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Stephanie Rothman (born November 9, 1936 Paterson, New Jersey) is an American film director, producer and screenwriter, known for her low-budget independent exploitation films made in the 1960s and 1970s, especially ''The Student Nurses'' (1970) and ''Terminal Island'' (1974). ==Career== Rothman was raised in Los Angeles and studied sociology at UC Berkeley. From 1960 to 1963 she studied filmmaking at the University of Southern California and became the first woman to be awarded the Directors Guild of America fellowship, awarded annually to the director of a student film. This, along with her academic qualifications, saw her receive a job offer from Roger Corman in 1964 to work as his assistant. (Corman chose her over another applicant, who later became his wife Julie.)〔Roger Corman & Jim Jerome, ''How I Made a Hundred Movies in Hollywood and Never lost a Dime'', Muller, 1990 p 124〕 "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."〔 Rothman worked in a variety of jobs for Corman, on films such as ''Beach Ball'' and ''Queen of Blood''. Rothman: 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 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.〔('Exploiting Feminism: An Interview with Stephanie Rothman (Part One)' ''Confessions of an Aca Fan: The Official Weblog of Henry Jenkins'', Oct 16,2007 )〕 Corman had Rothman reshoot large segments of the movie that became ''Blood Bath'' (1966), which impressed him enough to give her her first full directing job on ''It's a Bikini World'' (shot in 1965 but not released until 1967), which he financed. However she did not enjoy the experience: I became very depressed after making ''It's a Bikini World''. 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.〔 In 1970, Corman established his new production and distribution company New World Pictures and hired Rothman to write and direct its second film, ''The Student Nurses'' (1970). Although an exploitation movie, Rothman was given creative freedom to explore political and social issues which interested her such as abortion and immigration.〔 ''The Student Nurses'' was a considerable hit, leading to a cycle of "nurse" films and helping establish New World. She turned down Corman's offer to make both a sequel and a woman in prison film, ''The Big Doll House'' (1971)〔('Stephanie Rothman Sets Record Straight', ''Temple of Schlock'' July 31, 2010 )〕 because she was not enthusiastic about either project. Instead she directed ''The Velvet Vampire'' which has become a cult hit.〔(Sher, Ben. (2008). Q & A with Stephanie Rothman. UC Los Angeles: UCLA Center for the Study of Women )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Stephanie Rothman」の詳細全文を読む スポンサード リンク
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