Refocus: The Films of Doris Wishman - (Refocus: The American Directors) by Alicia Kozma & Finley Freibert (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br><p><em>ReFocus: The Films of Doris Wishman</em> positions Wishman as a significant and overlooked force in American independent film.</p><p/><br></br><p><b> Book Synopsis </b></p></br></br><p>Producer, distributor, and director Doris Wishman (1912-2002) was a pioneering woman in the film industry, leaving a body of work almost 30 films strong. Largely overlooked by critical and cultural analysis, Wishman worked in the normatively neglected film genre of sexploitation and adult film, but works like <em>Hideout in the Sun</em> (1960), <em>Bad Girls Go To Hell</em> (1965), <em>Double Agent 73</em> (1974) and <em>Each Time I Kill</em> (2007) demonstrate an interest in complicated, ideological and often troubling social performances of the contemporary human condition. </p> <p><em>ReFocus: The Films of Doris Wishman</em> positions Wishman as a significant and overlooked force in American independent film, with an impact on how we currently understand the categories of cult, exploitation, horror, experimental and avant-garde cinema.</p><p/><br></br><p><b> From the Back Cover </b></p></br></br>Producer, distributor, and director Doris Wishman (1912-2002) was a pioneering woman in the film industry, leaving a body of work almost 30 films strong. Largely overlooked by critical and cultural analysis, Wishman worked in the normatively neglected film genre of sexploitation and adult film, but works like Hideout in the Sun (1960), Bad Girls Go To Hell (1965), Double Agent 73 (1974) and Each Time I Kill (2007) demonstrate an interest in complicated, ideological and often troubling social performances of the contemporary human condition. ReFocus: The Films of Doris Wishman positions Wishman as a significant and overlooked force in American independent film, with an impact on how we currently understand the categories of cult, exploitation, horror, experimental and avant-garde cinema. Alicia Kozma is Chair and Assistant Professor of Communication and Media Studies at Washington College. Finely Freibert is a part-time Senior Lecturer in Comparative Humanities at the University of Louisville and an adjunct Lecturer at the Kentucky College of Art and Design.<p/><br></br><p><b> About the Author </b></p></br></br><p>Dr Alicia Kozma is Chair and Assistant Professor of Communication and Media Studies at Washington College. <p>Finley Freibert is a part-time Senior Lecturer in Comparative Humanities at the University of Louisville and an adjunct Lecturer at the Kentucky College of Art and Design.<p>
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