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Journal articles on the topic 'Women filmmaker'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

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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5

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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10

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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11

Chinniah, Sathiavathi. "K. Balachander: An Innovative Filmmaker." Asian Journal of Social Science 37, no. 4 (2009): 574–98. http://dx.doi.org/10.1163/156853109x460291.

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AbstractThis study aims to contribute to existing literature on Indian cinema by exploring the works of K. Balachander. An academic enquiry into K. Balachander's films is justified given his presence in the Tamil film industry for some 40 years and the numerous awards he had obtained over this period for his filmic contributions, including the prestigious Padmashree Award which he won in 1987. In the bigger study of which this is a small part, I also study female representation in his films, as well as how various groups of audience interpret the portrayal of women in three specific films dire

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Imran, Rahat. "Locating the Storyteller in Silent Waters: Sabiha Sumar’s Cinematic Tale of Shared Histories and Divided Identities." CINEJ Cinema Journal 9, no. 2 (2021): 231–85. http://dx.doi.org/10.5195/cinej.2021.426.

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In her multi award-winning feature film Silent Waters (2003), Pakistani woman filmmaker Sabiha Sumar connects the socio-political traumas of the Partition of India and creation of Pakistan (1947) with the onset of military dictator General Zia-ul-Haq’s Islamization period (1977-1988) in Pakistan. Presenting a story based on real-life events, the film focuses on the impact of religious fundamentalism and nationalism on women in particular. Examining Silent Waters as an example of “history on film/film on history” (Rosenstone 2013), and film as an “agent, product, and source of history” (Ferro 1

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Zeng, Jinyan. "Documentary Film, Gender, and Activism in China: A Conversation with Ai Xiaoming." Film Quarterly 74, no. 1 (2020): 45–50. http://dx.doi.org/10.1525/fq.2020.74.1.45.

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FQ board member and contributor Chris Berry translates a conversation between the independent female filmmakers Ai Xiaoming and Zeng Jinyan. Although of different generations, Xiaoming and Zeng are both outliers in China's male-dominated film industry. The most prominent women filmmaker among the first generation of independent documentarians, Ai Xiaoming has lived under virtual house arrest since Xi Jinping's rise to power in 2012. Zeng Jinyan came to public attention in 2006, when she documented the disappearance of her husband, civil rights activist Hu Jia, in a protest blog; she later comp

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Boyer, Cyrus, and Nicole Brenez. "Jacques Kebadian, From One Revolution to Another." Aniki: Revista Portuguesa da Imagem em Movimento 11, no. 1 (2024): 204–23. http://dx.doi.org/10.14591/aniki.v11n1.1019.

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The career of filmmaker Jacques Kebadian (born April 20, 1940, in Paris) is striking for its loyalty to people, ideas and revolutionary ideals. In the 1960s, the author of Trotsky (1967) took part in several far-left groups, a filmmakers’ collective (ARC, Atelier de Recherche Cinématographique/Film Research Studio), and many, often clandestine, interventions. His work then shifted to accompanying internationalist struggles, supporting undocumented migrants, commemorating the Armenian genocide, following artists he was close to, and portraying women in the Resistance whom he admired. We asked h

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15

Mackay, Lesley. "Women in the Wings: Julia Love, Filmmaker, in the Spotlight." Imagine 5, no. 5 (1998): 16–17. http://dx.doi.org/10.1353/imag.2003.0106.

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Macaulay, Berette S., and Savita Krishnamoorthy. "(Re)imagined Possibilities." Feminist Media Histories 7, no. 1 (2021): 81–114. http://dx.doi.org/10.1525/fmh.2021.7.1.81.

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This essay and accompanying conversation examine the works of filmmaker and scholar Zeinabu irene Davis, whose work centers Black women, engaging their histories and contemporary stories, and thus representing their agency and complex personhood. Davis acknowledges Third Cinema and African/Afro diasporic influences in shaping her style of storytelling and in evolving her fierce Black aesthetic that disrupts the normativity of the dominant white gaze in mainstream media. These choices signify Davis’s ethos and priorities as a filmmaker, a documentarian, a womanist, and a community organizer who

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Amaral, Erika. "“Meu canto de morte, guerreiros, ouvi”: intermidialidade e tensões do colonialismo em Amélia (2000)." Aniki : Revista Portuguesa da Imagem em Movimento 6, no. 2 (2019): 03–24. http://dx.doi.org/10.14591/aniki.v6n2.511.

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This article analyzes Amélia (2000), feature film written and directed by Brazilian filmmaker Ana Carolina, aiming to understand the diegetic uses of arts such as I-Juca Pirama, a poem by Gonçalves Dias, and the theatre of Sarah Bernhardt. The investigation is based upon the propositions of intermediality, which investigates the intermedial configurations created with the superimposition of cinema and other arts, in order to demonstrate how poetry and theatre engender new layers of meaning in the filmic content and also indicate the coexistence of different historical temporalities, such as th

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York, Caitlin A. "Fennell's Promising Young Woman and Furious Women in Film." Film and Philosophy 26 (2022): 1–22. http://dx.doi.org/10.5840/filmphil2021102711.

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Emerald Fennell’s debut feature Promising Young Woman (2020) incisively examines sexual assault, misogyny, and the culture of complicity that continues to perpetuate `violence against women. This article will establish Fennell’s aptitude as a filmmaker in condemning the pervasive forces of patriarchal social order in harmony with Kate Manne’s account of structural misogyny analyzed in Down Girl (2017) and Entitled (2020). Fennell’s subversion of genre standards demonstrates how the actions of individuals, separate from the perpetrator, lead to additional acts of harm, and addresses the ever-pr

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Keller, Sarah. "What Women Want." Feminist Media Histories 9, no. 3 (2023): 15–30. http://dx.doi.org/10.1525/fmh.2023.9.3.15.

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The feeling of being caught between immersion in cinematic fictions and having one’s attention pulled away from them by a range of distractions has shaped the experience of cinema for many decades. In the 1910s, several developments emerged in tandem with each other: the promotion of films and their stars/directors, narrative becoming the dominant form of cinema production, and the materialization of tension between immersion and distraction for audiences. The environment in which 1910s promotional and narrational strategies thrived set the stage for how we have thought about the bodies of wom

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Mumford, Cara. "Le(e/a)ks: Being Anishinaabekwe on the Land Is Political." English Journal 106, no. 1 (2016): 31–37. http://dx.doi.org/10.58680/ej201628732.

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With a poem by Dr. Leanne Simpson, Anishinaabe scholar and storyteller, at its foundation, this article discusses the impact on Métis filmmaker Cara Mumford of creating a short film based on the poem, while exploring connections between women, language, and land within Michi Saagiig Nishnaabeg territory.

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Zecchi, Barbara. "Filling (Feeling) the Archival Void." Feminist Media Histories 9, no. 4 (2023): 14–27. http://dx.doi.org/10.1525/fmh.2023.9.4.14.

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The video essay “Filling (Feeling) the Archival Void” delves into the systematic erasure and archival dispossession of works by early women filmmakers, using the case study of Helena Cortesina and her lost film Flor de España (1922), which was falsely attributed to a male director. Through a counterhegemonic, provocative, “accented” approach, the video essay challenges established, patriarchal film histories and exposes the lies hidden within their seemingly rigorous discourse. First, it pays homage to the authorship of an almost forgotten filmmaker, Helena Cortesina, while also making her los

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Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 2 (2018): 67–70. http://dx.doi.org/10.1525/fq.2018.72.2.67.

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War films push the limits and emotions of the cinematic form, but the genre has rarely given its women characters a fraction of the depth afforded the male characters on the front-lines. Indian filmmaker Meghna Gulzar's new film “Raazi” re-orients the conventional narrative of war, suggesting new possibilities for a storied cinematic tradition.

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Miranda Dos Santos, Clédson Luciano. "Women on the verge. The carnivalization, the grotesque and the construction of the female characters in Almodóvar’s movies." Estudios del Discurso 2, no. 2 (2016): 43–63. http://dx.doi.org/10.30973/esdi/2016/2/2.3.

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This study focuses on the work of Spanish filmmaker Pedro Almodóvar in the context of Mikhail Bakhtin’s dialogical analysis. The objective is to discuss the presence of this analysis in the construction of Almodovarian characters who transgressively break with manichaeism, characteristic of Hollywood style, thus creating a more complex character.

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Weys, Dian. "Witnessing sexual harassment in Microbus: A conversation with filmmaker Maggie Kamal." Short Film Studies 13, no. 2 (2023): 101–10. http://dx.doi.org/10.1386/sfs_00096_7.

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Maggie Kamal is an Egyptian filmmaker based in New York City. Culminating in a scene of sexual harassment, her short film Microbus (2021) serves as a microcosm of patriarchal society and the precarious situations that women often have to navigate. During its festival run from March 2021 until August 2023, the short film drew passionate yet diverging responses from across the United States, Europe and the Middle East, suggesting how audience reception can reveal the different yet subtle ways in which sexism operates.

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DasGupta, Sudhanya. "Creation of texts as sites of resistance and assertion of women’s agency: A study of Sultana’s Dream as a literary text and a film." Animation Practice, Process & Production 13, no. 1 (2024): 57–75. http://dx.doi.org/10.1386/ap3_00053_1.

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Women are largely marginalized from mainstream written cultures under patriarchy. They, however, always tell stories and sing songs, creating alternative narrative spaces. In 1905, Rokeya Hossain, a woman from colonial India, wrote a futuristic feminist utopia called Sultana’s Dream. It became an iconic feminist text, a torchbearer of the women’s movement for the Indian subcontinent. More than a century later, filmmaker Isabel Herguera created an animation feature finding resonance of Rokeya’s text in the struggles of women of contemporary times and generations of women before her. The propose

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Omoera, Osakue S., and Charles C. Okwuowulu. "Female Representation in Select Films of Frank Rajah Arase: Evidence of Male Chauvinist Tendencies in the Ghanaian Film Culture." CINEJ Cinema Journal 9, no. 1 (2021): 14–41. http://dx.doi.org/10.5195/cinej.2021.287.

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There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video-films in Nigeria, Ghana, and indeed across the African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminist counterparts, masculinity always (re)emerges in new forms or topoi to dominate femininity. Consequently, there seems to be a paradigm shift on the (mis)representation of women that reinforces Laura Mulvey’s sexual voyeuristic objectification of the feminine gender as reflected in near-nude costumes as well as sexua

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Hall, Linda B. "Images of Women and Power." Pacific Historical Review 77, no. 1 (2008): 1–18. http://dx.doi.org/10.1525/phr.2008.77.1.1.

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This article discusses iconic visual images of three powerful women: the Virgin of the Apocalypse, as painted by eighteenth-century indigenous Mexican artist Manuel Cabrera; Marlene Dietrich; and Dolores del Ríío. In Cabrera's work, the Virgin Mary is depicted with wings, actively protecting her child and her people with great energy——almost the opposite of better-known images of the Virgin of Guadalupe. Artfully controlling her own image, Dietrich quietly flaunted her sexual power over the young John Wayne. Finally, del Ríío used her image and extraordinary beauty to change the way American a

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Ouazzani, Ahmed Touhami. "Femininity Construction between Rebellion and Victimization in L’Amante du Rif (2011)." Journal of Humanities and Social Sciences Studies 5, no. 8 (2023): 85–93. http://dx.doi.org/10.32996/jhsss.2023.5.8.10.

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This article examines femininity construction in Narjiss Nejjar’s film L’Amante du Rif (2011). This work has stirred a heated debate among cinema critics and movies goers regarding Nejjar’s rebellious representation of women. The study of female identity in films directed by a Moroccan female filmmaker would certainly contribute to the understanding of the complex relationship between the filmmaker’s gender and the discourse they produce; films directed by women offer the opportunity to have women’s experiences, concerns, and aspirations reported by women, which helps the audience and critics

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Annita, Annita. "Analysis on Islamic Women’s Right and Liberation in An Iranian Film: Osama." ULTIMART Jurnal Komunikasi Visual 8, no. 2 (2016): 35–42. http://dx.doi.org/10.31937/ultimart.v8i2.466.

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Osama speaks about a girl who disguised herself as a boy in order to survive in Taliban’s era. Not only has this film talked about survival, this masterpiece also exposed women’s struggle to get education under the oppression of Taliban. This article will analyze how the filmmaker discusses feminism from the point of view of Islamic women in a very delicate way. Keywords: women’s right, Taliban, Osama

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Cavassani, Maria Fernanda. "Women in cinema: an analysis of the cinetographic narratives of Laís Bodanzky." Cuadernos de Educación y Desarrollo 15, no. 3 (2023): 2101–16. http://dx.doi.org/10.55905/cuadv15n3-003.

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he proposal of this paper is to observe how the Brazilian cinematographic narratives have been dedicated to depicting the issue of the feminine. The objective is to comprehend the specificities of the feminine representations from the work of the filmmaker Laís Bodanzky (1969). In order to achieve this objective, this paper uses the narrative analysis (GANCHO, 1991) and the filmic analysis (VANOYE and GOLIOT-LÉTÉ, 2012), with theoretical support from Flusser (2007) about communication and culture; Benjamin (1994) and Silva and Santos (2015) about narratives; Silva (2009) to understand poetical

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Blank, Thais, and Patricia Machado. "Women and Super-8 Cameras: Public and Private Dimensions in Norma Bengell’s Footages." Comparative Cinema 12, no. 23 (2024): 86–104. https://doi.org/10.31009/cc.2024.v12.i23.06.

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This article examines the use of the Super-8 camera by the actress and filmmaker Norma Bengell, whose collection is housed at the Cinemateca Brasileira. This research, initiated in 2018, maps amateur films from the period of Brazil’s military dictatorship, emphasizing how private images can reveal historical and political tensions. Bengell documented both significant events and intimate aspects of her life, such as the release of Inês Etienne, the first political prisoner sentenced to life imprisonment in Brazil. The study explores Bengell’s career, her transition into directing, and her contr

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Gopal, Sangita. "Media Meddlers." Feminist Media Histories 5, no. 1 (2019): 39–62. http://dx.doi.org/10.1525/fmh.2019.5.1.39.

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This article explores and historicizes the rise of the woman filmmaker in India in the late 1970s and the 1980s in two overlapping domains: a vastly expanded communications infrastructure, including the spread of television, and second wave feminism. It takes as a case study the media maker Sai Paranjpye, whose eclectic career across a range of media—theater, TV, cinema, print—in multiple formats—ad films, documentaries, educational shorts, TV films, full-length features—was fairly typical of the nature of women's media work at this time, as women took whatever work they could find in a rapidl

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Dovey, Lindiwe. "Intermediality in Academia: Creative Research through Film." Arts 12, no. 4 (2023): 169. http://dx.doi.org/10.3390/arts12040169.

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This article provides an overview of the recent flourishing of research and pedagogy in higher education that seeks a greater rapprochement between criticism and creativity, bringing together diverse media, disciplines, and modes of knowledge production and expression. It focuses on transformations in film and screen studies and on the ethical and aesthetic possibilities of conducting creative, intermedial research through filmmaking, drawing on the author’s recent, first-hand experiences of conducting such research through her making of two films about the African women filmmakers Judy Kibing

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Uhlin, Graig. "Feminism and Vegetal Freedom in Agnès Varda’s Le Bonheur (1965) and Vagabond (1985)." Philosophies 7, no. 6 (2022): 130. http://dx.doi.org/10.3390/philosophies7060130.

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This essay examines French filmmaker Agnès Varda’s Le Bonheur (1965) and Vagabond (1985) for their critical invocation of the persistent and patriarchal association of women with plants. Both women and plants are thought within the metaphysical tradition to have a deficient or negative relation to freedom. Varda’s films, however, link the liberation of women in postwar France to the liberation of vegetal being; her female protagonists pursue their liberation by accessing the vegetal freedom that subtends human freedom. In Le Bonheur, Varda uses visual irony to critique the processes of idealiz

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Lawson, Sam. "“Deviant” Psychosis: An Exploration of the Production and Consumption of Queer and Transgender Women in the Films of Brian De Palma." Film Matters 11, no. 3 (2020): 21–31. http://dx.doi.org/10.1386/fm_00097_1.

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This article provides a critical analysis of three films by filmmaker Brian De Palma: Dressed to Kill (1980), The Black Dahlia (2006), and Passion (2012). De Palma uses both the thematic tropes of film noir (psychosis, sexual deviance, doubling, etc.) and its stylistic conventions (chiaroscuro lighting, urban environments, etc.) to capitalize on the LGBTQ+ community, using them to create a spectacle of difference for his viewing audience. De Palma panders primarily to heterosexual spectators by using LGBTQ+ women to entertain/titillate audiences via the conventions of noir, thereby suggesting

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Gledhill, Christine. "Research without Films." Feminist Media Histories 9, no. 2 (2023): 8–42. http://dx.doi.org/10.1525/fmh.2023.9.2.8.

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Dinah Shurey was the only woman to found her own film company in 1920s Britain, producing six films and directing one, all of which, despite their apparent popularity, are lost. Absence of films and (auto)biography, along with the “oddness” of Shurey’s choice of military and naval melodramas, means film history has discounted her. This article explores alternative historical sources—genealogical sites, popular magazines from her family’s publishing house, autobiographies of women she worked with, source novels and short stories, industry meeting and law-court reports, trade papers and reviews,

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Włodek, Roman. "Od Za grzechy do Bezdomnych. Aleksander Marten (1898–1942?), artysta żydowskiej i polskiej kinematografii dźwiękowej." Studia Judaica, no. 2 (50) (December 22, 2022): 269–90. http://dx.doi.org/10.4467/10.4467/24500100stj.22.011.17181.

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From Al Khet (For the Sins) to On a Heym (Without a Home): Aleksander Marten (1898–1942?), a Filmmaker of Jewish and Polish Sound Cinematography Mordka Matys Tenenbaum (1898–1942?), also known as Aleksander Marten, is one of the least known Yiddish filmmakers. After ending his theatrical career in Germany and Austria, he went on to direct a Yiddish film Al khet (For the Sins) in Warsaw (1936). It was a melodramatic family story which brought him success and recognition both in Poland and in the diaspora, thus becoming the starting point of the so-called “golden age of Jewish cinema.” It was th

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Włodek, Roman. "Od Za grzechy do Bezdomnych. Aleksander Marten (1898–1942?), artysta żydowskiej i polskiej kinematografii dźwiękowej." Studia Judaica, no. 2 (50) (December 22, 2022): 269–90. http://dx.doi.org/10.4467/24500100stj.22.011.17181.

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From Al Khet (For the Sins) to On a Heym (Without a Home): Aleksander Marten (1898–1942?), a Filmmaker of Jewish and Polish Sound Cinematography Mordka Matys Tenenbaum (1898–1942?), also known as Aleksander Marten, is one of the least known Yiddish filmmakers. After ending his theatrical career in Germany and Austria, he went on to direct a Yiddish film Al khet (For the Sins) in Warsaw (1936). It was a melodramatic family story which brought him success and recognition both in Poland and in the diaspora, thus becoming the starting point of the so-called “golden age of Jewish cinema.” It was th

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ross, jesikah maria, and Vicky Funari. "Participatory Documentary Then and Now." Television & New Media 18, no. 3 (2016): 283–93. http://dx.doi.org/10.1177/1527476416675418.

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In this conversation, community media activist jesikah maria ross and filmmaker Vicky Funari talk about the work they have done together in alternative media since the 1990s. Their shared projects include skin•es•the•si•a (1994), an experimental video exploring the cultural codification of the female body; Paulina (1998), a feature-length documentary about a resilient Mexican woman whose parents traded her for land when she was a child; and Maquilápolis [City of Factories] (2006), a participatory documentary that tells the stories of women workers in Tijuana’s multinational factories, and expl

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Thompson, Jan. "Making "The Tragedy of Bataan": The Bataan Death March through the Lens of a Filmmaker." Journal of American-East Asian Relations 18, no. 3-4 (2011): 215–34. http://dx.doi.org/10.1163/187656111x614265.

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AbstractThe television and radio documentary "The Tragedy of Bataan" uses extensive interviews with survivors to bring the 1942 Bataan Death March to life for contemporary viewers. The filmmaker, whose father was a POW in the Philippines, describes the process of gathering the interviews and putting them together into a compelling story. She describes the film strategy of having the men and women involved tell the story in their own words, with no historians or experts on camera; explains how a documentary film differs from a written monograph; and explores the constraints set by television an

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Gion, Tigist Alemayehu, Aboneh Ashagrie Zeiyesus, and Samuel Tefera Alemu. "Interlocking Narratives: Reconnoitering the Bond and Intersection of Africana women and Africa in Haile Gerima films." Journal of Social Studies 31, no. 2 (2025): 69–89. https://doi.org/10.20428/jss.v31i2.2654.

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This article examines the bond and intersection between Africana women residing outside of the continent and Africa, as portrayed in the films of Haile Gerima. Employing qualitative analysis, it scrutinizes the narrative and thematic elements from his works Child of Resistance (1972), Bush Mama (1976), Ashes and Embers (1982), and Sankofa (1993). The focus of the analysis rests on the shared history and memory between Africana women and their African roots, using insights from the Africana womanist theoretical viewpoint. Africana Womanism emphasizes the special experiences and challenges faced

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Foschi Ciampolini, Anna. "A Cross-cultural, Trans-generational Portrait of Italian-Canadians in Adriana Monti’s Two Short Films." Italian Canadiana 34 (September 17, 2021): 167–74. http://dx.doi.org/10.33137/ic.v34i0.37476.

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Adriana Monti is an Italian-Canadian independent producer, feminist filmmaker and author. She started her career in Italy in the late 1970s by developing a collaborative and experimental style that allowed the women object of her research to take an active and creative role in her films. This interview centers around her two recent documentaries. Family 001 and Family 005 are two shorts exploring the lives of several influential Torontonians and Montrealers of Italian origin through a series of informal interviews with women, men and members of the same family from diverse age groups. This bri

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Beceiro, Sagrario, Begoña Herrero, Ana Mejón, and Rubén Romero Santos. "Global Cities in Transition: New York and Madrid in the Films of Chus Gutiérrez." Arts 12, no. 6 (2023): 244. http://dx.doi.org/10.3390/arts12060244.

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In her triple condition of emigrant, artist and woman, the work of Spanish filmmaker Chus Gutiérrez is a privileged and singular object of study. Through her filmography it is possible to approach the changes that have taken place in the cities on both sides of the Atlantic. Chus Gutiérrez resided in New York during the decade of the 1980s and returned to Madrid to witness the changes that this city was undergoing: from being the epicenter of a dictatorship to a democratic city. Her vision of both places is clearly reflected in two of her films: Sublet (1992) and El Calentito (2005). The prota

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Dr., D. R. Khanderao. "Major Themes of Maya Angelou's Poems." International Journal of Advance and Applied Research 10, no. 4 (2023): 223–26. https://doi.org/10.5281/zenodo.7919333.

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Angelou has been a prolific poet, and has published several volumes of poetry. She has experienced similar success as a poet as she did as an autobiographer. Her books center on themes such as racism, identity, family, and travel. Maya Angelou is hailed as a global renaissance woman. Angelou is celebrated poet, memoirist, novelist, educator, dramatist, producer, actress, historian, filmmaker, civil right activist. Maya Angelou has presented herself as a role model for Africa. In her works Angelou has debunked the stereotypes of African-American mothers as breeders and matriarchs, and has prese

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Bao, Hongwei. "The wedding complex: Chinese queer performance art as social activism." Journal of Contemporary Chinese Art 10, no. 1 (2023): 39–63. http://dx.doi.org/10.1386/jcca_00075_1.

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Through public, intentional and interventionist displays of the queer body, queer Chinese artists have used performance art for identity expression, community building and social activism. This article focuses on some of these queer performance artworks, those that engage with the theme of weddings; that is, performance artworks that draw on and critique the social conventions of wedding ceremonies. Focusing on five case studies – the lesbian artist duo Shi Tou and Ming Ming’s photography and installation about queer women’s intimacy; queer filmmakers Fan Popo and David Zheng’s 2009 film New B

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Smyth, Heather. "“Usable Paradoxical Space”: Negotiating Captivity and the Gaze in Michelle Mohabeer’s film Blu in You." Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 10 (October 10, 2022): 135–52. http://dx.doi.org/10.14201/candb.v10i135-152.

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To this special issue of Canada and Beyond on “Caribbean Canadian” cultural production, this article offers a reappraisal of spectacular violence in the legacy of Sarah Baartman, as explored by Guyanese Canadian filmmaker Michelle Mohabeer. Mohabeer’s film Blu in You confronts the racist, heteronormative violences that underpin Western modernity, in particular objectification of the gaze over racialized Black and queer women, in the process situating queer Caribbean Canadian women as Baartman’s resistant inheritors. This paper seeks strategies for addressing the limitations imposed on queer cr

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Corbatta, Jorgelina. "Fernando Vallejo y Pedro Almodóvar: notas para un estudio comparativo." Estudios de Literatura Colombiana, no. 22 (August 22, 2013): 33–46. http://dx.doi.org/10.17533/udea.elc.16384.

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Resumen: El objetivo del artículo es establecer entre el escritor colombiano Fernando Vallejo y el cineasta español Pedro Almodóvar mediante el análisis de aspectos ideológicos semejantes (respecto del lugar de origen, la patria, la familia, Dios y la ficcionalización de elementos autobiográficos) , y divergentes (la actitud respecto del hombre y la mujer) a la vez que se estudia las diferentes estrategias narrativas utilizadas para presentarlos. Descriptores: Autobiografía, región y país de origen, familia, religión, salud, sexualidad, política, transgresión, parodia, farsa, humor, hombre/muj

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Kollin, Susan. "Uncertain Wests: Kelly Reichardt, Settler Sensibilities, and the Challenges of Feminist Filmmaking." Zeitschrift für Anglistik und Amerikanistik 68, no. 1 (2020): 7–20. http://dx.doi.org/10.1515/zaa-2020-0003.

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AbstractDirector Kelly Reichardt has been celebrated as an independent filmmaker who takes risks in developing complicated and often fraught storylines, especially for her female characters. In Meek’s Cutoff (2010), she uses the aesthetics of slow cinema to show details frequently overlooked in the Western. In doing so, the film lays bare the violence of the settler-colonial West, highlighting the underside of European-American dreams of progress and prosperity. Addressing settler women’s investments in nation-building projects, the film traces how their commitments to Whiteness helped underwr

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Schaber, Bennet. "Fabrics of Dislocation." Feminist Media Histories 3, no. 1 (2017): 103–39. http://dx.doi.org/10.1525/fmh.2017.3.1.103.

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This photo essay is an attempt to register the complex political valences of certain shared formal preoccupations in the cinematic, photographic, videographic, and new media works/interventions of Shirin Neshat, Lalla Essaydi, Mona Hatoum, Ana Lily Amirpour, Amina Sboui, and Nadia El Fani. What is contested here is the so-called readability of images, especially those by Middle Eastern women, as these coalesced during the late colonial and postcolonial periods and as they continue today. The “photo-grams” that constitute the essay function neither as illustrations nor as counter-readings, but

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Moeck, Emily. "The Blair Witch Project: Metatextual Layers of Subverting the Female Gaze." CINEJ Cinema Journal 11, no. 1 (2023): 240–57. http://dx.doi.org/10.5195/cinej.2023.471.

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While recent scholarship has discussed the gendered subject/object relations within The Blair Witch Project and Heather’s victimization by the male gaze of the horror-genre’s camera, my work rebuts and clarifies the level through which this victimization is occurring. I argue we must understand how BWP functions on three different metatextual layers—Heather’s documentary, the implied documentary of The Blair Witch Project, and the Myrick and Sánchez mockumentary—to see the ways in which Myrick and Sánchez have exploited spectator expectations of the horror genre to underwrite a critique of the

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