http://www.slate.com/articles/arts/books/2015/09/can_i_go_now_biography_of_agent_sue_mengers_by_brian_kellow_reviewed.html

The first round of storytelling and myth-making about the wave of American filmmaking that temporarily conquered the culture in the late 1960s and 1970s, often called the New Hollywood or the American New Wave, focused mostly on the stories of men. The Rosetta stone of this type of scholarship is Peter Biskind’s Easy Riders, Raging Bulls, which elevated a dozen or so men into the pantheon of tortured geniuses, reinforcing the cult of the director who makes incredible work and leaves a trail of destruction in his path. Though Biskind interviewed plenty of women, including ex-wives and former collaborators such as Polly Platt (divorced from Peter Bogdanovich) and Marcia Lucas (divorced from George Lucas), the female experience of this era is pushed to the margins of Easy Riders, and since its publication in 1998, no nonfiction book has emerged to balance the scales—to tell the story of this period in a way in which the many women who were involved are protagonists rather than secondary players. The sexism of the era (which is not that different from the sexism of our era, to be fair) kept many women from defining themselves on their own terms, as their own personalities and creative talents, apart from the work they did in service of movies credited to men. There were few female filmmakers, producers, or actresses in the 1970s who were famous enough on their own terms and who had the biographer’s dream combination possessed by someone like Francis Ford Coppola: a body of work encompassing historical importance and fascinating failure, and a force-of-nature personality to match.