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Relevant bibliographies by topics / Women's films

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Dissertations / Theses
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Academic literature on the topic 'Women's films'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Women's films"

1

Russell, Catherine. "From women's writing to women's films in 1950s Japan: Hayashi Fumiko and Naruse Mikio." Asian Journal of Communication 11, no. 2 (2001): 101–20. http://dx.doi.org/10.1080/01292980109364806.

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Fowler, C., and P. Kuppers. "17th International Festival of Women's Films, Creteil, 1995." Screen 36, no. 4 (1995): 427–31. http://dx.doi.org/10.1093/screen/36.4.427.

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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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Talarczyk-Gubała, Monika. "Untouchables: women's bodies in Wanda Jakubowska's concentration camp films." Studies in Eastern European Cinema 7, no. 2 (2016): 114–26. http://dx.doi.org/10.1080/2040350x.2016.1155266.

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ABU-LUGHOD, LILA. "Politics in the Everyday: Women in Palestinian Women's Films." American Anthropologist 106, no. 1 (2004): 157–58. http://dx.doi.org/10.1525/aa.2004.106.1.157.

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Khannous, Touria. "Gender, violence and representation in three Algerian women's films." Journal of North African Studies 23, no. 1-2 (2017): 109–24. http://dx.doi.org/10.1080/13629387.2018.1400243.

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Morrissey, Laura Fano, and Tessa Lewin. "Resources on Women's Empowerment: Films, Photos, Audiovisuals and Music." Development 53, no. 2 (2010): 280–85. http://dx.doi.org/10.1057/dev.2010.32.

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Armanios, Febe, and Andrew Amstutz. "EMERGING CHRISTIAN MEDIA IN EGYPT: CLERICAL AUTHORITY AND THE VISUALIZATION OF WOMEN IN COPTIC VIDEO FILMS." International Journal of Middle East Studies 45, no. 3 (2013): 513–33. http://dx.doi.org/10.1017/s0020743813000457.

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AbstractThis article examines the depiction of women and gender within Coptic Orthodox video films or “hagiopics” produced between 1987 and 2010. As part of a recent religious renewal, hagiopics have expanded, altered, and reinvented traditional stories of saints and pious figures and have also generated, within this traditionally patriarchal setting, a wider space for the articulation of female voices. While their inclusion can be seen as potentially empowering for women, this paper suggests that during Pope Shenouda III's reign (1971–2012), the films became a powerful vehicle for broadcastin

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Thomas, Sarah. "Primed for Suffering: Gender, Subjectivity, and Spectatorship in Spanish Crisis Cinema." boundary 2 48, no. 3 (2021): 215–51. http://dx.doi.org/10.1215/01903659-9155817.

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Examining three fiction films (Techo y comida, Ayer no termina nunca, and Magical Girl), this essay illuminates the traces of the economic crisis in recent Spanish cinema, focusing on how it is inscribed on female-gendered bodies and subjectivities. In exploring how female pain accumulates across the boundaries of genre in these disparate films, it asks what kind of gendered subjects these films construct, and what work women's suffering is asked to perform, both for the benefit of the film's plot and the spectator's engagement. It shows how, even in cinema sympathetic to those devastated by c

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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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Dissertations / Theses on the topic "Women's films"

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Zhang, Qian. "Women's Time and Reproductive Anxiety in Contemporary Horror Films." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532349287122159.

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Joseph, Morountodun. "Female filmakers: Towards reconstructing women's images in Nollywood films." Doctoral thesis, Faculty of Humanities, 2018. http://hdl.handle.net/11427/30052.

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The last five years have produced a steady increase of women in creative and technical roles in Nollywood. Against the backdrop that women have mostly been portrayed in demeaning ways in a male-dominated industry, this research explores the films of four contemporary female filmmakers, and pays critical attention to the advancement of women’s on-screen images and their narratives. Through the textual analysis of films by four female filmmakers, namely Rukky Sanda, Michelle Bello, Stephanie Okereke-Linus and Omoni Oboli, whose films were produced between 2013 and 2016, I critically analyse thei

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Field, Emma. "Only a trickle? : blood in detail and three women's films /." Connect to this title online, 2003. http://adt.lib.utas.edu.au/public/adt-TU20050315.093920.

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Graham, Paula. "Imitation of life : gender, race, and sexuality in popular cinema." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311459.

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Bogarosh, Nichole A. "The princess, the damsel, and the sidekick| Women as the "other" in popular films (2000--2011)." Thesis, Washington State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3598040.

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<p> This paper explores the patriarchal ideologies present in the top three grossing films of each year from 2000 to 2011and how these messages work to continue the subordination and oppression of women. The movies studied have been grouped into three genres: animated, action, and science fiction/fantasy. Within each of these genres the presentation of the heterosexual romance-marriage-family ideal, violence against women and the men as protectors narrative, and the depiction of men as being the only capable leaders are explored. The analysis of each genre specifically concentrates on one o

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Kelber-Kaye, Jodi. "Straighten up and breed White: The representation of race and sexuality in films about reproductive technologies." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/289943.

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This dissertation is concerned with the monstrous, specifically as it enters our understanding of reproductive technologies, and is represented through a series of films, beginning in the 1930s. In looking at filmic representations of reproductive technologies, this study indicates how the use of, and the results from, those technologies are characterized as monstrous. Because technological reproduction is demarcated as monstrous, non-technological reproduction is naturalized. Importantly, this naturalized reproduction in the films is not only non-technological, but specifically derived from h

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Collard, Jessica Michelle. "Can You Believe She Did THAT?!:Breaking the Codes of "Good" Mothering in 1970s Horror Films." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4301.

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The threats found in horror films change with time, each decade consisting of threats that were most frightening for the time period. Horror film scholars, such as Andrew Tudor, determined that in 1970s horror films the threat has migrated from external forces into the home and the family. Invading aliens and monsters were thrown replaced by psychosis and evil children. This notion of making the familiar unfamiliar and threatening is paralleled in concerns addressed during the second-wave of feminism; women were making the normative and familiar idea of mother unfamiliar as they migrated from

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Sinner, Megan. "FEMINISM IN THE FILMS OF NEW GERMAN COMEDY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1146072869.

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O'Reilly, Kevin Joseph. "Between hotel mama and petrol station manager: the represatations of women's realities in a selection of African films." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/789.

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The roles that women perform as depicted in African films are often dictated to by the type of society they find themselves in. At first glance traditional societies can be seen as oppressive because of the presence of certain cultural practices. Alternatively modern urban settings appear to offer women authority and empowerment through employment. However, with a closer examination one sees that the situation is not so simplistic. Such is the case when certain traditional practices that are deemed oppressive through a Western perspective, are still found in urban societies. Films on the subje

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Hoffman, Alison R. "Our bodies, our cameras women's experimental cinema in the U.S., 1964-1976 /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023781661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Women's films"

1

Cheu, Hoi F. Cinematic howling: Women's films, women's film theories. UBC Press, 2007.

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Ramanathan, Geetha. Feminist auteurs: Reading women's films. Wallflower, 2006.

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Annette, Kuhn. Women's pictures: Feminism and cinema. Verso, 1993.

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Women's pictures: Feminism and cinema. 2nd ed. Verso, 1994.

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Nü xing dian ying shi gang: The chronology of women's films. Shanghai yi wen chu ban she, 2005.

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Wang, Lingzhen. Chinese women's cinema: Transnational contexts. Columbia University Press, 2011.

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Fischer, Lucy. Shot/countershot: Film tradition and women's cinema. Macmillan Education, 1989.

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Fischer, Lucy. Shot/countershot: Film tradition and women's cinema. Princeton University Press, 1989.

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Chinese women's cinema: Transnational contexts. Columbia University Press, 2011.

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10

Roeper, Richard. He rents, she rents: The ultimate guide to the best women's films and guy movies. St. Martin's Griffin, 1999.

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Book chapters on the topic "Women's films"

1

Lewis, Ingrid. "Invisible Resistance: Women’s Contribution." In Women in European Holocaust Films. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65061-6_5.

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Ceuterick, Maud. "Conclusion: Forms of Affirmative Aesthetics." In Affirmative Aesthetics and Wilful Women. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37039-8_6.

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Abstract An affirmative approach to film consists of making visible what the diegesis may conceal. As the chapter reflects on the political impact of art and the affect of films onto the bodies of the spectators, it concludes that looking for affirmative aesthetics is about mapping the feminist forms that will allow us to build a future beyond gendered and racialised power relations.

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Dönmez-Colin, Gönül. "His films." In Women in the Cinemas of Iran and Turkey. Routledge, 2019. http://dx.doi.org/10.4324/9781351050319-8.

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Garrett, Roberta. "Postmodernism, New Hollywood and Women’s Films." In Postmodern Chick Flicks. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801523_2.

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Ceuterick, Maud. "Cars: A Micro-analysis of Space and Bodies in Vendredi soir." In Affirmative Aesthetics and Wilful Women. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37039-8_3.

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Abstract While the car traditionally appears as male domain, the haptic aesthetic and poetic forms of Claire Denis’ film Vendredi soir (2002) disconnect cars from masculine power. Through a micro-analysis of the film’s forms, spaces, and bodies, the chapter shows how the film suspends the gendered relationships at play in public and private spaces. In this chapter, Ceuterick emphasises the affirmative aesthetic of the film, which transforms the car into a home, gendered bodies into lived bodies, and intimacy into a passage between real and imaginary.

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Gaal-Holmes, Patti. "Women and Film." In A History of 1970s Experimental Film. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137369383_7.

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Walsh, Caitríona. "The Film Scores of Mica Levi." In Women's Music for the Screen. Routledge, 2021. http://dx.doi.org/10.4324/9780429264924-12.

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Galindo, Miguel-Ángel, Domingo Ribeiro, and Juan José Rubio. "Women’s Approach to Economics and Firms." In Women’s Entrepreneurship and Economics. Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4614-1293-9_2.

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Franklin, Peter. "Men's Musicology/Women's Films." In Seeing Through Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780195383454.003.0002.

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Aytekin, Pelin Erdal. "Gender Is Political." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0128-3.ch016.

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Studies on women identity in the context of gender yields significant results, especially when considering the practice of cinema. Mainstream cinema is an essential area of indicators for handling women's identity. Susuz Yaz and Yılanların Öcü films are two important films in which Metin Erksan dealt with the concept of property within his filmography. These two films, which address the concept of property through the ownership of land and water, also represented the social existence of women's identity with the rural lifestyle in particular, making the social structure in which women are perceived as property visible. In this context, the study evaluates the image of the woman in cinema on the concepts of body, property and rights. The method approach shaped its roots from the foundations of sociology, communication and cultural theories. The subject was presented by analyzing it within the perspective of interpretive social science. It was concluded that the debate on whose property the land and water are also raised the discussion of the property of women's identity.

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Conference papers on the topic "Women's films"

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Brandl, Ana Lúcia. "Effects of Magnetic Interactions in Superparamagnetic Granular Films." In WOMEN IN PHYSICS: 2nd IUPAP International Conference on Women in Physics. AIP, 2005. http://dx.doi.org/10.1063/1.2128328.

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Yang, Lan-Hee, Jinwoo Park, B. D. Yu, et al. "Electronic Structures of Oxide-Supported Pt films: Magnetic Properties (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137895.

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Eblen-Zayas, Melissa. "Low-Temperature Response of Ultrathin Manganite Films in a Field-Effect Geometry." In WOMEN IN PHYSICS: 2nd IUPAP International Conference on Women in Physics. AIP, 2005. http://dx.doi.org/10.1063/1.2128334.

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Soria, G. Ruiz, F. Grinblat, N. Vega, et al. "Electric Conduction Mechanisms of Thin Films of ZnO Doped with Sulfur (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137884.

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Cui, Xiaoxi. "Transformation of Chinese Women’s Cultural Identity Reflected in American Films." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.643.

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Jang, Seunghun, Changhun Ko, Kiyoung Jeong, et al. "The Charge Storage Characteristics of Si-QDs Embedded in Silicon Nitride Films (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137826.

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Song, Sanghoon, Wonsuk Cha, Heeju Lee, et al. "Surface Dynamics of Block Copolymer Films by X-ray Photon Correlation Spectroscopy (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137883.

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Bouras, N. "Physical Properties of Thin Film Semiconducting Materials." In WOMEN IN PHYSICS: 2nd IUPAP International Conference on Women in Physics. AIP, 2005. http://dx.doi.org/10.1063/1.2128326.

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Djahmoun, M., K. Sedda, H. Zerrouki, et al. "Elaboration of SnO[sub 2] Thin Films and Effect of High Pressure on their Structural Properties (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137804.

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Johnson, Beth A. "HOLLYWOOD PERCEPTIONS OF WOMEN IN GEOLOGY: WOMEN GEOSCIENTISTS IN FILMS (1986-2016)." In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-279528.

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Reports on the topic "Women's films"

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Miller, Conrad, Jennifer Peck, and Mehmet Seflek. Integration Costs and Missing Women in Firms. National Bureau of Economic Research, 2019. http://dx.doi.org/10.3386/w26271.

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Khan, B. Zorina. Invisible Women: Entrepreneurship, Innovation and Family Firms in France during Early Industrialization. National Bureau of Economic Research, 2015. http://dx.doi.org/10.3386/w20854.

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Saha, Amrita, Jodie Thorpe, Keir Macdonald, and Kelbesa Megersa. Linking Business Environment Reform with Gender and Inclusion: A Study of Business Licensing Reform in Indonesia. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/k4d.2021.001.

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Business environment reform (BER) targets inadequate business regulations. It is intended to remove constraints to business investment, enabling growth and job creation, and create opportunities for international business to contribute to and benefit from this growth. However, there is a lack of detailed knowledge of the impact of BER on gender and inclusion (G&I). While a review of existing literature suggests that in general, there is no direct link between BER and G&I, indirect links are likely through the influence of BER on firm performance. Outcomes will be influenced by the diff

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Card, David, Ana Rute Cardoso, and Patrick Kline. Bargaining, Sorting, and the Gender Wage Gap: Quantifying the Impact of Firms on the Relative Pay of Women. National Bureau of Economic Research, 2015. http://dx.doi.org/10.3386/w21403.

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