Acknowledgements

Prefaces
From Alexis Karsilovsky
From Harriet Margolis

List of abbreviations

Job titles and some useful definitions

Chapter 1: How do women become camerawomen?
Learning on the job
Still Photography
Film School
Training Programs
Two Examples of Feminist Groups: Women in Film and Behind the Lens
Women-Supportive Workshops and Production Groups
Filming in the Service of Social Activism: Video SEWA and Aina
Collectives
Rental Houses

Chapter 2: How hard can it be?
Gender Discrimination
Unions and Guilds
When Cameras Were Heavy
Helpful Men
Ssh! (Screte Sexual Harassment)
Sabotage
Getting Paid Jobs
Breaking Out of Isolation
Rising through the Ranks
Budgets and Glass Ceiling

Chapter 3: Documentary: A good and satisfying career choice that is statistically friendlier to women that feature fiction filmmaking
Filming History Being Made in China
Documentary: Historical and Personal

Chapter 4: Hollywood, Bollywood, independents, and short forms
Hollywood
Indian Cinema
The Freedom of Independent Films
Music Videos
Commercials and Such
Experimental / Avant-Garde Films and Video
Art Films and Videos
Shooting Special Material: Birth

Chapter 5: Special skills and creativity
Handheld Camerawork
Cranes
Underwater
Helicopters
Special Effects
Lighting as a Cinematographer’s Dream Job
Digital Technology
Style

Chapter 6: Shooting around the world
Erika Addis on Beginning her Career
Arlene Burns on Filming in the Kuril Islands
Yong-Joo Byun on Filming Comfort Women in Korea
Nancy Durham on Filming the Balkan War
Jolanta Dylewska on Filming in Kazakhstan
Sabeena Gadihoke on Filming Three Women and a Camera
Rozette Ghadery on Filming in Kurdistan
Sue Gibson on Filming in Jordan
Joan Giummo on Filming Homeless Women in New York
Agnès Godard Pays Homage to Beauty
Marina Goldovaskaya on Filming History Being Made in Russia
Ellen Kuras on Pivotal Moments in Shooting
Heather Mackenzie on Filming Romanian Orphans
Sandi Sissel on Filming Salaam Bombay!
Agnès Varda on Filming the Human Body
Liz Ziegler on Filming Eyes Wide Shut (1999) for Stanley Kubrick

Chapter 7: Can camerawomen also be women?
Parents
Fathers
Mothers
Friends and Extended Family
Husbands
A Happy Marriage
Pregnancy
Children and Childcare
Daughters

Chapter 8: What’s it really like?
A Typical Day
Where Do Camerawomen Go?
What Do Camerawomen Wear?
Working with the Crew
Working with Directors and Procedures
Acting Like men to Fit In
The Advantages of Being Female

Chapter 9: Magic moments, worst moments
Satisfactions
Worst Moments, Dangers, and Risking One’s Life

Chapter 10: What do Camerawomen see?
Representation and Gender
Ethics
Camerawomen Teaching
“Just Do It”
Aspirations for the Future

List of camerawomen whose interviews are included in this book

Bibliography

Index