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Journal articles on the topic 'Women's Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Pack, Sam, and Hoa Tran. "Film Review:Through Women's Eyes." Visual Anthropology Review 15, no. 1 (1999): 100–102. http://dx.doi.org/10.1525/var.1999.15.1.100.

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2

Savory, Elaine. "African Women's Voices on Film." NWSA Journal 9, no. 1 (1997): 99–106. http://dx.doi.org/10.2979/nws.1997.9.1.99.

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3

Rifeser, Judith. "Patricia White (2015) Women's Cinema, World Cinema: Projecting Contemporary Feminisms." Film-Philosophy 21, no. 1 (2017): 142–45. http://dx.doi.org/10.3366/film.2017.0037.

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4

Turan, Müge. "You Don't Own This War: Arab Women's Cinema Showcase." Film Quarterly 73, no. 2 (2019): 87–92. http://dx.doi.org/10.1525/fq.2019.73.2.87.

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With only nine films, “Here and Now: Contemporary Arab Women Filmmakers,” a film series exhibited in August 2019 at Toronto's TIFF Bell Lightbox, is inevitably limited in the variety of style, form, and storytelling it can convey. However, by highlighting both the diversity and intersectionality of identities, the films presented are linked by a compelling thematic thread: they all investigate how cinema represents Arab women with a focus on the body, its materiality, and the power relations that determine it. Although each film reflected its local political and socio-economic context, collect

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5

Martinelli, Lucas. "Women's Time: The Mar del Plata International Film Festival." Film Quarterly 73, no. 3 (2020): 89–92. http://dx.doi.org/10.1525/fq.2020.73.3.89.

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Lucas Martinelli reports from the 34th edition of Argentina's Mar del Plata International Film Festival, the only FIAPF-accredited film festival in Latin America. Noting that this year's festival marked the sophomore effort of Cecilia Barrionuevo, the first female director in the festival's history, Martinelli focuses attention on the notable uptick in discussion space and festival slots awarded to women in the industry. The festival's second Forum of Cinema and Gender Perspective brought female speakers from fields across the industry—actresses, directors, researchers, and journalists. In his

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6

Doss, Erika, and Jan Rosenberg. "Women's Reflections: The Feminist Film Movement." Woman's Art Journal 6, no. 1 (1985): 45. http://dx.doi.org/10.2307/1358065.

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7

Evans, Barbara. "Rising Up." Feminist Media Histories 2, no. 2 (2016): 107–21. http://dx.doi.org/10.1525/fmh.2016.2.2.107.

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The London Women's Film Group was formed in 1972 in response to the seemingly impermeable male-dominated film industry and culture of the time along with the urgently felt need to put women's stories, told by women, on the screen. Made up of a dedicated assortedment of practitioners and theorists, the group produced a variety of films, both individually and collectively, including Women of the Rhondda (1973), Put Yourself in My Place (1974), The Amazing Equal Pay Show (1974), and Whose Choice? (1976). The group and its work provided inspiration to one another and to many other women who percei

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8

Bell, Melanie. "Rebuilding Britain." Feminist Media Histories 4, no. 4 (2018): 33–56. http://dx.doi.org/10.1525/fmh.2018.4.4.33.

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Women's marginalization in the British feature film industry is well documented: gender discrimination, and sometimes overt segregation, shut most women out of senior creative roles after the introduction of sound. What has received less critical attention is their participation in nonfiction filmmaking, which offered women greater employment opportunities, especially in the decades after World War II as Britain rebuilt its economy. This article provides the first historical mapping of women's involvement in sponsored nonfiction filmmaking in Britain in the period between 1945 and 1970, using

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9

Staab, Laura. "Kate Ince (2017) The Body and the Screen: Female Subjectivities in Contemporary Women's Cinema." Film-Philosophy 25, no. 1 (2021): 62–65. http://dx.doi.org/10.3366/film.2021.0157.

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10

Edwards, Alexandra. "Hollywood Regionalism." Feminist Media Histories 6, no. 2 (2020): 16–42. http://dx.doi.org/10.1525/fmh.2020.6.2.16.

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In her sixty years on earth, Gene Stratton-Porter was many things: a women's club organizer, nature photographer, naturalist, conservationist, best-selling novelist, and a burgeoning film producer who died just as her film studio began to realize her mission of adapting her novels into movies that could further her education and conservation efforts. By 1960, eight of her books had been turned into twenty-one films—silent and sound, black and white and color, from Poverty Row studios to members of the Big Five. This article examines how Stratton-Porter and others translated her regionalism and

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11

Samer, Roxanne. "Lesbian Feminist Cinema's Archive and Moonforce Media's National Women's Film Circuit." Feminist Media Histories 1, no. 2 (2015): 90–124. http://dx.doi.org/10.1525/fmh.2015.1.2.090.

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This essay offers a microhistory of the feminist film distributor Moonforce Media. Between 1975 and 1980, Moonforce Media built the National Women's Film Circuit, a lesbian feminist distribution system that circulated preconstituted packages of multigeneric feminist films through as wide a nontheatrical feminist U.S. market as possible. Drawing on the organization's records and ephemera, now located in the Sophia Smith Collection at Smith College, and oral histories with its founders, this analysis of the development of Moonforce Media—its distribution policies, programming choices, and exhibi

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12

Serna, Laura Isabel. "Anita Maris Boggs." Feminist Media Histories 1, no. 2 (2015): 135–43. http://dx.doi.org/10.1525/fmh.2015.1.2.135.

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This short essay sketches the career of Anita Uada Maris Boggs, cofounder of the Bureau of Commercial Education, a charitable organization that from the 1910s through the 1930s circulated a library of sponsored films. I argue that Boggs's absence from film historiography has been doubly determined: first by the relative invisibility of educational film, and second by ideologies of gender that obscured women's work in the film industry, broadly construed, behind that of their male collaborators.

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13

Higashi, Sumiko, and Andrea S. Walsh. "Women's Film and Female Experience, 1940-1950." Journal of American History 72, no. 2 (1985): 449. http://dx.doi.org/10.2307/1903457.

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14

Russell, Catherine. "Mikio Naruse and the Japanese Women's Film." Asian Cinema 10, no. 1 (1998): 120–25. http://dx.doi.org/10.1386/ac.10.1.120_1.

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15

Wager, Jans B. "Feminism, Film, Fascism: Women's Auto/Biographical Film in Postwar Germany (review)." Biography 23, no. 1 (2000): 235–38. http://dx.doi.org/10.1353/bio.1999.0024.

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16

Duong, Lan. "Close up: The female gaze and ethnic difference in two Vietnamese women's films." Journal of Southeast Asian Studies 46, no. 3 (2015): 444–62. http://dx.doi.org/10.1017/s0022463415000338.

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This article looks at two contemporary films by Vietnamese women. In Việt Linh's Travelling Circus (1988) and Phạm Nhuệ Giang's The Deserted Valley (2002), a female gaze is sutured to that of an ethnic minority character's, a form of looking that stresses a shared oppression between women and the ethnic Other. While clearing a space for a desiring female gaze in Vietnamese film, they nonetheless extend an Orientalist view of racialised difference. A feminist film optic, one that does not consider industry history and constructions of race, fails to mark out the layered relations of looking und

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17

Dewi, Agustina Kusuma, Yasraf Amir Piliang, and Irfansyah Irfansyah. "DELEUZE CINEMATICA’ ETHIC IN JAVA WOMEN'S REPRESENTATION ON ‘SETAN JAWA’ GARIN NUGROHO'S FILM." VISUALITA 8, no. 1 (2019): 39–46. http://dx.doi.org/10.33375/vslt.v8i1.1867.

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Film is a medium of visual communication that plays a role in the dissemination of women's concept discourse in Indonesia, one of which is due to its distinctive characteristics that can last for a long period of time, potentially wider in its dissemination, including also being a mass media hypnotic culture. The film is closely related to the concept of gaze, male gaze in the cinematography industry, which according to overly uses men's views, which is positioning women as subjects who have no power over themselves (self-possessiveness) but as objects of male gaze. Women become commodities in

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18

Hastie, Amelie. "The Vulnerable Spectator." Film Quarterly 72, no. 1 (2018): 58–63. http://dx.doi.org/10.1525/fq.2018.72.1.58.

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This entry of the “Vulnerable Spectator” column draws upon Jennifer Fox's autobiographical film The Tale (2018), which struggles with the filmmaker's memories of the 1970s, in order to reconsider the 1974 film Alice Doesn't Live Here Anymore (dir. Martin Scorsese). Situating Alice within the history of women's contributions to US commercial film production and feminist film theory, Hastie argues both for a recognition of Ellen Burstyn's authorial role in regard to the film and for a more expansive theoretical and historiographic practice in relation to the era. This column kicks off a series o

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19

Balides, Constance. "Sociological Film, Reform Publicity, and the Secular Spectator." Feminist Media Histories 3, no. 4 (2017): 10–45. http://dx.doi.org/10.1525/fmh.2017.3.4.10.

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This essay analyzes how “sociological films,” an early iteration of social problem films during the 1910s, participated in a wider historical formation of social reform, one that was heavily influenced by women. It investigates the category of sociological film as it was discussed in Moving Picture World; the connection between practical Progressive Era reform initiatives and the emerging field of sociology, especially through the figure of Jane Addams and the social settlement movement; and reform publicity methods, which included sociological moving pictures along with photographs, living di

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20

Tarr, Carrie. "Introduction: Women's film-making in France 2000–2010." Studies in French Cinema 12, no. 3 (2012): 189–200. http://dx.doi.org/10.1386/sfc.12.3.189_2.

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21

Vincendeau, G. "Women's Cinema, Film Theory and Feminism in france." Screen 28, no. 4 (1987): 4–19. http://dx.doi.org/10.1093/screen/28.4.4.

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22

Jinhua, D. "Invisible Women: Contemporary Chinese Cinema and Women's Film." positions: east asia cultures critique 3, no. 1 (1995): 255–80. http://dx.doi.org/10.1215/10679847-3-1-255.

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23

Blaetz, Robin. "Rescuing the Fragmentary Evidence of Women's Experimental Film." Camera Obscura: Feminism, Culture, and Media Studies 21, no. 3 (2006): 153–56. http://dx.doi.org/10.1215/02705346-2006-016.

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24

Grant, C. "Secret agents: Feminist theories of women's film authorship." Feminist Theory 2, no. 1 (2001): 113–30. http://dx.doi.org/10.1177/14647000122229325.

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25

HUANG, Yu Shan. "'Creating and distributing films openly': on the relationship between women's film festivals and the women's rights movement in Taiwan." Inter-Asia Cultural Studies 4, no. 1 (2003): 157–58. http://dx.doi.org/10.1080/1464937032000060302.

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26

Price, Hollie. "‘How to pack a hall’: Civic Film Culture in Wartime Britain and MoI Mobile Film Shows for the Women's Institute." Journal of British Cinema and Television 18, no. 4 (2021): 458–77. http://dx.doi.org/10.3366/jbctv.2021.0590.

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In the 1930s, the documentary film movement had experimented with non-theatrical distribution and this was championed by John Grierson, who claimed that the ‘future of cinema … may creep in quietly by way of the YMCAs, the church halls and other citadels of suburban improvement’. This article explores the wartime evolution of this idea by expanding on the Ministry of Information's (MoI) organisation of mobile film shows in practice: uncovering archival evidence of Helen de Mouilpied's work organising the regional film exhibition scheme, and focusing on the programming of film shows for women,

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27

Pike, Kirsten. "Managing Female Adolescence in Disney's Witch Mountain Movies during the Women's Liberation Era." Feminist Media Histories 1, no. 1 (2015): 112–52. http://dx.doi.org/10.1525/fmh.2015.1.1.112.

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Although Disney's 1970s Witch Mountain films were tremendously popular with preteen girls, they have been largely overlooked in historical scholarship on gender, film, and second-wave feminism. To help extend and shed new light on the history of girls on film during the women's liberation era, this article explores how Escape to Witch Mountain (1975) and Return from Witch Mountain (1978) negotiate ideas about youthful female independence, power, and sexuality. Though on the surface these films appear to fit Disney's model of “innocent” entertainment, close analysis reveals patterns common to t

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28

Allen, Jeanne. "Palaces of Consumption as Women's Club: En-countering Women's Labor History and Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 8, no. 1 (1990): 150–58. http://dx.doi.org/10.1215/02705346-8-1_22-150.

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29

DeMarco, Rosanna F., and Chad A. Minnich. "Men's Experiences Viewing an HIV/AIDS Prevention Education Film by and for Women." American Journal of Men's Health 1, no. 3 (2007): 183–89. http://dx.doi.org/10.1177/1557988306293859.

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The purpose of this study is to understand (a) the experience of men viewing the film Women's Voices Women's Lives ( WVWL), a prevention education film for and by heterosexual African American women living with HIV/AIDS in the United States, and (b) the perceived needs of male viewers on how to best access effective HIV/AIDS prevention messages. A postviewing structured written survey was completed addressing the experience of viewing the film and HIV prevention services in the community, respectively ( N = 16). Responses include stunning realization and anger that motivated viewers to get imm

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30

Horne, Jennifer. "The Better Films Movement and the Very Notion of It." Feminist Media Histories 3, no. 4 (2017): 46–68. http://dx.doi.org/10.1525/fmh.2017.3.4.46.

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This essay considers the historical and conceptual framing of the American better films initiatives of the early twentieth century. Starting with the observation that the film betterment campaigns coincided with the moment women en masse began to be admitted to decision-making processes of government and civic enterprises, the article connects the advances achieved in both spheres with the downplaying of better films achievements by historians of cinema. In doing so, it calls for a more complex explanation of this so-called movement in order to understand women's active participation in their

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31

Dreher, Kwakiutl Lynn. "Spirituality as Ideology in Black Women's Film and Literature." Quarterly Review of Film and Video 26, no. 1 (2008): 59–62. http://dx.doi.org/10.1080/10509200600701529.

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32

MacDonald, Scott. ": Shot/Countershot: Film Tradition and Women's Cinema . Lucy Fischer." Film Quarterly 43, no. 4 (1990): 31–33. http://dx.doi.org/10.1525/fq.1990.43.4.04a00170.

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33

Hammer, Tonya R. "A Content Analysis of Women's Career Choices in Film." Journal of Creativity in Mental Health 5, no. 3 (2010): 260–74. http://dx.doi.org/10.1080/15401383.2010.507590.

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34

Fowler, C., and P. Kuppers. "Creteil International Women's Film Festivel, 18-27 March 1994." Screen 35, no. 4 (1994): 394–97. http://dx.doi.org/10.1093/screen/35.4.394.

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35

Elfman, Lois. "Athena Film Festival Spotlights Barnard's Commitment to Women's Leadership." Women in Higher Education 25, no. 4 (2016): 1–2. http://dx.doi.org/10.1002/whe.20296.

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36

Stilwell, Robynn J. "Black Voices, White Women's Tears, and the Civil War in Classical Hollywood Movies." 19th-Century Music 40, no. 1 (2016): 56–78. http://dx.doi.org/10.1525/ncm.2016.40.1.56.

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Two musical trends of the 1930s—the development of a practice for scoring sound films, and the increasing concertization of the spiritual in both solo and choral form—help shape the soundscape of films based in the South and/or on Civil War themes in early sound-era Hollywood. The tremendous success of the Broadway musical Show Boat (1927), which was made into films twice within seven years (1929, 1936), provided a model of chorus and solo singing, and films like the 1929 Mary Pickford vehicle Coquette and the 1930 musical Dixiana blend this theatrical practice with a nuanced syntax that logic

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37

Mortimer, Mildred. "Zoulikha, the Martyr of Cherchell, in Film and Fiction." Publications of the Modern Language Association of America 131, no. 1 (2016): 134–39. http://dx.doi.org/10.1632/pmla.2016.131.1.134.

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Readers of assia djebar's oeuvre are well aware of her commitment to restoring algerian women to their proper place in the history of their nation's anticolonial struggle. Beginning with her third novel, Les enfants du nouveau monde (1965; Children of the New World), a text offering a panoramic view of women's participation in the Algerian War, Djebar signaled her intent to chart women's political and psychological awakening during the anticolonial struggle. In contrast to this early text, Djebar's penultimate work, La femme sans sépulture (2002; “Woman without a Tomb”), focuses on one revolut

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38

MacDonald, Shana. "Voicing Dissonance." Feminist Media Histories 1, no. 4 (2015): 89–107. http://dx.doi.org/10.1525/fmh.2015.1.4.89.

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This article examines how sound was used as an effective tool of formal resistance in the work of influential feminist filmmakers, Carolee Schneemann (United States), Gunvor Nelson (Sweden), and Joyce Wieland (Canada). While their work differs in both aesthetic approach and thematics, their strategic use of sound as a point of disruption within their early films set an important standard for future feminist experimental film practice. The article outlines how each filmmaker constructed a dialectical relationship between image and sound that often challenged viewers. Each produced defamiliarize

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39

Leighninger, Robert D. "The Western as Male Soap Opera: John Ford's Rio Grande." Journal of Men’s Studies 6, no. 2 (1998): 135–48. http://dx.doi.org/10.1177/106082659800600202.

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Conflicts between career and family are commonly assumed, in social science and popular culture, to be women's problems. Recognition that men might have similar problems has been slower in coming, perhaps because we assume that the superior power men often have in domestic and work situations can resolve or mitigate them. John Ford's 1950 Western Rio Grande presents a male-role conflict that neither institutional power nor violent physical action can resolve. The struggle must be waged within rigid institutional constraints, a pattern commonly seen in 1950s melodrama and soap opera. These film

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40

Thornham, Sue. "‘Not a country at all’: Landscape and Wuthering Heights." Journal of British Cinema and Television 13, no. 1 (2016): 214–31. http://dx.doi.org/10.3366/jbctv.2016.0308.

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This article explores the issue of women's representational genealogies through an analysis of Andrea Arnold's 2011 Wuthering Heights. Beginning with 1970s feminist arguments for a specifically female literary tradition, it argues that running through both these early attempts to construct an alternative female literary tradition and later work in feminist philosophy, cultural geography and film history is a concern with questions of ‘alternative landscapes’: of how to represent, and how to encounter, space differently. Adopting Mary Jacobus' notion of intertextual ‘correspondence’ between wom

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41

Turvey, Gerry. "Adopting a Female Perspective: An Account of the Films of Ethyle Batley, 1912–17." Journal of British Cinema and Television 15, no. 2 (2018): 271–90. http://dx.doi.org/10.3366/jbctv.2018.0418.

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Ethyle Batley was Britain's first woman film director, responsible for some 64 one- and two-reel films between 1912 and her death in 1917. Her unique, albeit brief, career was carved out in an industry domain conventionally reserved for men but her film-making practice appears to have been inflected by her experiences as a woman, especially as she began producing at the moment the Women's Social and Political Union was entering its most militant phase. Consequently, she developed a subject matter that drew on an identifiably ‘female perspective’. Adopting a short-story narrative approach and w

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42

Dupont, Joan. "Searching for Nelly Kaplan." Film Quarterly 71, no. 4 (2018): 22–32. http://dx.doi.org/10.1525/fq.2018.71.4.22.

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Critic Joan Dupont went in search of filmmaker Nelly Kaplan, whom she had met at an awards ceremony in Paris over a decade ago. She was famous for one film, La Fiancée du Pirate (A Very Curious Girl, 1969), which had taken France and the international world of women's film festivals by storm. She had slipped out of sight; nobody seemed to know where she was or why. At the Cinémathèque Française, there was only a kind of embarrassment when her name was mentioned and no plan to show her films. This past year has seen a resurgence of interest in the work of Kaplan, and the restoration and rerelea

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43

Tasker, Yvonne. "An Interview with Terry Wragg on the Work of the Leeds Animation Workshop." Feminist Media Histories 2, no. 2 (2016): 122–32. http://dx.doi.org/10.1525/fmh.2016.2.2.122.

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Based in the city of Leeds in the north of England, Leeds Animation Workshop describes itself as a “not-for-profit, cooperative company, which produces and distributes animated films and films on social and educational issues.” The organization was formally established in 1978 following a collaboration by a group of women on the film Who Needs Nurseries? We Do! In this interview Terry Wragg, a member of the group since that founding period, talks with Yvonne Tasker about funding patterns, filmmaking, the women's movement, and the significance of the workshop movement in the United Kingdom.

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44

Marshall, Catherine C., and Barbara Kosta. "Recasting Autobiography: Women's Counterfictions in Contemporary German Literature and Film." German Studies Review 18, no. 3 (1995): 535. http://dx.doi.org/10.2307/1431801.

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45

Margolis, Harriet. ": The Women's Companion to International Film . Annette Kuhn, Susannah Radstone." Film Quarterly 45, no. 4 (1992): 69–70. http://dx.doi.org/10.1525/fq.1992.45.4.04a00380.

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46

Smaill, Belinda. "A Guerra da Beatriz, Timor-Leste and the Women's Film." Critical Arts 32, no. 4 (2018): 1–18. http://dx.doi.org/10.1080/02560046.2018.1477167.

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47

Rabinowitz, Paula. "Domestic Labor: Film Noir, Proletarian Literature, and Black Women's Fiction." MFS Modern Fiction Studies 47, no. 1 (2001): 229–54. http://dx.doi.org/10.1353/mfs.2001.0009.

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48

Bell, Melanie. "Film Criticism as ‘Women's Work’: the Gendered Economy of Film Criticism in Britain, 1945–65." Historical Journal of Film, Radio and Television 31, no. 2 (2011): 191–209. http://dx.doi.org/10.1080/01439685.2011.572605.

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49

Pradeep, K. "Spatial Narrative of Women as “Production of Space” in Charulatha." Asian Journal of Humanity, Art and Literature 6, no. 1 (2019): 9–14. http://dx.doi.org/10.18034/ajhal.v6i1.344.

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Films are one of the most influential cultural and creative discourses of the modern era as they reflect the socio-political and cultural norms of the society. The film has the potential to effect social change and open a new insight and experience to the human life. The relationships between women and space have now been recognized as an important issue for feminist discussion. In this study, production of space is mediated by the everyday life of women and their mediated relations of women's space. Here the spatiality and practices are not complicated it mean the spatial location, spatial re

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50

Raymond, Janice. "Female Friendship: Contra Chodorow and Dinnerstein." Hypatia 1, no. 2 (1986): 37–48. http://dx.doi.org/10.1111/j.1527-2001.1986.tb00836.x.

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The author critiques two widely-used works in Women's Studies for their hetero-relational content and the ways in which they minimize the necessity for affinities between women. Dinnerstein and Chodorow give us in theory what movies such as Kramer vs. Kramer depict in the film. It is not co-parenting and the inclusion of the male in an equal parenting role that will remedy present “sexual arrangements,” without first giving attention to women's relations with each other.

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