Jeanine Basinger (born 3 February 1936), a film historian, is Corwin-Fuller Professor of Film Studies and Founder and Curator of The Cinema Archives at Wesleyan University, Middletown, Connecticut.
She is also a trustee emeritus of the American Film Institute, a member of the Steering Committee of the National Center for Film and Video Preservation, and one of the Board of Advisors for the Association of Independent Video and Filmmakers. On February 11, 2005, she was named to the board of directors of the National Board of Review of Motion Pictures.
Basinger has been described as "one of the most important film scholars alive today." Among other accomplishments, she is credited with having built Wesleyan's Film Studies program into one of the ten best film schools in the world. "A shockingly disproportionate number of Hollywood movers and shakers" are graduates of the program. Former graduates include, but are not limited to: Akiva Goldsman, Joss Whedon, Michael Bay, Paul Weitz, Laurence Mark, Paul Schiff, Alex Kurtzman, Bruce Eric Kaplan, Toby Emmerich, Nick Meyer, Marc Shmuger, Rick Nicita, Bradley Fuller, Dana Delany, Stephen Schiff, Rodger Grossman, Toni Ross, Bradley Whitford, Domenica Cameron-Scorsese, Liz Garcia, Marc Longenecker, Jon Turteltaub, Owen Renfroe, Jeffrey Lane, Zak Penn, Jeremy Arnold and Miguel Arteta.
She has appeared in numerous documentaries, and also in a dramatic role in A Better Way to Die (2000). In 2006 she participated in Wanderlust, a documentary film on road movies and their effect on American culture.
Read more about Jeanine Basinger: Awards
Famous quotes by jeanine basinger:
“... the movie woman’s world is designed to remind us that a woman may live in a mansion, an apartment, or a yurt, but it’s all the same thing because what she really lives in is the body of a woman, and that body is allowed to occupy space only according to the dictates of polite society.”
—Jeanine Basinger (b. 1936)
“A small town is automatically a world of pretense. Since everyone knows everyone else’s business, it becomes the job of the populace to act as if they don’t know what is going on instead of its being their job to try to find out.”
—Jeanine Basinger (b. 1936)
“... in the movies Paris is designed as a backdrop for only three things—love, fashion shows, and revolution.”
—Jeanine Basinger (b. 1936)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)