Genre Authorship And Contemporary Women Filmmakers
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Genre, Authorship and Contemporary Women Filmmakers by Katarzyna Paszkiewicz Pdf
Examining the significance of women's work in popular film genres, this test sheds light on women's contribution to genre cinema through an exploration of filmmakers like Kathryn Bigelow, Diablo Cody, Sofia Coppola, and Kelly Reichard.
Adaptation, Authorship, and Contemporary Women Filmmakers by S. Cobb Pdf
A lively discussion of costume dramas to women's films, Shelley Cobb investigates the practice of adaptation in contemporary films made by women. The figure of the woman author comes to the fore as a key site for the representation of women's agency and the authority of the woman filmmaker.
Sue Thornham explores issues of space, place, time and gender in feminist filmmaking through an examination of a wide range of films by contemporary women filmmakers, ranging from the avant-garde to mainstream Hollywood. Beginning from questions about space itself and the way it has been gendered, she asks how representation functions in relation to space and time, and how this, too, is gendered, before moving to an exploration of how such questions might be considered in relation to women's filmmaking. In sections dealing with spaces from wilderness to city, she analyses in detail how these issues have been dealt with by women filmmakers, addressing the work of filmmakers such as Jane Campion, Kathryn Bigelow, Julie Dash, Maggie Greenwald, Patricia Rozema and Carol Morley, and films including 'An Angel at My Table' (1990), 'Daughters of the Dust' (1991) 'The Ballad of Little Jo' (1993), 'Winter's Bone' (2010), 'Zero Dark Thirty' (2012) and 'The Falling' (2014).
Women’s Cinema, World Cinema by Patricia White Pdf
In Women’s Cinema, World Cinema, Patricia White 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, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
Heightened Genre and Women's Filmmaking in Hollywood by Mary Harrod Pdf
Despite the widely publicised prejudice faced by women in Hollywood, since around 1990 a significant minority of female directors have been making commercially and culturally impactful films there across the full range of genres. This book explores movies by filmmakers Amy Heckerling, Nora Ephron, Nancy Meyers, Catherine Hardwicke, Sofia Coppola, Kimberly Peirce, Kathryn Bigelow and Greta Gerwig, including many which are still critically neglected or derided, seeing them as offering a new understanding of genre filmmaking. That is, like many other contemporary films but in a striking proportion within the smaller set of mainstream movies by women, this body of work revels in a heightened genre status that allows its authors to simultaneously address ‘intellectual’ cinephilic pleasures and bodily-emotive ones. Arguing through close analysis that these films demonstrate the inseparability of such strategies of engagement in contemporary genre cinema, Heightened Genre reclaims women’s mainstream filmmaking for feminism through a recalibration of genre theory itself.
Women Filmmakers by Jacqueline Levitin,Judith Plessis,Valerie Raoul Pdf
What difference does it make when a woman wields the camera? Women Filmmakers: Refocusing casts a critical eye on the often-overlooked work of women filmmakers. It provides a rich sampling of the wealth of thought and experience of women in the film industry and brings together in a unique way the views of creators and critics from around the world.
Women Filmmakers in Contemporary Hindi Cinema by Aysha Iqbal Viswamohan Pdf
This book is a comprehensive anthology comprising essays on women film directors, producers and screenwriters from Bollywood, or the popular Hindi film industry. It derives from the major theories of modernity, postmodern feminism, semiotics, cultural production, and gender performativity in globalized times. The collection transcends the traditional approaches of looking at films made by women filmmakers as ‘feminist’ cinema, and focuses on an extraordinary group of women filmmakers like Ashwini Iyer Tiwari, Bhavani Iyer, Farah Khan, Mira Nair Vijaya Mehta, and Zoya Akthar. The volume will be of interest to academics and theorists of gender and Hindi cinema, as well as anybody interested in contemporary Hindi films in their various manifestations.
The Bloomsbury Handbook to Sofia Coppola by Suzanne Ferriss Pdf
The Bloomsbury Handbook to Sofia Coppola offers the first comprehensive overview of the director's impressive oeuvre. It includes individual chapters on her films, including The Virgin Suicides (1999), Lost in Translation (2003), Marie Antoinette (2006), Somewhere (2010), The Bling Ring (2013), The Beguiled (2017), and On the Rocks (2020). While focused on her films, contributors also consider Coppola's shorter works for television, commercials and music videos, as well as explorations of the distinct elements of her signature style: cinematography, production/costume design, music, and editing. Additional chapters provide insights into the influences on her work, its popular and scholarly reception, and interpretations of key themes and issues. The international team of contributors includes leading scholars of film, music, fashion, celebrity and gender studies, visual and material culture, reception studies, as well as industry professionals. Their interdisciplinary insights capture the complexities of Coppola's work and its cultural significance.
Feminist Auteurs examines a rich and diverse body of work that has received insufficient attention both in film studies and in feminist theory on film. Looking at individual films within the context of feminist film as a genre, Ramanathan examines film from diverse cultural traditions, while paying close attention to what might be regarded as feminist in different cultural contexts. The films chosen expand our ideas of feminism covering as they do film from Africa, Latin America, Europe, Asia and the US. Full-length interpretations of twenty-four films, both older and contemporary, including Vagabond, India Song, Bhaji on the Beach, Chocolat, and Daughters of the Dust lay out a complete and powerful framework for reading women's film.
Explores the films, practitioners, production and distribution contexts that currently represent American womens independent cinemaWith the consolidation of aindie culture in the 21st century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe amaverick white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream achick flick and the ideological and experimental radicalism of feminist counter-cinema alike, womens indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into pre-existing categories. This ground-breaking collection, the first sustained examination of the work of female practitioners within American independent cinema, reclaims the adifference of female indie filmmaking. Through a variety of case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work while embracing the ain-between space in which the narratives they represent and embody can be revealed.Key FeaturesCovers American womens independent cinema since the late 1970sAnalyses the work of acclaimed but critically overlooked female practitioners such as Kelly Reichardt, Christine Vachon, Miranda July, Kasi Lemmons, Nicole Holofcener, Mira Nair, Lisa Cholodenko, Megan Ellison, Lynn Shelton, Ava DuVernay, Mary Harron and Debra GranikDistinguishes four different approaches to analysing womens independent cinema through: production and industry perspectives; genre and other classificatory modalities; political, cultural, social and professional identities; and collaborative and collectivist practicesContributorsJohn Alberti, Northern Kentucky UniversityLinda Badley, Middle Tennessee State UniversityCynthia Baron, Bowling Green State UniversityShelley Cobb, University of SouthamptonCorinn Columpar, University of TorontoChris Holmlund, University of Tennessee-KnoxvilleGeoff King, Brunel University, LondonChristina Lane, University of MiamiJames Lyons, University of ExeterKathleen A. McHugh, UCLAKent A. Ono, University of UtahLydia Papadimitriou, Liverpool John Moores UniversityClaudia Costa Pederson, Wichita State UniversityClaire Perkins, Monash UniversitySarah Projansky, University of UtahMaria San Filippo, Goucher CollegeMichele Schreiber, Emory UniversitySarah E. S. Sinwell, University of UtahYannis Tzioumakis, University of LiverpoolPatricia White, Swarthmore CollegePatricia R. Zimmermann, Ithaca College
Women's Cinema in Contemporary Portugal by Mariana Liz,Hilary Owen Pdf
Women's Cinema in Contemporary Portugal brings together scholars from Portugal, UK and the USA, to discuss 14 women film directors in Portugal, focussing on their production in both feature film and documentary genres over the last half-century. It charts the specific cinematic visions that these women have brought to the re-emergence of Portuguese national cinema in the wake of the 1974 Revolution and African decolonisation, and to the growing internationalisation of Portugal's arguably 'minor' or 'small nation' cinema, with significant young women directors such as Leonor Teles achieving prominence abroad. The history of Portuguese women's cinema only begins systematically after the 1974 revolution and democratisation. This collection shows how female auteurs made their mark on Portugal's post-revolutionary conceptualisation of a differently 'national' cinema, through the ethnographic output of the late 1970s. It goes on to explore women's decisively gendered interventions in the cinematic memory practices that opened up around the masculine domain of the Colonial Wars in Africa. Feminist political issues such as Portugal's 30-year abortion campaign and LGBT status have become more visible since the 1990s, alongside preoccupations with global concerns relating to immigration, transit and minority status communities. The book also demonstrates how women have contributed to the evolution of soundscapes, the genre of essay cinema, film's relationship to the archive, and the adaptation of the written word. The result is a powerful, provocative and definitive challenge to the marginalisation of Portuguese female-directed film in terms of 'double minority'.
The Gendered Screen by Brenda Austin-Smith,George Melnyk Pdf
This book is the first major study of Canadian women filmmakers since the groundbreaking Gendering the Nation (1999). The Gendered Screen updates the subject with discussions of important filmmakers such as Deepa Mehta, Anne Wheeler, Mina Shum, Lynne Stopkewich, Léa Pool, and Patricia Rozema, whose careers have produced major bodies of work. It also introduces critical studies of newer filmmakers such as Andrea Dorfman and Sylvia Hamilton and new media video artists. Feminist scholars are re-examining the ways in which authorship, nationality, and gender interconnect. Contributors to this volume emphasize a diverse feminist study of film that is open, inclusive, and self-critical. Issues of hybridity and transnationality as well as race and sexual orientation challenge older forms of discourse on national cinema. Essays address the transnational filmmaker, the queer filmmaker, the feminist filmmaker, the documentarist, and the video artist—just some of the diverse identities of Canadian women filmmakers working in both commercial and art cinema today.
Women Make Horror studies women practitioners in the film industry and sets right the assumptions about women and the horror genre. It explores narrative and experimental cinema, short, anthology and feature-filmmaking, and offers case studies of North American, Latin American, European, East Asian and Australian filmmakers, films and festivals. With this book we can transform how we think about women filmmakers and genre.
Winner of the the 2021 Best Edited Collection Award from BAFTSS Winner of the 2021 British Fantasy Award in Best Non-Fiction Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre.
Women Do Genre in Film and Television by Mary Harrod,Katarzyna Paszkiewicz Pdf
This volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to ‘undo’ or ‘subvert’ popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.