Women & Film Research Papers (original) (raw)

Over the last two decades, documentary filmmakers have increasingly turned their attention to environmental issues, whether the climate crisis, pollution, threats to the biosphere and its species or the effects of mining and extraction. Women consistently play key roles in environmental documentary filmmaking, whether behind or in front of the camera. This essay explores the nexus of documentary filmmaking, women and environment. It examines the Australian documentary sector, tracking changing pathways of opportunity for women working in documentary production, particularly in relation to the causal connections between the rise of philanthropic funding and environmental documentary. The discussion investigates two recent examples, Wild Things (2020) and The Leadership (2020), exploring how they might reward an analysis that connects environmentalism and women. Tracking the convergence of a number of factors, including the gendered composition of the documentary sector, the rise of "impact documentary" with its changed conceptualisation of audiences, and the gendered profile of environmentalism, this article argues that contemporary documentary filmmaking is a significant site for understanding the environment as a feminist concern.

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- Environmental Studies, Women & Film, Documentary Film, Australian film

This paper examines technology through the interface of artificial intelligence and dance by addressing certain questions many artists ask themselves when integrating these two. How much technology is too much technology? How might we balance digital technologies as an integral artificial element in organic works while not overwhelming the integrity of a choreographic performance? Primarily, the focus of this document is to discuss digital art through the application of artificial intelligence in dance performance, more specifically through the processes and results of Machine Learning and Genetic Algorithms. The paper will also address historical references in digital performances.

Unlike other anthologies, Hollywood Heroines: The Most Influential Women in Film History is a hybrid of film history and industry information with an exclusive focus on prominent women. This reference work includes more commonly discussed categories of important women in Hollywood film history, such as directors and actresses, and reaches beyond them to encompass women working as cinematographers, casting directors, studio heads, musical composers, and visual and special effects supervisors.
The wide range of filmmaking crafts covered in the book provides an acute view of the industry and increases the visibility of and quality of representation for women working in Hollywood. By bringing the experience of these influential women to light, Hollywood Heroines joins a growing movement that endeavors to dismantle harmful, longstanding industry myths that perpetuate the systemic underrepresentation of women and the devaluation of women's stories in the Hollywood film industry.

- by Ana Cabral Martins
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- Women's Studies, Women & Film, Women and Gender Studies

An analysis of the Netflix series, "When They See Us", by Ava DuVernay and the racial biases in police activities, the reevaluation needed in interrogation processes, and the blasphemous involvement from former president, Donald Trump, in... more

- by Megan Milo
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- African Studies, Television Studies, Film Analysis, Women & Film
- by Debbie Ging
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- Gender Studies, Film Studies, Forensic Science, Feminism

There is a war afoot. One fought with pins and needles, cameras and cartoons. In the following article, I will begin with the history of the corset as an object plagued by misinformation, then I will introduce the misrepresentation of the corset in moving pictures as an abuse of history. To conclude, I will look at the corset's treatment in media as a case study for the capacity of visual media to shape popular perception of history, offering a possible answer to the question: should ahistoricity in film be treated as a dangerous trend, or artistic expression?

- by Olivia Jol
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- Fashion design, Women's Studies, Fashion Theory, Women's History
- by Terri Ginsberg
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- Gender Studies, Feminist Theory, Literature, Popular Culture
- by Lisa Daniels Wall
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- Silent Film, Women & Film, Film and Media Studies, Silent Cinema

The chapter uses the methods of psychobiography and object relations theory to conduct a single-case study of the life and loves of German filmmaker Leni Riefenstahl (1902-2003). Leni's childhood home was dominated by her father, who had to be cajoled, and sometimes outright deceived, into supporting his daughter's desire to enter a career in the performing arts. Unfortunately, Leni's success was often her worst enemy: Just as she evaded her father Albert's censorious glance, so did she avoid the barbs of German film critics by gaining Adolf Hitler as her patron until the fall of the Nazi regime in 1945. At this time, Leni lost not only her marriage and her film career, but even her sanity, if only for a short time. The chapter shows, through a Fairbairnian analysis, how Leni adapted to the disaster that was her early career by reinventing herself as a photographer of African tribes. Also, in her romantic life, she changed tacks. Compared with her late-in-life companion Horst Kettner, Leni's early romances were relatively shallow either because her counterpart was too involved in promoting her career (Harry Sokal) or too far removed from her working life (Peter Jacob).

- by James L Kelley
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- Psychology, Developmental Psychology, Women's Studies, Film Studies

In Jeanne Dielman (1975), From the Other Side (2002) and No Home Movie (2015), Belgian/French filmmaker Chantal Akerman's camera does motherwork by creating spaces where spectators are invited to encounter, hold, and work through discomforting feelings, memories, and fantasies. Roland Barthes's photographic search for his mother in Camera Lucida and feminist thinking on motherwork and fabulation in the Black radical tradition inform my reading of Akerman's cinematic techniques and narratives wherein new practices of mothering, motherwork, and care might be experienced and imagined.

- by Lori Marso
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- Film Theory, Women & Film, Feminist film theory, Black Feminist Theory/Thought

Chapter included in Ronald Gregg and Amy Villarejo, eds. The Oxford Handbook of Queer Cinema

- by William J Simmons
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- Queer Studies, Transgender Studies, Queer Theory, Video Art

Highlighting the ecological concerns as projected in Disney Pictures is the prime objective of the paper. The two major ground breaking theoretical concepts Deep ecology and Ecofeminism though are against the institutionalized hierarchies, are found to dilute each other. The Frozen series of Disney Pictures has deviated from the clichéd portrayal of its princess's and has placed an open gate before the pro-feminist princess. Deep Ecology and Ecofeminism together create a deep impact on the role played by women in restoring nature to its pristine form from being exploited by the materialist society. Archetypal criticism clears the mist enabling women to know the reason behind their instinctual tendency to nurture nature. Both the concepts complement each other and create a divine approach towards nature. Frozen series has created a deep impact on every individual of the society irrespective of their age and gender. The paper supports the theory of coexistence propounded by the Frozen series with theoretical evidences pooled together from different episteme of knowledge like Psychology, Feminism and Ecology. The environmental ethics displayed by mass media to the younger generations has been a phenomenal victory. The Western civilization has steered the wheel of development towards ecological balance and has proved the fact that natural resources once exploited will bring doom's day to the doorsteps of all the creations existing on this earth. The ecological concepts dealt with in the movies have struck the chord-by explicating complicated ecological theories along with solutions for the ecological crisis through a feminist lens.

- by Thamizhini N
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- Ecofeminism, Women & Film, Deep Ecology, Mutualism
- by Anna Weinstein
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- Media Studies, Women's Studies, Film Studies, Television Studies

Co-authored with Melanie Bell, Christine Gledhill, Shelley Cobb, Rashmi Sawhney, Laraine Porter, Ulrike Sieglohr.
While 1970s/1980s feminist film theory questioned the representability of women within a male-dominated industry, renewed interest in early film history revealed unexpected numbers of women film makers. The international Women Film Pioneers Project (WFPP), an ever-growing database housed at Columbia University, New York, documents research into the pioneering work of women in cinema's first crucial decades as it became a mass and transnational medium. A surge of monographs has followed, focusing on women's diverse careers, the gendering of film studio organization and practices, and the cultural impacts of female audiences, campaigners, journalists, and critics. These discoveries are emerging in festival and film theater programming, film education, and local cultural activity. In Britain, the Women's Film & Television History Network-UK/Ireland, encourages research across the barriers between silence and sound, cinema and television. In what follows, the Network records key issues and figures emerging from the project of women's film history.

- by Debashree Mukherjee
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- Film Studies, Film History, Women & Film, Indian Cinema
- by Dilhan Eğribaş
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- Women & Film, Türk Kadını, Kadının Metalaşması, Film Incelemesi
- by Theresa L Geller
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- Gender Studies, Media Studies, Avant-Garde Cinema, Feminist Theory
- by William J Simmons
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- Queer Studies, Popular Music Studies, Feminist Theory, Popular Music

The most basic form of postmodernism examines society from a theoretical perspective. The term postmodernism refers to a cinematic movement that emerged in the 1920s and, as the term suggests, represents a distinctive cinematic repertoire that addresses socioeconomic status, gender, and representation of the millennial generation. The present dissertation looks at how postmodernism and hyperpostmodernism interrelate to one another in relation to their socioeconomic concerns. It aims to examine how these two movements reflect the society we live in. It will also delve into the emergence of hyperpostmodernism, which was highlighted by the 2004 film Mean Girls, directed by Mark Waters. I will demonstrate my claim using an array of characteristics associated with postmodernism (intertextuality, metacinema, self-reflection, and metatextual devices) and explain how they can be expressed in varying degrees of complexity, which is based, in part, upon the context of the film and the way tha...

- by Shareca Coleman
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- Gender Studies, Feminist Theory, Film Studies, Film Theory

Rituparno Ghosh was one of the rare film makers in India who recognized the power of silence both as a text and a narrative. Gosh made conscious efforts to communicate the music of silence in many of his films. These sincere attempts knitted the complex human desires, passions and emotions in his film. This chapter investigates the power of silence in the films of Rituparno Gosh. Here silence is not only a filmic apparatus, but also a major emotional element in his films, particularly in the portrayal of human relationship.

- by Dr. Sony Jalarajan Raj
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- Film Theory and Practice, Film Studies, Film Theory, Film Music And Sound

From Hollywood classics such as Now Voyager (1942), My Fair Lady (1964), and Pretty Woman (1990) to TV lifestyle programming such as What Not to Wear (2001–07), 10 Years Younger (2004–08), and Gok’s Fashion Fix (2008–09), the makeover narrative is an endlessly repeated and eagerly consumed staple of popular culture. Prevailingly structured around three key components — namely the make-under, the makeover, and the final revelation/affirmation1 — the makeover narrative implies that through the processes of consumption and feminization, the female protagonist will achieve social mobility, popularity, and the “prize” of (a new or rekindled) heterosexual romance. Through their formulaic structure, such texts work to establish the parameters of acceptable feminine appearance, while also offering viewers the vicarious visual pleasure of witnessing the protagonist’s transformation from frump to bombshell.

- by Sarah Gilligan
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- Cultural Studies, Media Studies, Media and Cultural Studies, Self and Identity

¿Desde cuándo hay mujeres haciendo cine? ¿Por qué es importante fomentar la inclusión y participación de mujeres e identidades no cisgénero en la industria audiovisual? ¿Qué medidas se han tomado al respecto? Estas preguntas fueron los ejes que guiaron este trabajo, que busca recuperar a las mujeres detrás de cámara, más allá de los roles de dirección y producción y los históricamente feminizados: guionistas, camarógrafas, sonidistas, editoras, directoras de fotografía, eléctricas, grips. Una búsqueda de nombres, historia y de lucha por la región Latinoamericana, una deuda aún pendiente que es retomada por los colectivos de mujeres, personas trans, travestis y no binaries en los últimos años.

- by Cynthia Tato Jardón
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- Women & Film, Film Production, Cinema, Cinema Studies

Publicado en febrero/2020, es la edición argentina del libro "A experiência do cinema de Lucrecia Martel: Resíduos do tempo e sons à beira da piscina", lanzado en 2014 en Brasil. Parte de la colección "Imagen e Historia", dirigida por Natalia Taccetta y Mariano Veliz, de Prometeo Libros. Traducción al español de Daniel Maggi. Texto del prefacio por Gonzalo Aguilar y de la contraportada por Julia Kratje.

Black Swan adalah film bergenre Thriller/Drama yang direlease tahun 2010, film ini disutradarai oleh Darren Aronofsky. Alasan saya memilih untuk menonton dan menganalisa film Black Swan adalah karena film ini berkaitan dengan psikologi dari seorang ballerina, dimana tidak banyak sekali orang mengetahui bagaimana kehidupan dibalik layar dari orang-orang yang bekerja di pementasan pertunjukan balet dan juga berbagai macam hal dari balet, bukan hanya tentang menari, tetapi juga tentang mendalami dan menjiwai dari karakter yang diperankan oleh ballerina tersebut dalam setiap pementasannya.

- by Daffa Amrullah
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- Psychology, Film Studies, Women & Film, Film Production

Ana akım sinema olarak adlandırılan ve çoğunlukla ataerkil bir
yapılanma içerisinde olan klasik sinemada kadınlara, çoğunlukla
toplumsal cinsiyet rollerine göre karakterler biçilmiştir. Bu
durum hem “Uyuyan Güzel” masalında hem de bu masalın filme
uyarlanmış versiyonunda karşımıza çıkmaktadır. Bunun aksine
Malefiz filmi, bu masalı yapı söküme tabi tutarak iki zıt kutupta
konumlandırılmış kadın karakterleri, büyücü kraliçe ve iyi kalpli
prensesi gibi, dayanışma içinde sunmaktadır. Söz konusu filmde,
kadın karakterler birbiriyle değil, patriyarkayı temsil eden
erkek karakterlerle mücadeleye girerler. Bu açıdan Malefiz filmi,
feminist perspektiften ele alınabilir. Öte yandan kadın ve doğa
birlikteliğinin ön plana çıkarılması ve patriyarka (filmde kral) ile
mücadele edilmesi, filmin ekofeminizme indirgenmesi için gerekli
koşulları sağlar. Bu çalışmada, betimsel ve eleştirel bir analizle
filmdeki kurgu, sahneler, karakterler, temalar ve imgeler feminist
bir yöntembilimle çözümlenmekte ve kadın-doğa ilişkisine dair
bulgular değerlendirilmektedir. “Malefiz” filminin 2014 yılında ilk
gösterime giren serisi ile 2019 yılında gösterime giren “Malefiz:
Kötülüğün Gücü” adlı ikinci serisi birbiriyle bağıntılandırılarak
incelenmiştir. Ekofeminist bağlamda değerlendirilen filmin içinde
çeşitli ataerkil, feminist ve ekofeminist temalar ve imgeler bulunduğu
tespit edilmiştir. Betimsel analize dayalı olan bu nitel çalışmada,
filmlerdeki ekofeminist temalar ve imgeler çözümlemiştir. Sonuç
olarak bu çalışmanın hem feminist çalışmalara hem de sinema
çalışmalarına katkı sunması beklenmektedir.

- by Duygu Küçüköz Aydemir
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- Gender Studies, Humanities, Feminist Theory, Film Analysis

Resumo da apresentação para o 2º Fazendo e Desfazendo Gênero na ECA (2018).

- by Erika Amaral
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- Gender Studies, Women & Film, Brazilian Cinema, Cinema Studies

"CINEma oltre. Donne e pratiche audiovisive in Italia" di Lucia Cardone, Elena Marcheschi e Giulia Simi _ isbn 9788874903160 _ Con saggi di: Luisa Cutzu, Lucia Di Girolamo, Francesca Gallo, Sandra Lischi, Jennifer Malvezzi e Bianca... more

"CINEma oltre. Donne e pratiche audiovisive in Italia"
di Lucia Cardone, Elena Marcheschi e Giulia Simi
_ isbn 9788874903160 _ Con saggi di: Luisa Cutzu, Lucia Di Girolamo, Francesca Gallo, Sandra Lischi, Jennifer Malvezzi e Bianca Trevisan, Raffaella Perna, Simona Pezzano, Farah Polato, Maria Teresa Soldani, Deborah Toschi, Lucia Tralli.

- by Gianni Romano
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- Women & Film, Arte Contemporanea, Women and Film Representation

2 vol. (725 p.) Jury : Vincent Amiel, Michel Marie, Raphaëlle Moine, Jacqueline Nacache, Geneviève Sellier (Directrice de thèse), Ginette Vincendeau. Doctorat d’études cinématographiques et audiovisuelles, mention Très Honorable avec... more

2 vol. (725 p.)
Jury : Vincent Amiel, Michel Marie, Raphaëlle Moine, Jacqueline Nacache, Geneviève Sellier (Directrice de thèse), Ginette Vincendeau.
Doctorat d’études cinématographiques et audiovisuelles, mention Très Honorable avec les félicitations du jury à l’unanimité (Université de Caen Basse-Normandie).
soutenue le 10.11.2007

- by Gwénaëlle Le Gras
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- Cultural Studies, Gender Studies, Reception Studies, Film Studies
- by Tim Palmer
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- Film Studies, French Cinema, Film Analysis, Women & Film
- by Alison Horbury
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- Women in Art, Women & Film, Classical Hollywood, Women filmmakers

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.

This thesis is dedicated to the cinema art of Kira Muratova with the focus on the theme of grotesque. Kira Muratova shot films of different genres; mixing styles, creating a new reality of cinema, mixing audio-visualization of people with... more

- by Helena Tomasson
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- Visual Studies, Film Studies, Film Theory, Bakhtin
- by Lara Royo
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- Film Studies, Film Analysis, Film Adaptation, Women & Film

The burgeoning scholarship on Western health films stands in stark contrast to the vacuum in the historical conceptualization of Eastern European films. This book develops a nonlinear historical model that revises their unique role in the inception of national cinematography and establishing supranational health security. Readers witness the revelation of an unknown history, concerning how the health films produced in Eastern European countries not only adopted Western patterns of propaganda but actively participated in its formation, especially with regard to those considered “others”: women and the populations of the periphery. The authors elaborate the long “echo” of the discursive practices introduced by health films within public health propaganda, as well as the attempts to negate and deconstruct such practices by rebellious filmmakers. A wide range of methods, including the analysis of the sociological biographies of filmmakers, the historical reconstruction of public campaigns against diseases, and an investigation into the production of health films, contextualizes these films along a multifaceted continuum stretching between the adaptation of global patterns and the cultivation of national authenticities. The book is aimed at those who study the history of film, the history of public health, Central and Eastern European countries, and global history.

- by Victoria Schmidt
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- Women & Film, Film and History, Public Health, Central and Eastern Europe

As contemporary cinema intersects with both celebrity (Church Gibson 2011) and convergence culture (Jenkins 2006), it is vital that the academic analysis of screen costuming moves beyond the film text to consider the wider institutional processes and consumption practices connected to fashion and spectators. In examining the role of costume and fashion as a source of meaning and pleasure this article forms part of my wider research project, which includes a forthcoming monograph and adopts both textually centred and interdisciplinary cross-media methodological approaches. This methodological shift is reflected in this article – the examination of Shakespeare in Love (Madden 1998) adopts a predominantly textually centred approach focusing on the cinematic representation of Viola / Thomas (Gwyneth Paltrow) in which I argue that costume functions as both a spectacular intervention and a visual narrative of gender transformation and sexual fluidity. In then shifting to a cross-media approach, I will discuss both Gwyneth Paltrow and Keira Knightley in relation to issues of fashion, femininity and celebrity culture. As contemporary popular cinema shifts from character centred narratives to the formation of transmedia worlds existing over multiple media platforms, the text-spectator relationship is one grounded in a participatory convergence culture (Jenkins 2006). In the final section of this article I argue that the meanings and pleasures of cinematic costume are increasingly characterised by what I term ‘tactile transmediality’. Through moving my analysis beyond the film text to explore gaming, cosplay and fashion in relation to the Pirates of the Caribbean franchise (Verbinski 2003, 2006, 2007, Marshall 2011), I will argue that clothing enables a tactile platform in which the spatial distance between the text and the spectator can be bridged via adornment and touch and thus the processes of identity transformation and performativity can be played out in our everyday lives.

- by Sarah Gilligan
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- Cultural Studies, Gender Studies, Game studies, Media Studies