Movies by white males no longer constitute the majority of Columbia student films. And the work of our female graduates has earned acclaim, including Tanya Wexler, Patricia Riggen, Kimberly Peirce, Laryssa Kondracki, Katharina Otto-Bernstein and Courtney Hunt. On Wednesday, my colleague Bette Gordon will moderate a Lincoln Center panel with alumnae Lisa Cholodenko, Nicole Holofcener, Shari Springer Berman and Cherien Dabis, titled "What Glass Ceiling? The Remarkable Success of Columbia's Women Filmmakers."
The one constant in our classes over the decades? To have a story worth telling, and to find the right cinematic language for it. The Film Program of Columbia's School of the Arts has evolved from a respected screenwriting conservatory and cinema studies program to a major filmmaking institution. Feeling the power of the images projected on the enormous screen of Alice Tully Hall, I was reminded of Deutchman's letter in the printed program. He acknowledged the proliferation of movies being made--as well as the mistaken belief that anyone with a smartphone is a filmmaker--and concluded, "Having a camera does not make a filmmaker, just as having a word processor does not make a writer. Film is a complex and powerful art form that requires talent, devotion and plenty of practice."
Annette Insdorf, author of "Philip Kaufman," is Director of Undergraduate Film Studies at Columbia University, and former Chair of the Graduate Program.