Elisabeth Subrin is a Brooklyn-based filmmaker, screenwriter, and visual artist. She is known for her interdisciplinary practice in the contemporary art and independent film worlds. She is a professor in Temple University's Department of Film and Media Arts. Her feature length narrative film A Woman, a Part; starring Maggie Siff, Cara Seymour, John Ortiz, and Khandi Alexander; premiered at The Rotterdam Film Festival in 2016. She is also the creator of the blog, Who Cares About Actresses, dedicated to actress Maria Schneider. Biography Subrin grew up in Boston, Massachusetts. She received her M.F.A. from The School of the Art Institute of Chicago in 1995. In 2001 she received the Creative Capital Award in the discipline of Moving Image. In 2003 she was selected for the Sundance Institute's Feature Film Directing and Screenwriting Labs with her first feature screenplay, "Up". Her debut narrative feature film A Woman, A Part, premiered at The Rotterdam Film Festival in 2016. Film and video work Swallow (1995) "Swallow" is an experimental video exploring early adolescence and eating disorders. Tina Wasserman wrote in The New Art Examiner (1996) that, "For Subrin, as the visual metaphor of silence or speechlessness---evidenced primarily by the repeated use of white-out on the body, text, and image---gains prominence in Swallow, it becomes clear that the fragility of female identity in post-feminist America appears, in part, as the failure of language itself." Shulie (1997) Subrin's best known work was inspired by her rediscovery of a little-seen documentary profiling Shulamith Firestone in her final year as a B.F.A. student at School of the Art Institute of Chicago. The original 1967 film was part of a larger series made by four male graduate students at Northwestern University and documents Firestone three years before she published The Dialectic of Sex: The Case for Feminist Revolution and became recognized as a key figure in the development of radical feminism. Filmed on Super-8 and transferred to video and back to 16mm, Subrin's piece is a shot-by-shot remake of the 1967 documentary with Kim Soss playing Firestone. On the occasion of her 2015 solo show at Lincoln Center's "Art of the Real" series, Richard Brody wrote in The New Yorker about the film, praising its ingenuity of form. Kate Haug wrote in a review of the film, "Given the late ‘80s art world trends of appropriation and the ever-growing experience of simulacrum, it is not so shocking that