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Books on the topic 'Female producer'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

Navarro, Marie-Christine. Une femme déplacée: Récit. Fayard, 2007.

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2

Ameyaw, Stephen. The dynamics of female entrepreneurship and indigenous food markets: A case of Techiman market women, Ghana. Michigan State University, 1990.

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3

Ta de wu tai: Zhongguo xi ju nü dao yan chuang zuo yan jiu = Female director. Shanghai yuan dong chu ban she, 2011.

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4

Farley, Fidelma. Aisling: The female and national body in films about Ireland. University College Dublin, 1999.

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5

Arnold, J. D. Seasonality and quality of eggs produced by female striped bass (Morone saxatilis) in the Sacramento and San Joaquin Rivers. Interagency Ecological Program for the San Francisco Bay/Delta Estuary, 1994.

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6

Bouchenot-Déchin, Patricia. La Montansier: De Versailles au Palais-Royal : une femme d'affaires. Perrin, 1993.

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7

James, Sara. The best of friends: Two women, two continents, and one enduring friendship. Morrow, 2007.

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8

Ginger, Mauney, ed. The best of friends: Two women, two continents, and one enduring friendship. Morrow, 2007.

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9

Yaoundé, MULPOC de. Rapport d'étude sur le rôle de la femme dans la commercialisation des produits agricoles en Afrique centrale: Environnement, organisation, problèmes et solutions. Commission économique des Nations Unies pour l'Afrique, Centre multinational de programmation et d'execution de projets pour l'Afrique centrale I, 1987.

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10

"Władczynie spojrzenia": Teoria filmu a praktyka reżyserek i artystek = "Female gaze" : film theory and practice of women filmmakers and artists. Korporacja Ha!Art, 2010.

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11

My Year of Meats. Penguin USA, Inc., 2009.

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12

Ozeki, Ruth. Carne. Einaudi, 2001.

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13

My year of meats. Viking, 1998.

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14

My year of meats. Penguin Books, 1999.

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15

Straight talking: A novel. Broadway Books, 2003.

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16

Forgotten leading ladies of the American theatre: Lives of eight female players, playwrights, directors, managers, and activists of the eighteenth, nineteenth, and early twentieth centuries. McFarland, 1990.

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17

Shock value: A tasteful book about bad taste. Thunder's Mouth Press, 2005.

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18

Toxicology. Viking, 2011.

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19

Shock value. Fourth Estate, 1991.

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20

Betrayal: A novel. Dell, 2013.

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21

Copyright Paperback Collection (Library of Congress), ed. The Sicilian's Innocent Mistress: The Sicilians. Harlequin, 2008.

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22

Carole, Mortimer. The Sicilian's Innocent Mistress. Harlequin, 2008.

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23

John, Erich, ed. Making it big: Sex stars, porn films, and me. Alyson Books, 1997.

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24

John, Waters. Shock value. Thunder's Mouth Press, 1995.

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25

Ladies and not-so-gentle women. Viking, 2000.

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26

Cline, Rachel. My Liar. Random House Publishing Group, 2008.

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27

Cline, Rachel. My liar: A novel. Random House, 2008.

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28

Williams, Tami. The Great War and Dulac’s First Films. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0002.

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This chapter focuses on Dulac's wartime activism and literary writings, as well as the debut of her film career—from her first activities as a film producer for Pathé (La Lumière du coeur, 1916) to her first directorial efforts (Soeurs ennemies to Le Bonheur des autres, 1917–18)—and evaluates the historical significance of her incursion into and negotiated course within the French film industry as a female artist and entrepreneur. A close examination of archival sources documenting Dulac's early professional activities provides insight into her humanist egalitarianism, universalism, and her strong belief in the emancipatory potential of art, as well as her early rhetorical strategies.
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29

Celluloid Ceiling: 21st Century Female Film Directors. Supernova Books, 2012.

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30

Gaines, Jane M. The Genius of Genre and the Ingenuity of Women. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0001.

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This chapter examines a two-minute melodrama by silent cinema director-producer, Alice Guy Blaché, and demonstrates several of its entry points for—mutually exclusive—readings. Crucially, such readings depend on familiar generically gendered possibilities. Thus, against feminism's assertion of difference, rethinking gender as generic foregrounds the role of repetition and its dynamic of expectation. It is here that the woman filmmaker can work. Her “ingenuity” lies in responding to the “genius” of genre's play with expectation, working out of the past to stage permutations for future imaginings. Perhaps the true irony on which Blaché's film turns is the impossible choice between mother and fiancée posed not only for the hero but for female spectators—a type of binary thinking elucidated in the film's generic play and which feminism now challenges.
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31

Cohan, Steven. Masculine Hollywood. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190865788.003.0006.

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This chapter turns from female stars, the objects of cinematic fascination and representation, to the men who control the apparatus. It examines three guises of the male filmmaker: the producer, the writer, and the director. In each case, through a comparison of a studio-era film with two more recent ones, the chapter examines how the backstudio picture locates “creativity” in both the business and the art of filmmaking. It also discusses how backstudios subordinate the male filmmaker and his art to questions of institutional power, with his subordination helping to glamorize or romanticize his figure. Finally, it argues that the genre subsequently equates a masculinized—and white—view of cinema with the cultural aura of “Hollywood.” The chapter closes with a look at the indie black filmmaker as depicted by Baadasssss! (2003).
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32

Rogers, Anna Backman, and Boel Ulfsdotter. Female Authorship and the Documentary Image: Theory, Practice and Aesthetics. Edinburgh University Press, 2019.

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33

Female Authorship and the Documentary Image: Theory, Practice and Aesthetics. Edinburgh University Press, 2018.

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34

Female Agency and Documentary Strategies: Subjectivities, Identity and Activism. Edinburgh University Press, 2018.

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35

Rogers, Anna Backman, and Boel Ulfsdotter. Female Agency and Documentary Strategies: Subjectivities, Identity and Activism. Edinburgh University Press, 2019.

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36

Taiz, Lincoln, and Lee Taiz. Plant-Female Iconography in Neolithic Europe. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190490263.003.0004.

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“Plant-Female Iconography in Neolithic Europe” covers the Neolithic transition to agriculture in the Aegean and Europe, which was accompanied by the production of a large corpus of anthropomorphic figurines, a genre dominated by images of women. Figurines with cereal grain eyes reminiscent of those at Sha’ar Hagolan, have been found in Greece, and this symbolic association between plants and women tracked the spread of agriculture into Europe. There female figurines appear bearing grain impressions, or incised with plant imagery. The dot and lozenge motif found on some figurines has been interpreted as symbolizing the planted field. Female images from the megalithic era of Malta, including engravings on the base of the monumental statue of a woman at the Tarxian temple, reveal symbols evidencing strong plant-female associations. This association shows continuity throughout the secondary products revolution and the Chalcolithic period and continues into the stratified patriarchal societies of the Bronze Age.
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37

author, Culverson Donald R., ed. Female narratives in Nollywood melodramas. 2016.

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38

Tracy, Mary Lee, and Ginny McCabe. Living the Gold-Medal Life: Inspirations from Female Athletes (Empowered Youth Products). Standard Publishing Company, 2003.

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39

Fielding, Nigel G. Does Training Produce Professional Policing? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198817475.003.0007.

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The chapter uses contemporary policing problems and challenges to evaluate how well training prepares recruits, auxiliaries, detectives, and managers for the police role. It reviews patterns of police corruption, misconduct and complaints against officers and considers whether, and how well, training helps police forces counter such problems. It also notes instances of positive responses to failures of service delivery. The discussion moves on to examine the challenge that diversity poses for the police, both at a cultural level and in respect of the specific experience of female officers, ethnic minority officers, and officers with alternative sexual orientations. The lessons of sickness, stress and injury on duty are considered in relation to how effectively training and supervision helps counter these. A discussion of public confidence and trust is used to address the concept of police legitimacy and to place it in relation to the acquisition of professional competence.
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40

Van Leuven, Holly. Ray Bolger. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639044.001.0001.

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Ray Bolger: More Than a Scarecrow is the first book-length biography of the American eccentric dancer and popular culture figure, best known for his role in the 1939 film musical The Wizard of Oz. The book traces Bolger’s career from repertory and vaudeville into New York movie houses, Broadway, nightclubs, the major film studios, Las Vegas resorts, and television programs. Bolger’s dance lineage is also traced through eccentric dancers like Fred Stone and “Irish prince” soft-shoe dancers like George Primrose and Jack Donahue. Special attention is given to Bolger’s involvement in the nascent United Service Organizations (USO) Camp Shows, including his participation in the first ever camp show unit, which went to the Caribbean in November 1941, and later the first unit to entertain in the South Pacific. An entire chapter is dedicated to the creation and performance of Where’s Charley?, Bolger’s most important show and the one for which he earned a Tony Award for Best Featured Actor in a Musical. The Where’s Charley? material explores Bolger’s collaboration with his wife, Gwendolyn Rickard Bolger, who became the first female producer of a musical comedy on Broadway with her contributions to the production. Bolger’s later life as a political spokesperson, a television guest star, and a pop culture personality are also explored.
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41

Rosenberg, Michael. Signs of Virginity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190845896.001.0001.

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The notion that bleeding “should” accompany the “loss” of female virginity—a mode of thinking about virginity that encourages male sexual aggression—is so widespread that it is often taken for granted. Yet, Michael Rosenberg argues in Signs of Virginity that this idea is a specific product of Deut. 22:13–21. Deuteronomy’s violent virginity has held sway in Jewish and Christian circles more or less ever since, but Rosenberg points to two writers—Augustine of Hippo and the rabbinic collective that produced the Babylonian Talmud—who, even as they perpetuate patriarchal assumptions about female virginity, nonetheless attempt to subvert the emphasis on dominance bequeathed to them by Deuteronomy. Unlike the authors of earlier Rabbinic and Christian texts, who modified but fundamentally maintained and even extended the Deuteronomic ideal, the Babylonian Talmud and Augustine both construct alternative models of female virginity that, if taken seriously, would utterly reverse cultural ideals of masculinity, encouraging men to be gentle, rather that brutal, in their sexual behavior. Indeed, this vision of masculinity as fundamentally gentle fits into the broader idealization of masculinity propagated by both the Babylonian Talmud’s authors and Augustine, who reject what the latter called a “lust for dominance” as a masculine ideal.
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42

Inbreeding to Superior Females Using the Rasmussen Factor to Produce Better Racehorses. Andrew Reichard, 1999.

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43

Carranza, Eliana, Aletheia Donald, Rachel Jones, and Léa Rouanet. Time and Money: A Study of Labor Constraints for Female Cotton Producers in Cote d'Ivoire. World Bank, Washington, DC, 2017. http://dx.doi.org/10.1596/27951.

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44

Mellor, Anne K. Gender Boundaries. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.13.

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The social construction of gender in Britain during the Romantic era—in which males were consigned to the public sphere and females to the private sphere under the laws of couverture—produced an all-important difference between the writings of men and women, what we might call masculine as opposed to feminine Romanticism. Male writers tended to celebrate the development of an autonomous self, the divinity of the creative imagination, a political revolution leading to democratic freedom, and the elevation of poetry as the highest genre. Female writers, in contrast, embraced an ideology grounded in family politics; the equality of the sexes and races; the value of rationality, prudence, and self-discipline; a relational self; and the genre of the novel as the form best suited to represent the gradual evolution of the community over time. The Gothic novel offers a compelling example of the difference that gender can make.
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45

Peck, Ellen M. Sweet Mystery. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190873585.001.0001.

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Rida Johnson Young (ca. 1869–1926) was one of the most prolific female playwrights of her time, as well as a lyricist and librettist in the musical theater. She wrote more than thirty full-length plays, operettas, and musical comedies, five hundred songs, and four novels. Despite her extensive output, no significant study of her work has been produced. This book examines her musical theater works with in-depth analyses of her librettos and lyrics, as well as her working relationships with other writers, performers, and producers, particularly Lee and J. J. Shubert. Using archival materials such as original typescripts, correspondence, and reviews, the book contextualizes Young’s work within the milieu of the early-twentieth-century professional theater and provides a window into the standard practices of writing and production of the era. The works examined are Naughty Marietta, Lady Luxury, The Red Petticoat, When Love Is Young, His Little Widows, Her Soldier Boy, Maytime, Sometime, Little Simplicity, and The Dream Girl.
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46

Knoll and, Benjamin R., and Cammie Jo Bolin. The Effect of Clergywomen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882365.003.0008.

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This chapter returns to the public opinion survey data to examine the same question as the previous chapter but from a quantitative perspective. In general, the evidence shows that the presence of female clergy, policies regarding female clergy, and lay female leadership in congregations matter in terms of people’s level of religiosity, spirituality, and trust in and identification with their congregations. These effects, though, are more modest than often asserted: women in congregations with the strongest degree of female leadership have levels of religiosity—about 13% higher than women in congregations with the maximum amount of male leadership. The evidence also shows that sharing leadership equally between men and women would produce similar results. Most interestingly, we find that the effects are found not only among women but especially among political and theological progressives.
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47

The body and the screen: Female subjectivities in contemporary women's cinema. Bloomsbury Academic, 2017.

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48

Taiz, Lincoln, and Lee Taiz. The Quandary Over Plant Sex. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190490263.003.0001.

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Chapter one describes “The Quandary Over Plant Sex” in its historical context. The sexual role of pollen wasn’t discovered until the late 17th century, suggesting a deep cultural bias. Beliefs concerning sex in humans, from Galen and Aristotle onward, were influenced by gender ideology. The lower social status of women suggested a one-sex model, whereby female character and physiology were construed as deficient versions of the male. Plants, because of their association with women, came to be regarded as female. Flowers are often emblematic of women in literature, but flowers seem to produce fruits without carnality, by parthenogenesis. In paintings of the Annunciation, the lily appears almost as regularly as the angel Gabriel as a symbol of Mary’s purity. The association of flowers with female purity hindered the discovery of sex in plants. Although most people are aware of pollen, widespread confusion about its role in sexual reproduction still lingers.
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49

Duffy, Brooke Erin. Rethinking Readership. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037962.003.0005.

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This chapter examines how the transformations associated with digitization are reshaping the ways in which publishers of women's magazines think about readership by focusing on their constructions of audiences. Editors and publishers of women's magazines have long targeted narrowly defined segments of the female populace based upon demographic factors (age, household income, marital status, educational level, and sometimes even race) as well as lifestyle traits and behaviors. They draw upon surveys and other measurement techniques to understand these segments and craft detailed profiles of their “ideal reader.” This chapter considers women's magazines' shape-shifting approaches to audiences, particularly between producers for the print and digital products. It discusses the magazine industry's progress in terms of providing advertisers with more precise and timely audience metrics, as well as magazines' understanding of audience demographics. It also explores recent developments in online tracking and consumer analytics and how they have inspired a new series of approaches to researching media audiences, including search engine optimization, content syndication and aggregation, and web traffic generation.
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50

Taiz, Lincoln, and Lee Taiz. Sex and the Single Cryptogam. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190490263.003.0017.

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As Chapter 17 makes clear, the asexualist/sexualists controversy continued even as Johann Hedwig and Karl von Nägel demonstrated the existence of sex in cryptogams by discovering the Alternation of Generations (1782, 1784), hybridizers A. F. Wiegman and Carl Friedrich von Gaertner recieved prestigious prizes for their work, and Giovanni Battista Amici and Adolphe-Theodore Brongniart discovered—and confirmed—the pollen tube. Unconvinced, Matthias Jacob Schleiden, co-founder of the cell theory, insisted that ferns grow asexually from spores, and that spores, not seeds, are the primary units of propagation in seed plants also. He argued (1853) that the entire life-cycle of seed plants is based on duplicative cell divisions that produce seeds entirely by vegetative processes. Following the Aristotelian doctrine that the female parent provides the material substance of the embryo, he concluded pollen must be a female structure that reproduces vegetatively—thus making the case for a unisexual, plants-as-female model.
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