Krasilovsky, Alexis 1950-

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KRASILOVSKY, Alexis 1950-


PERSONAL: Born July 5, 1950, in Juneau, AK; daughter of M. William (a lawyer and author) and Phyllis (an author) Krasilovsky; children: Thomas Finney. Education: Attended Smith College, 1967-69; Yale University, B.A. (cum laude), 1971; California Institute of the Arts, M.F.A., 1984.


ADDRESSES: Home—1607 Landa St., Los Angeles, CA 90026-2065. Offıce—Department of Cinema and Television Arts, California State University—Northridge, Northridge, CA 91330-8317. Agent—Mary Yost, Mary Yost and Associates, 59 East 54th St., New York, NY 10022. E-mail—[email protected] edu.


CAREER: California State University—Northridge, assistant professor, 1987-91, associate professor, 1991-96, professor of screenwriting, 1996—. Producer and director of films; codirector of the videotape Beale Street, 1981.

MEMBER: Women in Film, Cinewomen, PEN.

AWARDS, HONORS: Grants from New York State Council on the Arts, 1973, and National Endowment for the Arts, 1977; fellow of Brody Arts Fund, 1988, and Western Regional Media Arts, 1992; Roy W. Dean Video Award, 2000, for film adaptation of Women behind the Cinema: Conversations with Camera-women.


WRITINGS:


Some Women Writers Kill Themselves (poetry chapbook), Street Agency, 1983.

Women behind the Camera: Conversations with Camerawomen, Praeger Publishing (Westport, CT), 1997.

Author of the poetry chapbooks Abuse of Privacy and Some Men. Contributor to periodicals, including Millennium Film Journal and Creative Screenwriting.


screenplays; also producer and director


End of the Art World, 1971.

Blood, 1975.

Exile, Facets, 1984.

What Memphis Needs, 1991, broadcast as an episode of The '90s, Public Broadcasting System.

Epicenter U., 1995.

Camp Terezin, 1999.

ADAPTATIONS: Krasilovsky's poetry has been featured in films and videotapes, including The Earthquake Haggadah, narrated by Wanda Coleman; Between Word and Image, Museum of Modern Art; and Exile. Her book Women behind the Camera: Conversations with Camerawomen was also adapted as a documentary film.


WORK IN PROGRESS: Love Morph, a novel; Morphing the Media: Issues in Adaptation, nonfiction.

BIOGRAPHICAL AND CRITICAL SOURCES:


periodicals


Film Quarterly, winter, 1998, Wheeler Winston Dixon, review of Women behind the Camera: Conversations with Camerawomen, p. 61.



online


University of California—Northridge Web site,http://www.csun.edu/ (January 12, 2002).