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Relevant bibliographies by topics / Women filmmaker

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Academic literature on the topic 'Women filmmaker'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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Journal articles on the topic "Women filmmaker"

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Naaman, Dorit. "Unruly Daughters to Mother Nation: Palestinian and Israeli First-person Films." Hypatia 23, no. 2 (2008): 17–32. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01183.x.

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This article examines the Israeli documentary My Land Zion and the Palestinian documentary Paradise Lost. Both films are critical autobiographical texts and in both, the woman filmmaker negotiates her emotional and ideological ties with her culture, history, and nation. Naaman proposes that by using the autobiographical genre and by engaging emotionally as well as rationally, the women filmmakers discussed offer a particular gendered position rebelliously outside nationalism and the place of women within it.

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Namrok, Meriem. "Unveiling The Corporeal: The Female Body, Subjectivity and Politics of Visibility in Maryam Touzani’s Film Adam." Integrated Journal for Research in Arts and Humanities 4, no. 5 (2024): 56–65. http://dx.doi.org/10.55544/ijrah.4.5.8.

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Throughout the history of cinema, the female body has often been a scopic site of pleasure and subjugation. Female filmmakers have long sought to refute the sexist scrutiny of women onscreen and work for healthier cinematic representations of the female body. This article aims to cast light on the different textual and visual tactics and aesthetics employed by the transnational Moroccan filmmaker Mariam Touzani in her film Adam (2020) to de-romanticize women and deconstruct the conventional cinematic framework where the female body is restrained to adhere to the patriarchal ideologies. The fem

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Vonderheide, Leah. "Toward a Feminist Fourth Cinema: Waru (2017)." Camera Obscura 38, no. 2 (2023): 63–87. http://dx.doi.org/10.1215/02705346-10654899.

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Abstract This essay offers an analysis of Waru, an omnibus film written and directed by a sisterhood of nine Māori women, which illuminates a philosophy of Māori women's filmmaking and indicates new possibilities for a global Indigenous cinema. In the two decades since Māori filmmaker Barry Barclay declared the existence of a “fourth cinema,” the cinema of Indigenous peoples, the number of dramatic feature films by Indigenous directors around the globe has grown significantly, with particular attention garnered by the success of Māori filmmaker Taika Waititi. Yet, while it would be tempting to

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Hudson, Dale. "Remaining Palestinian." Afterimage 51, no. 1 (2024): 70–95. http://dx.doi.org/10.1525/aft.2024.51.1.70.

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Palestinian filmmakers are largely dependent on foreign funding for production and on foreign festivals for publicity. Making a Palestinian film can seem as “impossible” as remaining Palestinian amid fragmenting effects of occupation/war and peace accords. Against such pressures, Palestinian filmmaker Annemarie Jacir tells stories with protagonists, who, for foreign funders, can seem like “unruly subjects” for remaining Palestinian. As a consequence, her films themselves can seem like “unruly subjects” to industry film critics. Her films like twenty impossibles (ka’inana ashrun mustaheel, 2003

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Berry, Chris. "Pema Tseden (1969–2023)." Film Quarterly 77, no. 3 (2024): 22–30. http://dx.doi.org/10.1525/fq.2024.77.3.22.

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By the time of his sudden and unexpected death in May 2023, the Tibetan filmmaker Pema Tseden had changed the face of cinema from China. He was not only China’s first ethnic Tibetan feature filmmaker, but also an internationally awarded and recognized auteur. Furthermore, his films corrected the existing cinematic imagery of Tibet by countering both Chinese and Hollywood exoticism with a cycle of realist films that articulate the view from within the Tibetan lifeworld. In this essay, Chris Berry argues Pema had recently embarked on a second phase that explored the interior world of Tibetans wi

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Wahyuni, Putri, and Hamedi Mohd Adnan. "A New Female Identity in Indonesian Films: A Feminist Critical Discourse on Marlina Si Pembunuh Dalam Empat Babak." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 3 (2022): 162–76. http://dx.doi.org/10.17576/jkmjc-2022-3803-10.

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After the New Order Era (1998-present), women's involvement in the Indonesian film industry increased significantly. Previously, Indonesian cinema conceived more unfavourable content toward women. However, nowadays, women are no longer regarded as forceless and dependent in the eyes of men but as the inspirers who are active and highly educated. They serve as producers, directors, trainers, publicists, and distributors behind the camera. This article contended that these women filmmakers develop a distinct female identity from their male counterparts. It further examined how they establish a d

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Labandeira, Sibley. "Labour-Intensive Filmmaking: An interview with Su Friedrich." Alphaville: journal of film and screen media, no. 27 (July 2, 2024): 283–92. http://dx.doi.org/10.33178/alpha.27.28.

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In this interview, filmmaker Su Friedrich comments on a wide variety of projects, as well as her labour-intensive work process, the crucial role of feedback from friends and fellow filmmakers, and the importance of being specific. She also describes her experience researching unusual archives, her views on the current media landscape, and the satisfaction of creating Edited By, a website dedicated to honouring the many women who revolutionised film editing, playing a key role in cinema history that has yet to be fully recognised.

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Mahar, Karen Ward. "True Womanhood in Hollywood: Gendered Business Strategies and the Rise and Fall of the Woman Filmmaker, 1896–1928." Enterprise & Society 2, no. 1 (2001): 72–110. http://dx.doi.org/10.1093/es/2.1.72.

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Women flourished as producers, directors, screenwriters, and editors in the first quarter-century of the film industry. But by 1925 their presence in all but screenwriting was severely diminished. The argument of this essay is that the process of gendering the industry ultimately closed studio doors to female filmmakers. As studios moved from the artistic and entrepreneurial stage, conducive to the perceived qualities of women, to the corporate stage, the needs of the industry became masculinized and women were excluded. This process is explored by examining the assumptions regarding gender in

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Betancourt, Manuel. "Cineando." Film Quarterly 73, no. 4 (2020): 61–64. http://dx.doi.org/10.1525/fq.2020.73.4.61.

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The release of Chilean filmmaker Patricio Guzman's La Cordillera de los Sueños (Cordillera of Dreams) prompts FQ columnist Manuel Betancourt to reflect upon the reflexive turn in recent nonfiction documentaries from Latin America. Betancourt suggests that Guzmán pioneered the wave of documentary filmmakers in the region whose work marries first-person address with political urgency. Broadening his focus to include Petra Costa and Tatiana Huezo, whose films The Edge of Democracy and Tempestad explore the political collateral damage in Brazil and the violence against women in Mexico respectively

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López, Sonia García, and Marina Cavalcanti Tedesco. "Crossing National Borders and Nontheatrical Boundaries." Feminist Media Histories 11, no. 2 (2025): 25–41. https://doi.org/10.1525/fmh.2025.11.2.25.

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This article contributes to recovering the lost history of Rosina Prado’s work. Prado was a Spanish-Soviet filmmaker who, along with Sara Gómez, was one of the first women to direct films in Cuba, where she worked for the Cuban Institute of Cinematographic Art and Industry (ICAIC) between 1961 and 1968. Drawing on feminist forms of archival and historical research, as well as in-depth personal interviews with Rosina Prado’s relatives and collaborators, we explore Prado’s condition as a migrant mother and antifascist exiled woman filmmaker in Cuba. We also probe the uncertainties surrounding Ro

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Dissertations / Theses on the topic "Women filmmaker"

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Gupta, Dipti. "Confronting the challenge of distribution : women documentary filmmakers in India." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39431.pdf.

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Reynolds, Lucy. "British avant-garde women filmmakers and expanded cinema of the 1970s." Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536627.

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My thesis examines the expanded cinema of Gill Eatherley, Annabel Nicolson and Lis Rhodes. My intent has been to locate them within their historical context, addressing in particular their relationship to the cohesive, 'Structural' film culture then emerging from the London Filmmakers' Co-operative, and the distinct expanded film form with which it was associated in the early part of the 1970s. The main focus of my methodology, however, is interpretative rather than empirical. Through close textural readings of key works I have attempted to open up fresh critical frameworks for understanding t

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Lin, Hui-Ling. "Bodies in motion : the films of transmigrant queer Chinese women filmmakers in Canada." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33753.

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This dissertation examines the representations of racialized, gendered, queer sexuality in selected films produced by four transmigrant queer “Chinese” women filmmakers in Vancouver, with a main focus on body images. Personal interviews with these filmmakers about their lives and films were collected and analyzed in-depth using feminist qualitative method informed by standpoint epistemology. The analyses are framed by discussions of what it means to be “Chinese” outside of China, in relation to what it means to be female and “queer.” Selected films were analyzed drawing on feminist film theory

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Weinberger, Gabriele W. "Aesthetics and politics of fascism : West German women filmmakers in the nineteen seventies /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487590702991884.

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Casely-Hayford, Pauline D. "Re-imagining legacy: A woman experimental filmmaker’s response to colonisation." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84753/1/Pauline_Casely-Hayford_Thesis.pdf.

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This practice-led research project analyses the creative and critical processes that occur when women visual artists respond to the legacy of colonisation. The research investigates the practices of selected visual artists, interrogates the candidate's creative practice, and analyses interview data. The creative practice component of the research analyses the critical and artistic strategies undertaken to produce an original set of six moving image artworks entitled Sankɔfa Dreaming. The creative practice develops an original artist method, Re-imagining Legacy. This method produces multiv

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Wolf, Nicole [Verfasser], and Werner [Akademischer Betreuer] Schiffauer. "Make it Real. Documentary and other cinematic experiments by women filmmakers in India. / Nicole Wolf. Betreuer: Werner Schiffauer." Frankfurt (Oder) : Universitätsbibliothek der Europa-Universität Viadrina Frankfurt, 2013. http://d-nb.info/1031630945/34.

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Van, Hemert Tess. "International acclaim : the role(s) of the international film festival in supporting emerging women’s cinema." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63269/1/Tess_Van_Hemert_Thesis.pdf.

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International Film Festivals act as important sites for the exhibition of contemporary world cinema. Film festivals represent an increasingly transnational film culture, where audiences, filmmakers, distributors, press, critics and academics come together from all over the world to discover new films, network with one another and debate about the past, present and future of cinema. This research project investigates the role that international film festivals play within the wider international film industry, with a specific focus on emerging women filmmakers. It therefore explores the arena

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Kupfer, Stephanie. "Female auteurs in evolution: the filmmaking of Claire Denis and Catherine Breillat." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6452.

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According to the latest Celluloid Ceiling Report, conducted by the Center for the Study of Women in Television and Film at San Diego State University, only 7% of all directors working on the top 250 films in the United States in 2014 were women. These bleak statistics no doubt replicate the condition of women in countless other national cinemas. It is, therefore, critical that more attention be given to the women who do manage to succeed in the male-dominated film industry. In my dissertation, I examine the work of two major French women filmmakers, Catherine Breillat and Claire Denis, who hav

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Weber-Fève, Stacey A. "There's no place like home: homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the MÉTROPOL and the MAGHREB." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1148746370.

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Arredondo, Isabel. ""I am a Mother First" : Mexican women filmmakers of the 1980s and 1990s and the representation of motherhood." Thesis, 2009. http://spectrum.library.concordia.ca/976406/1/MR63267.pdf.

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This thesis examines images of mothers in classical and contemporary Mexican cinema. The purpose is to contrast the portrayals of mothers in melodramas produced during the 'Golden Age' of Mexican cinema (1940s to 1950s), a model continued until the 1970s, and in films made by the so-called 'third-wave' generation of Mexican women filmmakers (directors who made their first feature films after 1985). The main argument is that the films directed by third-wave directors propound a non-narcissistic type of feminine idealization and propose women characters who see themselves as individuals. This t

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Books on the topic "Women filmmaker"

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Nandita, Dutta. F-rated: Being a woman filmmaker in India. Harper Collins Publishers India, 2019.

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Goldovskai︠a︡, Marina Evseevna. Woman with a movie camera: [my life as a Russian filmmaker]. University of Texas Press, 2006.

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Förster, Annette. Women in the Silent Cinema. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462989955.

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This magisterial book offers comprehensive accounts of the professional itineraries of three women in the silent film in the Netherlands, France and North America. Annette Förster presents a careful assessment of the long career of Dutch stage and film actress Adriënne Solser; an exploration of the stage and screen careers of French actress and filmmaker Musidora and Canadian-born actress and filmmaker Nell Shipman; an analysis of the interaction between the popular stage and the silent cinema from the perspective of women at work in both realms; fresh insights into Dutch stage and screen come

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Vsych, Jürgen. The woman director: The adventures of a really independent filmmaker, ages 6-36. Wroughten Books, 2005.

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Vsych, Jürgen. The woman director: The adventures of a really independent filmmaker, ages 6-36. Wroughten Books, 2005.

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Vsych, Jürgen. The woman director: The adventures of a really independent filmmaker, ages 6-36. Wroughten Books, 2005.

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1945-, Levitin Jacqueline, Plessis Judith, and Raoul Valerie 1941-, eds. Women filmmakers: Refocusing. UBC Press, 2003.

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1945-, Levitin Jacqueline, Plessis Judith, and Raoul Valerie 1941-, eds. Women filmmakers: Refocusing. Routledge, 2003.

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Audrey, Foster Gwendolyn, Jacobs Katrien, and Unterburger Amy L, eds. Women filmmakers & their films. St. James Press, 1998.

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Vohnsen, Mirna, and Daniel Mourenza, eds. Contemporary Argentine Women Filmmakers. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-32346-1.

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Book chapters on the topic "Women filmmaker"

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Petrone, Laila. "Editors’ Conversation with Italian-Dominican Filmmaker Laila Petrone: Visualizing Multicultural Italian Women." In Female Cultural Production in Modern Italy. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14816-3_25.

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Edgar, Brenda Lynn. "Archiving the Trauma of Internment Camps in Film: Jacqueline Veuve’s Journal de Rivesaltes, 1941–1942 (1997)." In Making Humanitarian Crises. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-00824-5_5.

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AbstractIn 1997, independent Swiss filmmaker and anthropologist Jaqeuline Veuve (1930–2013) released her documentary Journal de Rivesaltes, 1941–1942 based on the journal kept by Friedel Bohny-Reiter (1912–2001) while working as a nurse for the Swiss Red Cross/Aid to Children at the Rivesaltes internment camp in southwest France. This chapter will show how Veuve’s film brought public attention to hitherto unknown women humanitarians and contributed to shaping a new understanding of Switzerland’s role in the Second World War. It will also examine the film as a performance of both the trauma of

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Zeng, Jinyan. "The Filmmaker as Feminist." In Chinese Independent Cinema. Amsterdam University Press, 2025. https://doi.org/10.5117/9789463722575_ch04.

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This chapter investigates the documentarian’s strategies for dealing with the cruelty in activism and the cruelty suffered by women. It discusses the subjects’ shock when watching We the Workers, which shows the tension between activism logic and the cinematic representation of the activist. This tension is eased by recognizing the subjects’ emotional reflexivity. It also examines the production and distribution processes of Outcry and Whisper and compares its three versions, examining how filmmakers negotiate with intersectional powers, creative collaborators, NGO sponsors, and protagonists i

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Paszkiewicz, Katarzyna. "Repeat to Remake: Diablo Cody and Karyn Kusama’s Jennifer’s Body." In Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.003.0003.

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If, as Jane Gaines (2012) suggests, instead of ‘transgressing’ the formal dictates of the industrial genre (that is, instead of ‘going against genre’), some women filmmakers ‘go with genre’, this might be particularly so in the case of horror cinema. The analysis of the much-maligned Jennifer’s Body (2009), written by Diablo Cody and directed by Karyn Kusama, demonstrates precisely this point. The chapter begins by discussing the marketing of Jennifer’s Body, in order to show how those in charge of film distribution and publicity used the director’s and writer’s gender as a promotional tool, a

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Lupher, Sonia. "18. The Rise of the Female Horror Filmmaker-Fan." In Women Make Horror. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9781978805156-018.

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Van de Peer, Stefanie. "Ateyyat El Abnoudy: Poetic Realism in Egyptian Documentaries." In Negotiating Dissidence. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696062.003.0002.

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The first case study deals with the ‘mother’ of Egyptian documentary making Ateyyat el Abnoudy, and traces her career as a lawyer, journalist and filmmaker. As a pioneer of politically engaged and socially preoccupied documentary, she has influenced many young female filmmakers. Since the early seventies, her films, both short and feature length, have been celebrated throughout the world at festivals and retrospectives, but remain controversial in Egypt itself. This case study looks in detail at her early short films, Horse of Mud (1971), Sad Song of Touha (1972) and The Sandwich (1975), as we

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Zhang, Zhen. "Eggs, Stones, and Stretch Marks." In Women Filmmakers in Sinophone World Cinema. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729352_ch04.

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Chapter 4 highlights the courageous and expressive personal cinema of Huang Ji, a forceful emerging filmmaker who, in collaboration with her Japanese filmmaker husband, made two powerful, award-winning, autographically inflected feature films based on her experience as a sexually abused “left-behind” child in rural Hunan, as well as a home video style documentary about their trans-cultural nuclear family in a time of rising nationalism in China.

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Armendáriz-Hernández, Alejandra, Marcos Centeno-Martin, and Irene González-López. "Japanese Documentary Filmmaker Haneda Sumiko: Authorship and Gender Perspective 1." In Women in East Asian Cinema. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399504928.003.0008.

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This chapter examines the work of Haneda Sumiko (1926-) one of the pioneering and most prolific documentary filmmakers in post-war Japan. Born in occupied Manchuria, Haneda´s filmmaking career started in the 1950s when she joined Iwanami Productions to make educational films and PR documentaries. She directed her first film in Iwanami in 1957, went freelance in the 1980s and continued making documentaries until recent years. This chapter explores her work from different perspectives considering Haneda´s early career, her authorship as woman filmmaker and the discourses surrounding the receptio

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Winkler, Kevin. "City of Women." In Everything is Choreography. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090739.003.0005.

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Two consecutive projects confirmed Tommy Tune’s vision and versatility. In 1981, Tune directed the American premiere of Caryl Churchill’s Cloud 9, his first non-musical. This “comedy of multiple orgasms,” as it was billed, featured a first act set in colonial Africa in 1880 and a second act in contemporary London a century later. Tune staged the first act with sketch-comedy speed and vaudeville humor, as the characters played out their sexual frustrations and transgressed boundaries of race and class. Once again, he used performance tropes of earlier eras to communicate a contemporary viewpoin

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Armendáriz-Hernández, Alejandra, Marcos Centeno-Martin, and Irene González-López. "7 Japanese Documentary Filmmaker Haneda Sumiko: Authorship and Gender Perspective." In Women in East Asian Cinema. Edinburgh University Press, 2023. http://dx.doi.org/10.1515/9781399504942-012.

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Conference papers on the topic "Women filmmaker"

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Abdullah, Md Abu Shahid. "“Indeed, the King has a Cunt! What a Wonder!”: Sex, Eroticism and Language in One Thousand and One Nights." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.1-1.

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One Thousand and One Nights, which can be traced back to as early as the 9th century, is probably the greatest introduction to Arabic culture through literature. This colossal and diverse book has drawn the attention of scholars, researchers and students to classic Arabic literature as well as influenced many prominent authors and filmmakers. It is not just a book of careless and unconnected stories but rather a piece of esteemed literature which has been read and analysed in many countries all over the world. However, it is also true that this book has been criticised for its sexual promiscui

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