Perfecting the New Gangster: Writing "Bonnie and Clyde"

In the past decade, a higher percentage of women have worked as editors than as directors, writers, cinematographers, and executive producers,1 yet they are rarely represented in histories by film historians and feminist film scholars. The purpose of this paper is not to reveal the “reality” of female editors, but to understand what challenges arise in constructing them as historical subjects. In what frameworks have female editors been permitted or omitted from historicization? What counts as historical knowledge and evidence? It is important to consider the author, and what impact their politics of location have on the historical knowledge they are presenting. I will also consider what challenges my interviews with female editors have posed in historicizing them from a feminist perspective.

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Making the Cut: Female Editors and Representation in the Film and Media Industry

O utside of the industry itself, very few motion picture editors enjoy any kind of recognition. Of these, Dede Allen is by far the best known. She credits much of this to her association with the great directors she's worked with, many of whom were lionized as auteurs when applications of the theory were just burgeoning in the United States in the 1960s and 1970s. But Allen is modest and perhaps somewhat unfair to herself. While what she says of the attention she's received is true, nevertheless she is probably our greatest contemporary editor. Even if she had cut nothing else but Bonnie and Clyde (1967), Allen's place in cinema history would be virtually assured, but her roster of credits also includes Odds Against Tomorrow (1959), The Hustler (1961), America, America (1963), Rachel, Rachel (1968), Alice's Restaurant (1969), Little Big Man (1970), Slaughterhouse Five (1972), Serpico (1973), Dog Day Afternoon (1975, Academy Award nomination), Night Moves (1975), The Missouri Breaks (1976), Slap Shot (1977), Reds (1981, Academy Award nomination), Mike's Murder (1984), The Breakfast Club (1985), The Milagro Beanfield War (1988), Henry and June (1990); and, most recently, The Addams Family (1991). Allen's best collaborations have been with

An Interview with Dede Allen

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An Interview with Dede Allen