Thematische Bibliographien / Women in the motion pictures

Auswahl der wissenschaftlichen Literatur zum Thema „Women in the motion pictures“

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Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Women in the motion pictures"

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Liang, Jichen. „Gender Stereotype and Position of Women in the 19th Century America“. BCP Social Sciences & Humanities 20 (18.10.2022): 131–35. http://dx.doi.org/10.54691/bcpssh.v20i.2175.

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This article is about the movie Little Women (2019), which is produced by Colombia Pictures, Regency Enterprises and Sony Pictures, and has won many awards such as Young Artist Award and Best Family Motion Picture. This movie is mainly about the main character Jo, a writer that does not want to get married, and her family, Amy, Meg and Beth. It reflects the truth and the society of the 19th Century America, expressing the impacts made by these situations at that time. Therefore, this movie mainly discusses women’s position through film production, which brings a positive impact on later films while discussing about women’s positions and gender stereotype.
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Hirschman, Elizabeth C. „Consumer Preferences in Literature, Motion Pictures, and Television Programs“. Empirical Studies of the Arts 5, Nr. 1 (Januar 1987): 31–46. http://dx.doi.org/10.2190/3c9d-4vf6-v7nt-hbpw.

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This study examined the relationship between five motives—sensory arousal, cognitive arousal, escapism, mastery-control, and emotional involvement—and preferences for different types of content in three cultural media—television programs, motion pictures, and books. The findings both confirmed and extended prior theorization and found some intriguing differences in content preferences between women and men.
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Ezzedeen, Souha R., Marie-Helene Budworth und Chanda Riggi. „Devils and Contenders: Portrayals of Professional Women in North American Motion Pictures“. Academy of Management Proceedings 2012, Nr. 1 (Juli 2012): 14094. http://dx.doi.org/10.5465/ambpp.2012.14094abstract.

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ELLIS, PATRICK. „A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory“. British Journal for the History of Science 50, Nr. 3 (September 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.
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HWANG HO DUK. „Like a motion picture, Like the Lives of Virtuous Women -the issues emerging with Mujŏng(The Heartless): Gramophone, (Motion) pictures, Gun and typography“. DAEDONG MUNHWA YEON'GU ll, Nr. 70 (Juni 2010): 409–47. http://dx.doi.org/10.18219/ddmh..70.201006.409.

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Kosonogov, Vladimir, José M. Martínez-Selva, Ginesa Torrente, Eduvigis Carrillo-Verdejo, Aurelio Arenas und Juan P. Sánchez-Navarro. „Head Motion Elicited by Viewing Affective Pictures as Measured by a New LED-Based Technique“. Multisensory Research 32, Nr. 7 (2019): 575–88. http://dx.doi.org/10.1163/22134808-20191363.

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Abstract The complex sensory input and motor reflexes that keep body posture and head position aligned are influenced by emotional reactions evoked by visual or auditory stimulation. Several theoretical approaches have emphasized the relevance of motor reactions in emotional response. Emotions are considered as a tendency or predisposition to act that depends on two motivational systems in the brain — the appetitive system, related to approach behaviours, and the defensive system, related to withdrawal or fight-or-flight behaviours. Few studies on emotion have been conducted employing kinematic methods, however. Motion analysis of the head may be a promising method for studying the impact of viewing affective pictures on emotional response. For this purpose, we presented unpleasant, neutral and pleasant affective pictures. Participants were instructed to view the pictures and to remain still. Two light-emitting diodes (LEDs) were attached to the foreheads of participants, and a Wii Remote controller, positioned 25 cm away, detected the position of the LEDs in the medial–lateral and anterior–posterior axes. We found more sway in response to unpleasant pictures. In addition, unpleasant pictures also provoked faster movements than both neutral and pleasant pictures. This response to unpleasant pictures, in contrast to pleasant ones, might reflect the readiness or predisposition to act. Our data also revealed that men moved faster than women, which is in accordance with previous findings related to gender differences.
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Nangimah, Musrifatun. „The cultural repertoire of recontextualized superhero in the Avengers sequels“. EduLite: Journal of English Education, Literature and Culture 6, Nr. 2 (31.08.2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.
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LEFF, LEONARD J. „What in the World interests Women? Hollywood, Postwar America, and Johnny Belinda“. Journal of American Studies 31, Nr. 3 (Dezember 1997): 385–405. http://dx.doi.org/10.1017/s0021875897005744.

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During World War II, when the Office of War Information urged the American film companies to help the nation win the war, the OWI's Bureau of Motion Pictures delivered both moral support and guidance. The BMP “Manual” (1942), for instance, encouraged producers to show women dropping off their children at day-care centers, then cheerfully heading off to jobs where they enjoyed equal opportunity and equal pay. Scenes like those may have been fantasy, and for some women wryly amusing, and yet, in the late 1940s and beyond, as one historian says, World War II came to be thought of as “the best war ever,” the war, according to myth, where there were no tensions over class, or race, or gender.
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Hallett, Hilary A. „Based on a True Story: New Western Women and the Birth of Hollywood“. Pacific Historical Review 80, Nr. 2 (01.05.2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.

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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depicted Los Angeles as an urban El Dorado for single white women on the make. In response, tens of thousands of women moved west to work in the picture business, helping to make Los Angeles the first western boomtown where women outnumbered men.
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Marwah, Diniati, Ismunandar Ismunandar und Regaria Tindarika. „BENTUK PENYAJIAN TARI LANGKAH DUA BELAS DI DESA SUNGAI BUNGKOK KALIMANTAN BARAT“. Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) 11, Nr. 6 (29.06.2022): 421. http://dx.doi.org/10.26418/jppk.v11i6.55840.

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This research aims to describe the Langkah Dua Belas dance. This study used qualitative approach with method of interview, observation and document analysis. The documents that the author used in this study were written documents, pictures and videos. The authors concluded that Langkah Dua Belas dance has an opening movement structure, namely the motion of respect, the core movement which consists of 12 steps and the closing motion is the motion of the throne. The number of dancers must be even, namely 4, 6, 8, and so on. This dance can be danced by both men and women. The floor pattern is a straight line forming the letter V. Musical instruments used are selodang, segmented, and small tambourines. The clothes used by female dancers are brackets clothes, Malay lotus, and gill pattern cloth. Meanwhile, the male dancers use the Teluk Belanga shirt, pants, gill pattern cloth, and skullcap. The makeup used by dancers is natural makeup. The venue for the show is a proscenium stage or open field.
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Dissertationen zum Thema "Women in the motion pictures"

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Van, Liew Maria. „Democratic women : gender, national discourse and the cinema of post-Franco Spain /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.

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Aich, Priyanka. „The construction and (re)presentation of Indian women in recent mainstream western cinema“. Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Fall2009/p_aich_112309.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2009.
Title from PDF title page (viewed on Feb. 12, 2010). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 107-115).
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Watkins, Jessica. „From fallen women to risen heroines representations of gender and sexuality in American film, 1929-1942 /“. Huntington, WV : [Marshall University Libraries], 2005. http://www.marshall.edu/etd/descript.asp?ref=539.

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Mejía, Glenda. „The representation of women in revolutionary Cuban cinema /“. [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19376.pdf.

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Kwok, Crystal Lee, und 郭錦恩. „Ghosts and goddesses: women, cinema, & the image“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31950978.

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Williams, Tami Michelle. „Beyond impressions the life and films of Germaine Dulac from aesthetics to politics /“. Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Yang, Jing. „The construction of the Chinese woman in 1990s American cinema“. Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B43813185.

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O'Skea, Doreen Lynn. „Perpetual girlhood: what the movies have taught us about ourselves : a content analysis of Best Actress Academy Award-winning films from 1961-1997“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133726.

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Empowered, embattled and embittered women seem to be everywhere in the media today. Either in film, on television or on the Internet, there are more and more women being shown in a variety of working roles. Women are being shown in nontraditional jobs, they are allowed to work in the man's world and they can take charge. All of these things are remarkable but a note of caution is needed, for while these women are working the boardroom the girls are taking over.Women in power are increasingly being shown as unattractive, undesirable and unpleasant. While their counterparts- girls, are shown as loving, lovable and sweet. Films are reinforcing the girlish archetypal ideal by allowing girls to be the winners in nearly all situations.Female characters may begin the story as independent women but they are soon shown the error of their ways and are quickly reduced to a more pleasant, more malleable girl by the film's end.The content analysis of 37 Best Actress Academy Awardwinning films revealed that women are reduced to girls nearly 87 percent of the time. These women gave up their careers, or at least their career goals. They changed their appearance, they altered their personal goals and they suddenly found a way to express more emotion than they ever had in their life as a woman.Further analysis revealed that several subthemes were present in the films. In 19 of the 37 films women were raped or they were the victims of attempted rape. In 12 of the 37 films women were widows, they either began the film as a widow or they were to shortly suffer the grief of widowhood. In 22 of the 37 women are the victims of violence or they are threatened with violence and in 15 of the 37 films the characters are threatened with the loss of their home or they are struggling to make the journey to their home.The final analysis revealed that women were either pitied, maligned, abused or raped while girls were celebrated, loved and adored.
Department of Journalism
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Kwok, Crystal Lee. „Ghosts and goddesses : women, cinema, & the image /“. Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14040220.

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Wong, Shuk-han Mary. „New Chinese cinemas and feminine writings“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21779041.

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Bücher zum Thema "Women in the motion pictures"

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1961-, Ostrowska Elżbieta, Hrsg. Women in Polish cinema. New York: Berghahn Books, 2006.

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Women and the new German cinema. London: Verso, 1992.

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Emotion pictures: The 'women's picture', 1930-55. London: Columbus Books, 1987.

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Thelma & Louise and women in Hollywood. Jefferson, N.C: McFarland & Co., 2007.

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Bhowmick, Bikash Ch. Women on screen: Representing women by women in Bangladesh cinema. Dhaka: Bangladesh Film Archive, 2009.

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Annette, Kuhn, und Radstone Susannah, Hrsg. Women in film: An international guide. New York: Fawcett Columbine, 1991.

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Knight, Julia. Women and the new German cinema. London: Verso, 1992.

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Thumim, Janet. Celluloid sisters: Women and popular cinema. New York: St. Martin's Press, 1992.

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Public Service Broadcasting Trust (New Delhi, India), Hrsg. Women and censorship. New Delhi: Public Service Broadcasting Trust, 2006.

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Charlotte, Brunsdon, Hrsg. Films for women. London: British Film Institute, 1986.

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Buchteile zum Thema "Women in the motion pictures"

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Tuhkunen, Taïna. „Biographical Motion Pictures and the Resuscitation of “Real Lives”“. In Women Activists and Civil Rights Leaders in Auto/Biographical Literature and Films, 153–70. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77081-9_10.

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kydd, Elspeth. „Motion Pictures“. In The Critical Practice of Film, 17–37. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_2.

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Kamada, Seiichi. „Motion Pictures“. In Springer Monographs in Mathematics, 39–73. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4091-7_3.

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Kamada, Seiichi. „Motion pictures“. In Mathematical Surveys and Monographs, 63–70. Providence, Rhode Island: American Mathematical Society, 2002. http://dx.doi.org/10.1090/surv/095/09.

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Walters, James. „Perpetual motion pictures“. In The Routledge Companion to World Cinema, 382–92. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-32.

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Czitrom, Daniel. „Early Motion Pictures“. In Communication in History, 158–66. 8. Aufl. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250463-26.

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Czitrom, Daniel. „Early Motion Pictures“. In Communication in History, 175–83. Seventh edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315189840-26.

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Prinz, Jesse. „Affect and Motion Pictures“. In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 893–921. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_38.

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Walls, W. David. „Motion Pictures, Economics of“. In The New Palgrave Dictionary of Economics, 1–7. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_1942-1.

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Walls, W. David. „Motion Pictures, Economics of“. In The New Palgrave Dictionary of Economics, 9164–70. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1942.

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Konferenzberichte zum Thema "Women in the motion pictures"

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Obretenov, Christos. „Cinematography For Stylized Motion Pictures“. In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3587421.3595426.

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Lagendijk, R. L., und M. I. Sezan. „Motion compensated frame rate conversion of motion pictures“. In [Proceedings] ICASSP-92: 1992 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 1992. http://dx.doi.org/10.1109/icassp.1992.226178.

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Karaki, Koichi, Hiroko Sasaki und Masaharu Mitsunaga. „Holographic motion pictures by hole burning“. In International Conferences on Optical Fabrication and Testing and Applications of Optical Holography, herausgegeben von Toshio Honda. SPIE, 1995. http://dx.doi.org/10.1117/12.215315.

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Alexander, P. „Development of integral holographic motion pictures“. In Display Holography: Fifth International Symposium, herausgegeben von Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201899.

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Chuang, Yung-Yu, Dan B. Goldman, Ke Colin Zheng, Brian Curless, David H. Salesin und Richard Szeliski. „Animating pictures with stochastic motion textures“. In ACM SIGGRAPH 2005 Papers. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1186822.1073273.

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Holynski, Aleksander, Brian Curless, Steven M. Seitz und Richard Szeliski. „Animating Pictures with Eulerian Motion Fields“. In 2021 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2021. http://dx.doi.org/10.1109/cvpr46437.2021.00575.

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Baecker, Ronald, Alan J. Rosenthal, Naomi Friedlander, Eric Smith und Andrew Cohen. „A multimedia system for authoring motion pictures“. In the fourth ACM international conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/244130.244142.

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Mayhew, Christopher A. „True Three-Dimensional Animation In Motion Pictures“. In OE LASE'87 and EO Imaging Symp (January 1987, Los Angeles), herausgegeben von David F. McAllister und Woodrow E. Robbins. SPIE, 1987. http://dx.doi.org/10.1117/12.940133.

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Abdulsamet, Hasiloglu, und Tosun Olcay. „Identification system from motion pictures: LBPH application“. In 2017 International Conference on Computer Science and Engineering (UBMK). IEEE, 2017. http://dx.doi.org/10.1109/ubmk.2017.8093546.

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Awatsuji, Yasuhiro, Aya Komatsu, Masatomo Yamagiwa und Toshihiro Kubota. „Motion pictures of propagating ultrashort laser pulses“. In 26th International Congress on High-Speed Photography and Photonics, herausgegeben von Dennis L. Paisley, Stuart Kleinfelder, Donald R. Snyder und Brian J. Thompson. SPIE, 2005. http://dx.doi.org/10.1117/12.567035.

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Berichte der Organisationen zum Thema "Women in the motion pictures"

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Koschmann, Anthony, und Yi Qian. Latent Estimation of Piracy Quality and its Effect on Revenues and Distribution: The Case of Motion Pictures. Cambridge, MA: National Bureau of Economic Research, August 2020. http://dx.doi.org/10.3386/w27649.

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