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Journal articles on the topic 'Feminist motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Civil, Gabrielle, and Anna Martine Whitehead. "Dreaming in Motion: Zoom Excerpts from Black Motion Pictures." Journal of American Folklore 134, no. 534 (2021): 501–12. http://dx.doi.org/10.5406/jamerfolk.134.534.0501.

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Abstract Gabrielle Civil, a Black feminist performance artist, and Anna Martine Whitehead, a Black transdisciplinary artist, formulate, exchange, and respond to embodied strategies of creativity and resistance. They discuss Black performance dreams and their own movements as Black performers. Recorded on June 4, 2020, during the coronavirus shutdown and shortly after George Floyd’s tragic death, their words have become a time capsule. Their conversation is part of Black Motion Pictures, Civil’s interview series with radical Black creatives on Zoom, an internet video conference platform. Time s

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2

Peng, Alicia Inge. "Social Changes in America: The Silent Cinema Frontier and Women Pioneers." Humanities 13, no. 1 (2023): 3. http://dx.doi.org/10.3390/h13010003.

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Silent cinema acted as a bridge between early motion pictures and today’s film industry, playing a transformative role in shaping feminist film history and American society. This article explores pioneering American women in the silent film industry who ventured into technology, film culture, marginalized communities, and social movements. Despite the prevalence of racist and sexist propaganda, American silent films were a frontier for innovation, filmmaking, and exploring the New Women concept. This study examines 23 American silent films that have often been overlooked and rarely studied, wh

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Lim, Bliss Cua. "Fragility, Perseverance, and Survival in State-Run Philippine Archives." Plaridel 15, no. 2 (2018): 1–40. http://dx.doi.org/10.52518/2018.15.2-01bclim.

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This article considers the consequences of the 2004 dissolution of the Philippine Information Agency’s Motion Picture Division (PIA-MPD) on three key collections entrusted to it: films from the National Media Production Center; from the Movie and Television Review and Classification Board (themselves remnants of the previous archival collapse of the Film Archives of the Philippines in 1986); and lastly, a number of films produced by LVN Pictures, a studio founded in 1938. Using approaches from cultural policy, archival theory, feminist epistemology, and postcolonial historiography, the essay d

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Zięba, Hubert. "Rasa, płeć, choroba. Sposoby reprezentowania czarnych kobiet w kontekście epidemii AIDS w Stanach Zjednoczonych." Prace Kulturoznawcze 21, no. 4 (2018): 97–118. http://dx.doi.org/10.19195/0860-6668.21.4.6.

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Race, sex, disease. Modes of representing black women in the context of the AIDS epidemic in the United StatesIn this article I try to outline the ways of representing black women in the context of the AIDS epidemic in the United States. The point of departure for prospecting for such images is the development of the feminist thought and women cinema practices, described by E. Ann Kaplan and Alexandra Juhasz, which diverge from a unified category of women towards a multicultural aspect of femininity. In the face of rendering HIV/AIDS dominantly from a white male perspective in the most popular

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Isha Mittal. "Use of Women’s Beauty and Makeup in Battle: Unveiling Stereotypes and Strength." Creative Saplings 2, no. 09 (2023): 35–45. http://dx.doi.org/10.56062/gtrs.2023.2.09.462.

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Since the earliest writings of Bharatmuni's Natyashastra, an essential text in Indian aesthetics written more than two thousand years ago, women have been essentially connected with beauty and makeup. Shringararasa was mostly associated with women in the Rasa philosophy. This link has persisted and can even be seen in current Hollywood productions. It is interesting how beauty has been portrayed in two distinct manners throughout various historical works of literature, films, and books. On one hand, it has supported stereotypes like child marriage and placed restrictions on women's access to h

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6

Anselmo, Diana W. "Fire in the Hole." Feminist Media Histories 10, no. 1 (2024): 28–56. http://dx.doi.org/10.1525/fmh.2024.10.1.28.

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Drawing on the letters female fans submitted to Motion Picture Magazine between 1914 and 1918, this article seeks to center negative feelings as a constitutional part of Hollywood reception during the World War I years. Emergent at this time, the language of affective film reception took up a combative tenor reflective of women’s lived experiences: anger, derision, and dissent pervade the first-person writings submitted by self-identified movie-loving “misses” and “girls.” Reading their published correspondence as proto-manifestations of feminist “troublemakers” and “killjoys” helps in histori

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Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood." Pacific Historical Review 80, no. 2 (2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.

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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depi

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Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.

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Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously ha

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9

Lane, Christina. "The Politics of Feminism, Race, Community, and Place in the Florida Film Once Upon a Time (1922)." Feminist Media Histories 3, no. 4 (2017): 69–101. http://dx.doi.org/10.1525/fmh.2017.3.4.69.

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This essay examines the making of the independent (and no longer extant) film Once Upon a Time (1922), which was produced, directed, and written by Coconut Grove, Florida, resident Ruth Bryan Owen. As a historical and cultural prism, the film grants us a unique view of Owen as an independent filmmaker and someone who, in the late 1920s, would become the first woman elected to the US Congress from the Southern states. It also offers insights into Coconut Grove and Miami as a dynamically charged field of gender, race, and class relations during the early 1920s. For Owen, these years were filled

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10

Roy, Mouparna. "Male Gaze in Indian Cinema: The Presentation of Women in Mainstream Cinema." Journal of Humanities and Education Development 3, no. 5 (2021): 94–101. http://dx.doi.org/10.22161/jhed.3.5.14.

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Since the advent of motion pictures, movies have had a great impact on the masses. It has been used as a medium of communication with society as it has been said that movies are the reflection of society. In the Indian context, we can see the depiction of different identities in the cinemas, like gender, queer, ethnic groups and so on (multiculturalism). But the question is how far it is to address the problems of these marginalized sections. Even as a common person, we can notice the less or misrepresentation or misrecognition of the subaltern groups in Indian cinema. One of the most misrepre

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Roy, Mouparna. "Male Gaze in Indian Cinema: The Presentation of Women in Mainstream Cinema." Journal of Humanities and Education Development 3, no. 5 (2021): 94–101. http://dx.doi.org/10.22161/jhed.3.5.13.

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Since the advent of motion pictures, movies have had a great impact on the masses. It has been used as a medium of communication with society as it has been said that movies are the reflection of society. In the Indian context, we can see the depiction of different identities in the cinemas, like gender, queer, ethnic groups and so on (multiculturalism). But the question is how far it is to address the problems of these marginalized sections. Even as a common person, we can notice the less or misrepresentation or misrecognition of the subaltern groups in Indian cinema. One of the most misrepre

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12

Ameti, Lirije. "THE PORTRAIT OF THE AMERICAN WOMAN IN MARGARET MITCHELL'S NOVEL "GONE WITH THE WIND"." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (2019): 1749–53. http://dx.doi.org/10.35120/kij31061749a.

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This theme, The Portrait of the American Woman in Margaret Mitchell's Novel " Gone With The Wind " is broad, challenging, interesting and among many contradictory to one another's point of view, at different social grounds , periods of time simply or merely of the fact that a female writer of this tremendous saga read mostly by women represents multi dimensional themes. It is an interweave of tradition, history , war, social classes, Reconstruction, transition and more. All these and many other themes written with a masterful disciplined imagination put in the longest novel in history. A maste

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13

Scheibler, Sue. "Book ReviewsunInvited: Classical Hollywood Cinema and Lesbian Representability. By Patricia White. Bloomington: Indiana University Press, 1999.Movie‐Struck Girls: Women and Motion Picture Culture after the Nickelodeon. By Shelley Stamp. Princeton, N.J.: Princeton University Press, 2000.Feminism and Documentary. Edited by Diane Waldman and Janet Walker. Minneapolis: University of Minnesota Press, 1999.OutTakes: Essays on Queer Theory and Film. Edited by Ellis Hanson. Durham, N.C.: Duke University Press, 1999." Signs: Journal of Women in Culture and Society 29, no. 1 (2003): 269–74. http://dx.doi.org/10.1086/375672.

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14

Loobeek, Kristi. "A Feminist Analysis of the Film "The Hunger Games"." Concordia Journal of Communication Research 1 (2014). http://dx.doi.org/10.54416/gjgs4165.

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The purpose of this paper was to analyze the appearance of feminism throughout The Hunger Games, especially when pertaining to the lead female character of Katniss Everdeen. The thesis of this paper is that, while characteristics of all three “waves” of feminism were present within the motion picture, third-wave feminism prevailed as most apparent.

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15

Istoft, Britt. "For hendes ansigt skinnede som solen." Kvinder, Køn & Forskning, no. 3 (October 29, 1997). http://dx.doi.org/10.7146/kkf.v0i3.28484.

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The Gernman abbess and mystic Hildegard of Bingen (1098-1179) developped a richly nuanced theology of the feminine. At the heart of her spiritual world stands the numinous figure she called Sapientia or Caritas: Wisdom or Love, a theophany of the feminine aspect of the divine. In Hildegard's visionary work De operatione Dei, "The Book of Divine Works", written between 1163-1173, Caritas/Sapientia plays an important part. She is the central figure in five out of the ten visions, that comprises De operatione Dei. The first two visions picture Caritas as Anima Mundi, the world soul - the divine p

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Joseph, Kaela, Tanya Cook, and Alena Karkanias. "“Are You Watching <em>The Godfather</em>?”." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3064.

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Introduction In the film Barbie, Stereotypical Ken “only has a great day if Barbie looks at him”. Ken’s identity is based on Barbie’s approval, that is, until he garners the approval of other Kens by reshaping their collective identities under the patriarchy. The Kens’ patriarchal collective identities are demonstrated in part through their participation in popular-culture fandoms. They mansplain The Godfather and Stephen Malkmus, demand their Barbies be “really invested in the Zack Snyder cut of Justice League”, and sing Matchbox 20’s “Push” at the Barbies “while staring uncomfortably into [t

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S, Eli. "Unboxing the New Barbie." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3060.

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Introduction “Unboxing the New Barbie” explores Barbie’s new image in Greta Gerwig’s 2023 film, Barbie, where Barbie appears initially in a perfect shape and enjoys her ideal life in Barbie Land. The film presents Barbie Land as a female-dominated space with Barbies at the centre of authority, with a utopic lifestyle of freedom and joy. However, the film immediately troubles this utopia through a set of cinematic devices. First, the stereotypical Barbie’s life appears as a series of monotonous routines within the pink plastic structures, and later, her utopic body image and Barbie Land are dis

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18

Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d

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19

Deffenbacher, Kristina. "Mapping Trans-Domesticity in Jordan’s Breakfast on Pluto." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1518.

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Neil Jordan’s Breakfast on Pluto (2005) reconceives transience and domesticity together. This queer Irish road film collapses opposition between mobility and home by uncoupling them from heteronormative structures of gender, desire, and space—male/female, public/private. The film’s protagonist, Patrick “Kitten” Braden (Cillian Murphy), wanders in search of a loved one without whom she does not feel at home. Along the way, the film exposes and exploits the doubleness of both “mobility” and “home” in the traditional road narrative, queering the conventions of the road film to convey the desire a

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20

Burford, James. "“Dear Obese PhD Applicants”: Twitter, Tumblr and the Contested Affective Politics of Fat Doctoral Embodiment." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.969.

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It all started with a tweet. On the afternoon of 2 June 2013, Professor Geoffrey Miller, an evolutionary psychologist at the University of New Mexico (UNM) and visiting instructor at New York University (NYU), tweeted out a message that would go on to generate a significant social media controversy. Addressing aspiring doctoral program applicants, Miller wrote:Dear obese PhD applicants: if you didn’t have the willpower to stop eating carbs, you won't have the willpower to do a dissertation #truthThe response to Miller’s tweet was swift and fiery. Social media users began engaging with him on T

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21

Matthews, Nicole. "Creating Visible Children?" M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.51.

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I want to argue here that the use of terms like “disabled” has very concrete and practical consequences; such language choices are significant and constitutive, not simply the abstract subject of a theoretical debate or a “politically correct” storm in a teacup. In this paper I want to examine some significant moments of conflict over and resistance to definitions of “disability” in an arts project, “In the Picture”, run by one of the UK’s largest disability charities, Scope. In the words of its webpages, this project “aims to encourage publishers, illustrators and writers to embrace diversity

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22

Lindop, Samantha Jane. "Carmilla, Camilla: The Influence of the Gothic on David Lynch's Mulholland Drive." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.844.

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It is widely acknowledged among film scholars that Lynch’s 2001 neo-noir Mulholland Drive is richly infused with intertextual references and homages — most notably to Charles Vidor’s Gilda (1946), Billy Wilder’s Sunset Boulevard (1950), Alfred Hitchcock’s Vertigo (1958), and Ingmar Bergman’s Persona (1966). What is less recognised is the extent to which J. Sheridan Le Fanu’s 1872 Gothic novella Carmilla has also influenced Mulholland Drive. This article focuses on the dynamics of the relationship between Carmilla and Mulholland Drive, particularly the formation of femme fatale Camilla Rhodes (

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Rintoul, Suzanne. "Loving the Alien." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2408.

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In a 2003 Rolling Stone review of David Bowie’s 1972 concept album The Rise and Fall of Ziggy Stardust and the Spiders From Mars, one critic looks back and argues that “[the creation of] Ziggy was a shrewd move because it presented Bowie, the fledgling artiste, as an established rock star.” Bowie’s shrewdness, the author muses, lies in the fact that he created in Ziggy “rock’s first completely prepackaged persona,” and inscribed it over his own. Whether or not Ziggy was indeed the first such persona (one asks oneself if all celebrities are not, to a degree, prepackaged personae), Bowie’s self-

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Lavis, Anna. "Consuming (through) the Other? Rethinking Fat and Eating in BBW Videos Online." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.973.

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A young woman in bikini bottoms and a vest top scrunched up to just below her breasts stands facing the camera. Behind her lies the neatened clutter of domestic space with family photographs arranged next to a fish tank. As this gently buzzes in its fluorescent pool of light, she begins to speak: I’ve just finished eating my McDonald’s meal, which was one of the new quarter pounders with the bacon and the cheese and ten nuggets and a large fries but I have not finished my drink. Pausing to hold up her drink to the camera, she shakes the takeaway cup to assess how much remains inside. With her

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Cantrell, Kate Elizabeth. "Ladies on the Loose: Contemporary Female Travel as a "Promiscuous" Excursion." M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.375.

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In Victorian times, when female travel narratives were read as excursions rather than expeditions, it was common for women authors to preface their travels with an apology. “What this book wants,” begins Mary Kingsley’s Travels in West Africa, “is not a simple preface but an apology, and a very brilliant and convincing one at that” (4). This tendency of the woman writer to depreciate her travel with an acknowledgment of its presumptuousness crafted her apology essentially as an admission of guilt. “Where I have offered my opinions,” Isabella Bird writes in The Englishwoman in America, “I have

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