Critics Kent Jones, B. Ruby Rich, Joe McElhaney and Miriam Bale take a closer look at the feminist overtones in "Johnny Guitar."
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B. Ruby Rich is an American scholar, critic of independent, Latin American, documentary and gay films, and a professor of Community Studies and Social Documentation also known as "SocDoc" at UC Santa Cruz. She has also taught documentary film and queer studies during spring semesters at UC Berkeley. She is credited with coining the term New Queer Cinema. Rich began her career in film exhibition after graduating from college as co-founder of the Woods Hole Film Society. She then became associate director of the Film Center at the Art Institute of Chicago. After working as film critic for the Chicago Reader, she moved to New York City to become the director of the film program for the New York State Council on the Arts for a decade. A working cultural theorist and critic since the mid-1970s, Rich has been closely identified with a number of important film movements, such as independent film in the U.S. and Europe, Latin American cinema and, more notably, as one of the most important voices in feminist film criticism. Her presence at film festivals (such as Sundance, where she was an early member of the selection committee), her film reviews in major national publications, and her commentaries on the public broadcasting programs The World and Independent View, have secured her place as a central figure in the history of what she terms "cinefeminism." B. Ruby Rich appears in the 2009 documentary film For the Love of Movies: The Story of American Film Criticism where she discusses the appeal of the film, Amélie, and expresses her desire for a new kind of criticism to emerge from young critics which goes beyond "the auteur theory." Rich has been a regular contributor to the Village Voice, as well as the San Francisco Bay Guardian and the British Film Institute's Sight & Sound. She has also contributed to The Guardian, the Nation, ELLE, Mirabella, The Advocate and Out. She was the founding editor of film/video reviews for GLQ: A Journal of Lesbian and Gay Studies. The cover of her classic 1998 book, Chick Flicks: Theories and Memories of the Feminist Film Movement, reads, "If there was a moment during the sixties, seventies, or eighties that changed the history of the women's film movement, B. Ruby Rich was there. Part journalistic chronicle, part memoir, and 100 percent pure cultural historical odyssey, Chick Flicks – with its definitive, the way-it-was collective essays – captures the birth and growth of feminist film as no other book has done." Rich's observations cover such things as travel, sex, and voodoo, as well as the anti-pornography movement, the films of Yvonne Rainer, a Julie Christie visit to Washington, and the historically evocative film Maedchen in Uniform. She introduces each of her essays with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose, in the hope that a new generation of feminist film culture might be revitalized by reclaiming its own history. Rich is the recipient of the 2006 Honorary Life Membership Award from the Society for Cinema and Media Studies; and she is the recipient of the 2007 Brudner Prize at Yale University. B. Ruby Rich lives in San Francisco.
Joan Crawford (born Lucille Fay LeSueur; March 23, 190? – May 10, 1977) was an American actress. She started her career as a dancer in traveling theatrical companies before debuting on Broadway. Crawford was signed to a motion picture contract by Metro-Goldwyn-Mayer in 1925. Initially frustrated by the size and quality of her parts, Crawford launched a publicity campaign and built an image as a nationally known flapper by the end of the 1920s. By the 1930s, Crawford's fame rivaled MGM colleagues Norma Shearer and Greta Garbo. Crawford often played hardworking young women who find romance and financial success. These "rags-to-riches" stories were well received by Depression-era audiences and were popular with women. Crawford became one of Hollywood's most prominent movie stars and one of the highest paid women in the United States, but her films began losing money. By the end of the 1930s, she was labeled "box office poison". After an absence of nearly two years from the screen, Crawford staged a comeback by starring in Mildred Pierce (1945), for which she won the Academy Award for Best Actress. In 1955, she became involved with the Pepsi-Cola Company, through her marriage to company president Alfred Steele. After his death in 1959, Crawford was elected to fill his vacancy on the board of directors but was forcibly retired in 1973. She continued acting in film and television regularly through the 1960s, when her performances became fewer; after the release of the horror film Trog in 1970, Crawford retired from the screen. Following a public appearance in 1974, after which unflattering photographs were published, Crawford withdrew from public life. She became more and more reclusive until her death in 1977.
Sterling Walter Hayden, born Sterling Relyea Walter, was an American actor and author. He didn't really harbor any aspirations of being an actor, dropped out of high school at the age of 16 and hired on as mate on a schooner. He was a ship's captain at 22, and in need of cash to buy his own boat, established himself as a model in New York, discovered by Paramount Studios talent scouts and offered a contract. Sterling Hayden, the handsome tall blond actor who played wholesome leading-man movie roles in the 1940's and 1950's and later weathered into a rough-hewn solid character actor in films such as ''Dr. Strangelove'', ''The Godfather,'' "Nine to Five" and "King of the Gypsies". He appeared in 71 feature films and tv-productions from the debut in "Virginia" 1941 to the tv mini-series "The Blue and the Gray" in 1982. He wrote of his obsessive fascination with the sea in a 1963 autobiography, ''Wanderer,'' and in 1970 his 700-page epic novel of the sea, ''Voyage,'' was a main selection of the Book-of-the-Month Club. Sterling Hayden appeared in the German documentary, ''Pharos of Chaos,'' (1983) filmed aboard his barge in Europe, and seemed to be in an alcoholic stupor much of the time, supplementing his wine intake with hashish. On camera he said: ''What confuses me is I ain't all that unhappy. So why do I drink, I don't know.''
