XXV International Conference of Film Studies "Contemporary Women’s Cinema and Media: Aesthetics, Identities, and Imaginaries " (original) (raw)
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Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts.
Cultural Critique, 2018
In an age of rising feminist activism and gendered media consumerism, how can we theorize the geopolitical aesthetics of women’s filmmaking? In "Women’s Cinema, World Cinema: Projecting Contemporary Feminisms," Patricia White gives us the critical tools to understand the global formations of our contemporary feminisms. Feature films by directors including Deepa Mehta, Claudia Llosa, Lucrecia Martel, Zero Chou, Nadine Labaki, Samira Makhmalbaf, Sabiha Sumar, Marjane Satrapi, Nia Dinata, Jeong Jaeeun, and others innovate new moving image paradigms for articulating the renewed centrality of women’s cinema as a concept.
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Explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, the book argues that women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights.
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Experimental cinema, as well as experimental video practices, have always been art forms widely explored by women. Yet, while the field of cinema studies has devoted research — although only recently — to women involved in narrative and commercial films, as directors, actresses, screenwriters and in other roles of cinema industry, the history of women’s experimental audio-visual production is still little explored and would benefit from being retraced and framed in a wider historical and theoretical perspective. This special issue of Cinéma&Cie is therefore aimed at tracing women’s experimental practices at the intersection of cinema and the arts by intertwining a theoretical and historical approach through the analysis of cases studies from the mid-century up to the present time.
COM 491: Feminism in Cinematic Art
This independent study is designed to offer students the opportunity to place critical research and textual analysis into creative action. The course presents an expansive introduction to feminist film history, with particular focus on historical achievements – technically, politically, culturally, and artistically. Through the duration of this course, we will investigate the milestones that shaped women’s role in moving-images and the impact their work had on social and economic frameworks. The aim of this course is to examine feminist cinema as a cultural text from the vantage point of feminist criticisms and concepts, feminist films (directed by females and/or strong female leads). In doing so, we will discuss how to read a film as a document – with attention paid to the text’s functionality – and identify the text’s preoccupations and influence on the historical and sociological climate in society.