Dimension Pictures, so we left for Dimension. The pull for that was economic. It was not ideological. Roger is ideologically quite progressive, but when it comes to money he is much more
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Without stretching a point too greatly, one can see the influence of this feminism in such recurrent
Rothman themes as the reorganization of society and the extension of options to otherwise disenfranchised individuals. A classic liberal, Rothman states her themes wholly in terms of disparate
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I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film. Then I went and did some research to find out exactly what exploitation films were, their history and so forth, and then I knew that's what I was doing, because I was making
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A Stephanie
Rothman film deals with questions of self-determination. My characters try to forge a humane and rational way of coming to terms with the vicissitudes of existence. My films are not always about succeeding but they are always concerned with fighting the good
174:. I had very ambivalent feelings about continuing to be a director if that was all I was going to be able to do. So I literally went into a kind of retirement for several years until more than anything in the world, I wanted to make films.
204:(1970), about the adventures of four young nursing students. Although an exploitation movie, Rothman was given creative freedom to explore political and social issues which interested her such as abortion and immigration.
146:(1966). "I shot about another 30 minutes of original footage and it was made into what I can only call...a mish-mosh", she recalls. "Unintended joint collaboration would be a more accurate way of putting it. " She and
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Rothman and Swartz left
Dimension in 1975. She almost directed a film for AIP which was going to be produced by Lou Arkoff but the project fell over. She tried to break out of the exploitation field, but struggled.
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In 1978 Rothman said she still hoped "to make a major motion picture. I never give up hoping... If I hang in there long enough my time will come." However she is not credited on a feature film after 1978.
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professors, doing their lobbying and writing a political newsletter about labor issues of concern to them. Then, starting with a small inheritance, I began to invest in commercial real estate."
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yesterday. We're getting a new script ready for a first time director who we want to use and we were talking about the fact that we would like it to be a vampire film. Something, you know, like
255:. While there she did not receive greater creative freedom or the opportunity to leave the exploitation field – however, she did receive more money and owned a small share of the company.
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heart in every respect. Not that the films I made don't have aspects that are very dear to my heart, I mean, they're not the complete films I would have liked to have made.
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that
Stephanie Rothman made." My response when I heard that was, "Well, if you want a vampire film like Stephanie Rothman made, why don't you get Stephanie Rothman?"
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Feminist writers, especially Pam Cook and Claire
Johnson, have noted Rothman's role creating feminist films in the exploitation genre. Cook stated that:
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Linda Gross (February 12, 1978). "A Woman's Place Is in... Exploitation Films?: A Trend-Setter in the Youth Market Women in Exploitation Films".
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841:"Exploitation's Glass Ceiling: Feminist filmmaker Stephanie Rothman on her short but brilliant run making B-movies" By Marjorie Baumgarten,
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fellowship, awarded annually to the director of a student film. This, along with her academic qualifications, garnered her a job offer from
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films, but I was never happy making them and I didn't want to repeat myself. After enduring a decade of barely making a living, I gave up
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did say she shot some additional scenes for the TV relief. Rothman did sign a three-picture deal with a producer but no films resulted.
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Rothman says when she made the film, she was unaware it was an "exploitation" film" until she read a review describing it as such:
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372:(1978), but it was changed to such a degree that Rothman took her name off it. There are stories that she re-shot sections of
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was a considerable hit, leading to a cycle of "nurse" films and helping establish New World as a viable commercial force.
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later claimed that the best movies made by Dimension were the in-house productions from Rothman and Swartz. Rothman:
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because one group of people presenting another in a vulnerable, weaker, more servile position is always distorted.
184:(1970), working as production associate. "I had a wonderful time working on that film. I loved it, I really did."
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Rothman ended up leaving the industry. She says, "for a few years I ran a small proto-union for a group of
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in particular – placed emphasis on female as well as male desire. Rothman stated in a 1973 interview that:
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166:(shot in 1965 but not released until 1967), which he financed. However she did not enjoy the experience:
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in 1964, to work as his assistant. (Corman chose her over another applicant, who later became his wife
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In addition, Rothman also used her movies to comment on social issues of their time, like abortion in
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Rothman tried to find work elsewhere but was unable to. She returned to filmmaking on Corman's comedy
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36:) is an American film director, producer, and screenwriter, known for her low-budget independent
243:(1971) for New World which has become a cult hit, although it was a commercial disappointment.
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Tony Williams, 'Feminism, Fantasy and Violence: An Interview with Stephanie Rothman',
770:"Q & A with Stephanie Rothman. UC Los Angeles: UCLA Center for the Study of Women"
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Women in Horror Month: Stephanie Rothman, The Feminist Queen of Exploitation Cinema
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237:(1971) because she was not enthusiastic about either project. Instead she directed
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Her work impressed Corman enough to give her her first full directing job on
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In 1970, Corman established his new production and distribution company
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Rothman and her husband left Corman in the early 1970s to help set up
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787:"Exploiting Feminism: An Interview with Stephanie Rothman (Part Two)"
678:"Exploiting Feminism: An Interview with Stephanie Rothman (Part One)"
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Corman had Rothman reshoot large segments of the movie that became
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590:– script by Rothman announced in 1971 for production by New World
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Rothman worked in a variety of jobs for Corman, on films such as
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Confessions of an Aca Fan: The Official Weblog of Henry Jenkins
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Confessions of an Aca Fan: The Official Weblog of Henry Jenkins
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How I Made a Hundred Movies in Hollywood and Never lost a Dime
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Peary, Dennis (1997). "Stephanie Rothman: R-Rated Feminist".
931:(3rd ed.). London: British Film Institute. p. 472.
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Fox, Terry Curtis (November–December 1976). "Fully Female".
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Rothman turned down Corman's offer to make both a sequel to
73:. She says she became interested in filmmaking after seeing
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Terry Curtis Fox (November–December 1976). "Fully Female".
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Dori Lundy (April 10, 1971). "'Kill' Role Next for Mason".
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The New Poverty Row: Independent Filmmakers as Distributors
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and hired Rothman to write and direct its second film,
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From 1960 to 1963, Rothman studied filmmaking at the
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405:Rothman says she looks back on her career with:
323:Rothman says she was influenced by the work of
65:Rothman was raised in Los Angeles and studied
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378:(1977) but Rothman says these are not true.
262:Rothman directed three films for Dimension,
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1027:Women and the cinema: a critical anthology
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871:"Charles S. Swartz, producer, dies at 67"
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858:Journal of Popular Film & Television
748:"Stephanie Rothman Sets Record Straight"
40:made in the 1960s and 1970s, especially
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280:(1974). She also wrote the script for
91:where she met her husband, filmmaker
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452:Rothman later said of her work that:
286:(1973), supervised the re-editing of
170:I became very depressed after making
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710:(12.6 ed.). pp. 46–50, 68.
1224:USC School of Cinematic Arts alumni
653:Corman, Roger; Jerome, Jim (1990).
297:The films that Rothman directed –
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627:Kelsey, Colleen (March 9, 2016).
89:University of Southern California
993:"Interview of Stephanie Rothman"
727:"Interview of Stephanie Rothman"
486:Voyage to the Prehistoric Planet
122:Voyage to the Prehistoric Planet
629:"The Cult of Stephanie Rothman"
1194:Film producers from New Jersey
1189:Film directors from New Jersey
436:Terry Curtis Fox stated that:
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1229:American women film producers
1204:American women film directors
521:(1970) – production associate
310:Film director and historian
1209:American women screenwriters
1062:Profile on Stephanie Rothman
824:, McFarland, 1991, p 155-157
513:(1967) – director, co-writer
366:, which was later filmed as
231:and a woman in prison film,
1234:21st-century American women
973:"Stephanie Rothman profile"
497:(1966) – associate producer
489:(1965) – associate producer
481:(1965) – associate producer
32:(born November 9, 1936, in
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97:Directors Guild of America
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537:(1971) – director, writer
529:(1970) – director, writer
400:University of California
288:The Sins of Adam and Eve
25:Stephanie Rothman (2024)
860:9. 2 (Summer 1981): 86.
432:women's counter cinema.
362:Rothman sold a script,
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847:accessed 25 Feb 2015
505:(1966) – co-director
389:She later reflected:
34:Paterson, New Jersey
1126:It's a Bikini World
895:. December 5, 2016.
793:. October 16, 2007.
510:It's a Bikini World
172:It's a Bikini World
163:It's a Bikini World
155:It's a Bikini World
1142:The Velvet Vampire
1134:The Student Nurses
1104:Films directed by
893:Trailers from Hell
768:Sher, Ben (2008).
684:. October 16, 2007
633:Interview Magazine
534:The Velvet Vampire
526:The Student Nurses
447:The Student Nurses
356:The Velvet Vampire
253:Dimension Pictures
247:Dimension Pictures
240:The Velvet Vampire
234:The Big Doll House
222:The Velvet Vampire
206:The Student Nurses
201:The Student Nurses
196:New World Pictures
189:The Student Nurses
43:The Student Nurses
38:exploitation films
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954:Los Angeles Times
938:978-1-84457-193-2
911:Los Angeles Times
752:Temple of Schlock
569:(1974) – director
566:The Working Girls
561:(1973) – director
545:(1973) – director
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131:(1966). Rothman:
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1068:A discussion
1026:
1016:Film Comment
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980:. Retrieved
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845:9 April 2010
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708:Film Comment
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688:September 5,
686:. Retrieved
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638:September 5,
636:. Retrieved
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582:Unmade films
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125:(1965), and
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101:Roger Corman
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28:
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1214:1936 births
1064:at Fangoria
982:November 1,
588:Outlaw Mama
471:Filmography
292:Sweet Sugar
274:(1973) and
259:cautious."
71:UC Berkeley
46:(1970) and
1183:Categories
1118:Blood Bath
1038:0525474595
1031:. Dutton.
875:AV Maniacs
601:References
502:Blood Bath
478:Beach Ball
143:Blood Bath
116:Beach Ball
61:Early life
925:Cook, Pam
518:Gas-s-s-s
181:Gas-s-s-s
148:Jack Hill
67:sociology
56:Biography
927:(2007).
574:Starhops
369:Starhops
268:(1973),
119:(1965),
52:(1974).
965:Sources
415:Acclaim
364:Carhops
1169:(1974)
1161:(1973)
1153:(1973)
1145:(1971)
1137:(1970)
1129:(1967)
1121:(1966)
1035:
935:
889:"Ruby"
457:fight.
423:Legacy
996:(PDF)
730:(PDF)
105:Julie
1057:IMDb
1033:ISBN
984:2006
933:ISBN
690:2016
640:2016
375:Ruby
327:and
1055:at
294:.
107:.)
69:at
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