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Although Arzner thought of herself as an ordinary working director rather than a pioneer, her status as one of the first women directors, and the only one at the time working within the Hollywood studio system, has attracted feminist attention. By examining the critique of women as spectacle implicit in the DANCE, GIRL, DANCE (1940) and pointing out the self-determined, ambitious and independent women in films such as WORKING GIRLS (1932) and CHRISTOPHER STRONG (1933), critics have reassessed the content and structure of her films. Although she was working within the constraints of the studio system, Arzner has stated that because she was not dependent on movies for her living, she was always willing to give a film to another director if she couldn't make it her way.
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