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Journal articles on the topic 'Women's films'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Pickering, Barbara A. "Women's Voices as Evidence: Personal Testimony is Pro-Choice Films." Argumentation and Advocacy 40, no. 1 (2003): 1–22. http://dx.doi.org/10.1080/00028533.2003.11821594.

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12

Vincendeau, G. "Melodramatic Realism: On some French Women's Films in the 1930s." Screen 30, no. 3 (1989): 51–65. http://dx.doi.org/10.1093/screen/30.3.51.

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13

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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14

Koo, Mi Ji, and Hong Kyum Kim. "Color Analysis of Women's Costume for Films Related to Renaissance Period." International Journal of Costume and Fashion 5, no. 2 (2005): 46–54. http://dx.doi.org/10.7233/ijcf.2005.5.2.046.

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15

WILSON, SIONA. "FROM WOMEN'S WORK TO THE UMBILICAL LENS: MARY KELLY'S EARLY FILMS." Art History 31, no. 1 (2008): 79–102. http://dx.doi.org/10.1111/j.1467-8365.2008.00582.x.

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16

Simonton, Dean Keith. "The “Best Actress” Paradox: Outstanding Feature Films Versus Exceptional Women's Performances." Sex Roles 50, no. 11/12 (2004): 781–94. http://dx.doi.org/10.1023/b:sers.0000029097.98802.2c.

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17

Eppler, Christie. "Women's Perceptions of Using Short Films to Integrate Spirituality in Therapy." Journal of Systemic Therapies 37, no. 4 (2018): 68–80. http://dx.doi.org/10.1521/jsyt.2018.37.4.68.

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18

Morey, Anne. "“The Judge Called Me an Accessory”: Women's Prison Films, 1950-1962." Journal of Popular Film and Television 23, no. 2 (1995): 80–87. http://dx.doi.org/10.1080/01956051.1995.9943692.

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19

Butler, A. "Feminist theory and women's films at the turn of the century." Screen 41, no. 1 (2000): 73–79. http://dx.doi.org/10.1093/screen/41.1.73.

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20

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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21

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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22

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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23

Moruzzi, Norma Claire. "Women's Space/Cinema Space: Representations of Public and Private in Iranian Films." Middle East Report, no. 212 (1999): 52. http://dx.doi.org/10.2307/3012917.

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24

Parchesky, Jennifer. "Women in the Driver's Seat: The Auto-Erotics of Early Women's Films." Film History: An International Journal 18, no. 2 (2006): 174–84. http://dx.doi.org/10.1353/fih.2006.0016.

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25

Fowler, C., and P. Kuppers. "The Twentieth International Festival of Women's Films, Creteil, 3-12 April 1998." Screen 39, no. 4 (1998): 401–4. http://dx.doi.org/10.1093/screen/39.4.401.

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26

Parchesky, Jennifer. "Women in the driver's seat: The auto-erotics of early women's films." Film History: An International Journal 18, no. 2 (2006): 174–84. http://dx.doi.org/10.2979/fil.2006.18.2.174.

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27

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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28

Dall'Asta, Monica, Barbara Grespi, Sandra Lischi, and Veronica Pravadelli. "A Politics of Intimacy." Feminist Media Histories 2, no. 3 (2016): 119–41. http://dx.doi.org/10.1525/fmh.2016.2.3.119.

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This conversation with filmmaker Alina Marazzi and editor Ilaria Fraioli took place on April 20, 2012, as part of a conference on found footage cinema at the Arts Department of the University of Bologna. Marazzi and Fraioli were invited to reflect on their work with archival material in films like For One More Hour with You (2002) and We Want Roses Too (2007), by a group of scholars with interests in compilation films, cultural memory, and women's cinema: Monica Dall'Asta, Barbara Grespi, Sandra Lischi, and Veronica Pravadelli.

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29

Rafman, Carolynn. "Imagining a Woman's World: Roles for Women in Chinese Films." Cinémas 3, no. 2-3 (2011): 126–40. http://dx.doi.org/10.7202/1001195ar.

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Chinese cinema embraces a paradoxical relationship to its own traditions, especially concerning the abusive treatment of women. Films like Yellow Earth, Judou and Raise the Red Lantern which desire to uncover a repressed history, tend instead to reinforce and sustain an image of women's suffering to modern audiences. While exposing discrimination and injustice, some films perpetuate the stigma that women are still second class citizens. Three Chinese women filmmakers have challenged the dominant confusion ethos: "Male honorable, female inferior" (nan zun nü bei) by portraying women as independ

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30

Luckett, Josslyn. "The Daughters Debt: How Black Spirituality and Politics are Transforming the Televisual Landscape." Film Quarterly 72, no. 4 (2019): 9–17. http://dx.doi.org/10.1525/fq.2019.72.4.9.

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The spectrum of black women's spirituality in television has become nearly as diverse as the portraits of Afro-Atlantic spiritual practices that became central to key literary works of black feminist authors of the 1980s, such as Toni Cade Bambara, Paule Marshall, Toni Morrison, and Alice Walker. While many are the spiritual and televisual daughters of the authors mentioned above, this essay argues that the appearance of this wider range of black women's spirituality and activism in episodic television owes its greatest debt to two films from the 1990s, Julie Dash's, Daughters of the Dust (199

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31

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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32

Kay, Jilly Boyce. "Speaking Bitterness." Feminist Media Histories 1, no. 2 (2015): 64–89. http://dx.doi.org/10.1525/fmh.2015.1.2.064.

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This article explores the six-part television debate series No Man's Land, which was broadcast on ITV in Britain in 1973. It argues that the program is a historically significant example of the public orientation of the women's liberation movement and its engagement with, rather than straightforward hostility toward, the mass media. The program was produced by women who were active in the women's liberation movement; it was presented by the feminist Juliet Mitchell; and its studio audience was populated by, among others, many women who were aligned with the movement. The format of No Man's Lan

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33

Miller, Catriona. "You can't escape: inside and outside the ‘slasher’ movie." International Journal of Jungian Studies 6, no. 2 (2014): 108–19. http://dx.doi.org/10.1080/19409052.2014.907820.

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Since the 1970s, the ‘slasher’ movie, with its violence towards women and the surviving ‘final girl’, has been a constant presence in the horror genre to the delight of some and the perplexed dismay of others. Traditional academic approaches to the genre have tended to make assumptions about who is watching these films and why. This article uses a Jungian-inflected approach to reconsider the potential meaning of the genre, suggesting that the violence in the films is less an exhortation to violence against women, but rather a representation of women's experience of patriarchy, with the ‘final

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34

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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35

Margolis, Harriet. ": Girls' Own Stories: Australian and New Zealand Women's Films . Jocelyn Robson, Beverley Zalcock." Film Quarterly 52, no. 4 (1999): 47. http://dx.doi.org/10.1525/fq.1999.52.4.04a00110.

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36

Sheedy, Melissa. "Mothers, Comrades, and Outcasts in East German Women's Films by Jennifer L. Creech." Feminist German Studies 34, no. 1 (2018): 151–53. http://dx.doi.org/10.1353/fgs.2018.0008.

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37

Fowler, C. "Report. The 18th Creteil International Festival of women's films, 22-31 March 1996." Screen 37, no. 4 (1996): 396–99. http://dx.doi.org/10.1093/screen/37.4.396.

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38

Fowler, C. "Report. The 19th International Festival of Women's Films, Creteil, 14-23 March 1997." Screen 38, no. 4 (1997): 393–97. http://dx.doi.org/10.1093/screen/38.4.393.

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39

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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40

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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41

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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42

Talukdar, Hoimawati. "Masculinities and Media Culture in Indian Bollywood Films." International Journal of Smart Education and Urban Society 9, no. 2 (2018): 12–24. http://dx.doi.org/10.4018/ijseus.2018040102.

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Over the past few decades women's studies have centered their attention on the role of media in shaping the attitudes and social behavior of people. The role of men and the trait of masculinity has been considered as the norm and in most cases the portrayal of men in media is seen as unproblematic and exemplary. In view of such a situation it becomes immensely important to not how find out the roles of men in regard to the women but also how men too have problems in constructing the larger gamut of gender as one of the key ingredients of social relationships. This article provides an in-depth

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43

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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44

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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45

Jordan, P. Kimberleigh. "Performing Black Subjectivity." Feminist Media Histories 6, no. 3 (2020): 79–103. http://dx.doi.org/10.1525/fmh.2020.6.3.79.

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This article analyzes Black feminist performance through two recently released live performance films. Set a generation apart, Amazing Grace (recorded 1972, released 2018), featuring Aretha Franklin, and Homecoming (2019), featuring Beyoncé, are artful and personal—both inspired by Black culture and the artists' personal histories, and offer virtuoso performances. The article operates in three modes: scholarly, personal, and remembered. The scholarship draws on the work of Hortense Spillers, bell hooks, Daphne Brooks, and others, while the personal and remembered portions consider significant

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46

Kamir, Orit. "North Country's Hero and Her Cinematic Lawyer: Can “Lawyer Films” and “Women's Films” Merge to Launch a New Feminist Sub-Genre?" Canadian Journal of Women and the Law 21, no. 1 (2009): 119–42. http://dx.doi.org/10.3138/cjwl.21.1.119.

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47

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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48

Levy, Emanuel. "Stage, Sex, and Suffering: Images of Women in American Films." Empirical Studies of the Arts 8, no. 1 (1990): 53–76. http://dx.doi.org/10.2190/90lj-px9t-q0j8-kb0g.

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This article systematically examines the portrayal of women in the American cinema over the last sixty years, from 1927. More specifically, it addresses itself to the following issues: the main attributes of screen women in terms of age, marital status, and occupation; the guidelines prescribed by American films for structuring women's lifestyles; the degree of rigidity of these normative prescriptions and proscriptions; and recent changes in the portrayal of women. The research is based on content analysis, quantitative and qualitative, of 218 screen roles, male and female, which have won the

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49

Hastie, Amelie. "The Vulnerable Spectator." Film Quarterly 72, no. 2 (2018): 81–84. http://dx.doi.org/10.1525/fq.2018.72.2.81.

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The 1970s ushered in a new cinephilic culture for viewers. In reviewing the films of this era, columnist Amelie Hastie is struck by their resonance for our current political realities and concerns surrounding civil rights, governmental authority, and personal surveillance. To the author, revisiting or integrating the 1970s into contemporary film culture is a political act born out of resistance to both present-day politics and historical narratives. Through her discussion of films including Spike Lee's BlacKkKlansman, Gordon Parks's The Learning Tree, Barbara Loden's Wanda, and Diane Kurys's P

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50

Margolis, Harriet. "Review: Girls' Own Stories: Australian and New Zealand Women's Films by Jocelyn Robson, Beverley Zalcock." Film Quarterly 52, no. 4 (1999): 47. http://dx.doi.org/10.2307/1213779.

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