A lot of the content in this article have been issues surrounding our film analyses throughout the semester. Such as subversive text and lesbian eroticism in film narrative. Briefly we have touched upon that one scene from Morocco where Marlene Dietrich kissed a woman while dressed in masculine attire. It seems that now that this is being brought up again, we as a class, have a better understanding of the importance to these lesbian narratives in film. In a way, our course material is coming full circle. Not only do we recognize that women are represented in film, but we also understand the triumph and tribulation of getting women to be represented in film (and also behind the camera).

This brings me to my next point about the issues surrounding Dorothy Arzner as a prominent film director of the 30s/40s era. Not only is she a female director, but also she identifies as a lesbian. By the way, both identities are problematic for this time period. It seems at times during this article that the criticisms of Arzner’s films were only significant because of her sexual identification.

It seems that maybe Arzner’s work was being obsessed only because she was a female with a full mannish appearance. At a time like this, such an appearance deviates from what is normal. Sequentially, her films fell under much more scrutiny because of her sexual identity and clothing choice.  I wonder if others also felt that while reading this article there was much attention brought to the fact that she wore what is traditionally masculine attire.