Relevant bibliographies by topics / Women in film

Academic literature on the topic 'Women in film'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Women in film"

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Uğur Tanrıöver, Hulya. "Women as film directors in Turkish cinema." European Journal of Women's Studies 24, no. 4 (May 26, 2016): 321–35. http://dx.doi.org/10.1177/1350506816649985.

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Representations of women, or more exactly of gender, and the presence and works of women filmmakers constitute an important area of analysis for gender studies and feminist film theories. In Turkey the presence and the participation of women in the public sphere have been one of the important objectives of the Kemalist modernization project since the founding of the modern nation-state in 1923. However, despite the modernizing efforts to empower women in different spheres of life there was no woman director in Turkish commercial feature cinema until the beginning of the 1950s. Since the beginning of the 2000s the number of women directors has increased significantly, reaching a number well above that of the entire period before. This article investigates the reasons behind this increase based on quantitative data gathered from secondary sources and in-depth interviews with women producers and directors. It also questions whether and to what extent the increase in the number of women film directors contributed to the production of ‘women’s films’, based on a qualitative analysis of films produced by women directors between the years 2004 and 2013. The results show that in addition to technological and aesthetic changes in the industry, the increase in the availability of international and national public funding for low-budget independent film productions and the enlargement of the women’s movement allowed more women directors to enter the film industry. While half of the films made by women directors in the 2000s could be qualified as ‘women films’, the other half remained, largely due to market forces, within the conventions of popular or art house cinema.
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Yong Chan Choy. "War, Women, Film: Pains of Women and Antiwarism in the Film All Quiet On the Western Front (1930)." Women and History ll, no. 18 (June 2013): 167–94. http://dx.doi.org/10.22511/women..18.201306.167.

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Dewi, Nurmalita Natia, and Sumekar Tanjung. "PEREMPUAN TERPANDANG DALAM FILM INDONESIA." Metacommunication: Journal of Communication Studies 5, no. 1 (March 25, 2020): 51. http://dx.doi.org/10.20527/mc.v5i1.7936.

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This research originated from a phenomenon of women in the mass media which initially served as a satisfaction for the audience with their body shape, but now has begun to fade. Women in the media are the subject and are not underestimated especially in the film media. So as to make the female figure in the film the main character in the storyline which is constructed through the existing reality. And the woman's figure seemed authoritative and classified as a honorable woman who could have a big influence on the people. That way the phenomenon attracted the attention of researchers, because researchers wanted to know how the identity of the honorable women in the film Marlina Si Pembunuh Dalam Empat Babak, 3 Srikandi and Jilbab Traveler: Love Sparks In Korea. With Roland Barthes's semiotic method that reveals the meaning of verbal and non verbal signs with two stages, namely denotations and connotations and associated with myths that develop in society. Then analyzed based on critical views found the identity of respectable women in Indonesian films. The results showed that the identity of a woman in the three films included in the category of social identity. Where the identity is formed due to the influence of interaction in the family and community.
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Kurnia, Novi. "CONSUMING GENDER AND DISABILITY IN INDONESIAN FILM." Jurnal ASPIKOM 3, no. 3 (September 21, 2017): 570. http://dx.doi.org/10.24329/aspikom.v3i3.175.

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This study aims to examine the film audience reception on gender and disabilities representation towards What We Don’t Talk About When We Talk About Love (Yang Tidak Dibicarakan Ketika Membicarakan Cinta, 2013). This film directed by a prominent Indonesian woman film director, Mouly Surya, and produced in 2013. Such audience study is very important in the scholarship of women and Indonesian films dominated by studies on women representation in the film and women filmmakers. Employing reception analysis based on Stuart Hall’s work, this study involves six Indonesian students as informant of a series of in-depth interviews. The study finds that the personal experiences and knowledge of informants, as well as their film habits, but not their gender, influences their interpretation toward the issue of gender and disabilities in the film.
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Yoshina Siautta, Sarah, Anastasia Yuni Widyaningrum, and Agatha Winda Setyarinata. "Selubung Ketidakadilan Peran Gender dalam Motherhood pada Film Athirah." Tuturlogi 1, no. 3 (September 1, 2020): 165–83. http://dx.doi.org/10.21776/ub.tuturlogi.2020.001.03.2.

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Often times Indonesian films raise issues around women, especially about mothers, which is linked to gender inequality between men and women. The films that depict women unfairly in a disadvantageous position is a product of patriarchal culture. Women, especially mothers, often have less dominant roles and positions in all fields; also women are rarely used as main characters. The same is the case with the characterization of the mother in the film Athirah. In this study, we discussed about how motherhood is shown in the film Athirah. This study employed semiotic method proposed by Charles Sander Peirce. The results of this study indicate that Athirah's motherhood revolves around her role as a wife and husband's companion, as a household organizer and leader, and also as a child caregiver. The depiction of motherhood in the film Athirah is still trapped in the classic depiction of a woman in an unequal gender construction. This inequality is shown in the double burden carried by Athirah's figure
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Jacob, Clarissa K. "Women & Film." Feminist Media Histories 1, no. 1 (January 1, 2015): 153–62. http://dx.doi.org/10.1525/fmh.2015.1.1.153.

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This short essay provides an introduction to the short-lived but influential magazine Women & Film, published in California between 1972 and 1975. Two graduate students, Siew-Hwa Beh (b. 1945) and Saundra Salyer (b. 1946), from the University of California, Los Angeles, and San Francisco State, respectively, were the founders of this pioneering publication devoted entirely to providing a feminist perspective on film. They set up the magazine in response to a collision between their radical leftist and feminist politics and their cinephilia. This essay contextualizes some examples, which are reproduced here, of the first issue's contents. It also sheds light on the eclectic and impassioned approach adopted by the magazine's editors and contributors, bolstered by accompanying excerpts and images.
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Frymus, Agata. "Researching Black women and film history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 228–36. http://dx.doi.org/10.33178/alpha.20.18.

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My project (Horizon 2020, 2018–20) traces Black female moviegoing in Harlem during the silent film era. The main challenge in uncovering the women’s stories is that historical paradigm has always prioritised the voices of the white, middle-class elite. In the field of Black film history, criticism expressed by male journalists—such as Lester A. Walton of New York Age—has understandably received the most attention (Everett; Field, Uplift). Black, working-class women are notoriously missing from the archive. How do we navigate historical records, with their own limits and absences? This paper argues for a broader engagement with historic artefacts—memoirs, correspondence and recollections—as necessary to re-centre film historiography towards the marginalised. It points to the ways in which we can learn from the scholars and methods of African American history to “fill in the gaps” in the study of historical spectatorship.
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Dutta, Minakshi. "A Reading of Bhabendra Nath Saikia's Films from Feminist Lens." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 247–74. http://dx.doi.org/10.5195/cinej.2020.261.

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Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.
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김이진. "Women’s Representation in Popular Film and the Prospect of Transnational Feminist Solidarity― Focusing on Kaneko Fumiko’s representation in the film “Anarchist from the Colony” ―." Women and History ll, no. 31 (December 2019): 1–34. http://dx.doi.org/10.22511/women..31.201912.1.

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Pērkone, Inga. "War and Women in Jānis Streičs’ Films." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 56–70. http://dx.doi.org/10.2478/bsmr-2018-0004.

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Abstract This article is devoted to the theme of women and war in the films of Jānis Streičs, possibly the most influential Latvian film director. In the course of his career, which spanned nearly 50 years, Streičs made films that were popular in Latvia, as well as throughout the Soviet Union. He is one of the few Latvian film directors who managed to continue a comparatively stable career in the newly reindependent Republic of Latvia. Streičs skilfully used the canonised means of expression of classical cinema and superficially fulfilled the demands of socialist realism to provide appealing and life-asserting narratives for the audiences. Being a full-time film director at Riga Film Studio, and gradually becoming a master of the studio system, Jānis Streičs managed to subordinate the system to his own needs, outgrowing it and becoming an auteur with an idiosyncratic style and consistently developed topics.1 The most expressive elements of his visual style can be found in his war films, which are presented as women’s reflections on war. In this article, Streičs’ oeuvre in its entirety provides the background for an analysis of two of his innovative war films. Meetings on the Milky Way (Tikšanās uz Piena ceļa, Latvia, 1985) rejects the classical narrative structure, instead offering fragmentary war episodes that were united by two elements – the road and women. In Carmen Horrendum (Latvia, 1989) Streičs uses an even more complicated structure that combines reality, visions and dreams. After watching this film, the only conclusion we can come to with certainty is that war does not have a woman’s face and, in general, war has no traces of humanity. The aim of this article is to demonstrate how World War II, a theme stringently controlled by Soviet ideology, provided the impetus for a search for an innovative film language.
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Dissertations / Theses on the topic "Women in film"

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McCurdy, Marian Lea. "Women Murder Women: Case Studies in Theatre and Film." Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/1938.

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This thesis looks at two cases of women who murdered women - the Papin sisters (Le Mans, 1933) and Parker-Hulme (Christchurch, 1954) - and considers their diverse representations in theatre and film, paying particular attention to Jean Genet’s play The Maids (1947), Peter Jackson’s film Heavenly Creatures (1994) and Peter Falkenberg’s film Remake (2007), in which I played a part. What happens when two women (sisters, girl friends) commit violent acts together - not against a man, or a child, but against another woman, a mother or (as in the case of the Papin sisters) against women symbolically standing in place of the mother? How are these two cases - the Papin sisters and Parker-Hulme - presented in historical documents, reinterpreted in political, psychoanalytic and feminist theories, and represented in theatre and film? How might these works of theatre and film, in particular, be seen to explain - or exploit - these cases for an audience? How is the relationship between prurience - the peeping at women doing something bad - and the use of these cases to produce social commentary and/or art, better understood by looking at these objects of fascination ourselves? My thesis explores how these cases continue to interest and inspire artists and intellectuals, as well as the general public - both because they can be seen to violate fundamental social taboos against mother-murder and incest, and because of the challenge they pose for representation in theatre or film.
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Harrington, Erin Jean. "Gynaehorror: Women, theory and horror film." Thesis, University of Canterbury. Cultural Studies, School of Humanities and Creative Arts, 2014. http://hdl.handle.net/10092/9586.

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This thesis offers an analysis of women in horror film through an in depth exploration of what I term ‘gynaehorror’ – horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry. To challenge this, this thesis achieves three things. Firstly, I interrogate a subgenre of horror that has not been studied in depth for twenty years, but that is experiencing renewed interest. Secondly, I analyse aspects of this subgenre outside of the dominant modes of inquiry by placing an emphasis upon philosophies of sex, gender and corporeality, rather than focussing on psychodynamic approaches. Thirdly, I consider not only what these theories may do for the study of horror films, but what spaces of inquiry horror films may open up within these philosophical areas. To do this, I focus on six broad streams: the current limitations and opportunities in the field of horror scholarship, which I augment with a discussion of women’s bodies, houses and spatiality; the relationship between normative heterosexuality and the twin figures of the chaste virgin and the voracious vagina dentata; the representation and expression of female subjectivity in horror films that feature pregnancy and abortion; the manner in which reproductive technology is bound up within hegemonic constructions of gender and power, as is evidenced by the figure of the ‘mad scientist’; the way that discourses of motherhood and maternity in horror films shift over time, but nonetheless result in the demonisation of the mother; and the theoretical and corporeal possibilities opened up through Deleuze and Guattari’s model of schizoanalysis, with specific regard to the 'Alien' films. As such, this thesis makes a unique contribution to the study of women in horror film, while also advocating for an expansion of the theoretical repertoire available to the horror scholar.
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Housel, Rebecca Anne Languages &amp Linguistics Faculty of Arts &amp Social Sciences UNSW. "My truth: women speak cancer." Publisher:University of New South Wales. Languages & Linguistics, 2007. http://handle.unsw.edu.au/1959.4/40732.

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1) My Truth: Women Speak Cancer is a creative nonfiction based on three years of interviews with twelve survivors told through the lens of the author's experience as a three-time, sixteen-year survivor of multiple cancers. Each chapter features a different survivor and her story; the cancers discussed include non-Hodgkin's lymphoma, Osteosarcoma, Melanoma, as well as brain, ovarian, breast, and thyroid cancers. Current definitions, treatments and statistics are included at the end of each chapter. The book ends with a comprehensive After Words, combining poetry and prose, taking the reader on a further journey of introspection on life, love, friendship, and loss. 2) The Narrative of Pathogynography is a critical exegesis using established theory in the fields of creative writing, sociology, ethnography, literature, and medicine to examine and further define the sub genre of the theoria, poiesis and praxis involved in creating women's illness narrative, or what Housel terms, pathogynography. Housel develops original terminology to define yet undiscovered spaces based on her work in My Truth: Women Speak Cancer.
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Horst, Jennifer Lynne. "The making of the documentary film Women in Red." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9088/.

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Though the remnants of a stereotype created over two millennia ago still thrive in American popular culture today, redheaded women are enjoying a more positive role in society than they have ever seen before. Women in Red explores the experience of the redheaded woman in America today by examining how the stereotypes have affected a small group of them, how these women relate to the stereotypes, and why, given the verisimilitude of the stereotype, a non-redheaded woman would embrace such an identity with the simple act of dying her hair red. This is the story behind the experience that is Women in Red.
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Weeks, Andrew. "Depictions of women in stalinist sovet film, 1934-1953." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/638.

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Popular films in the Soviet Union were the products of the implementation of propagandistic messages into storylines that were both ideologically and aesthetically consistent with of the interests of the State and Party apparatuses. Beginning in the 1930s, following declaration of the doctrine on socialist realism as the official form of cultural production, Soviet authorities and filmmakers tailored films to the circumstances in the USSR at that given moment in order to influence and shape popular opinion; however, this often resulted in inconsistent and outright contradictory messages. Given the transformation that gender relations were undergoing in the early stages of development, one area that was particularly problematic in Soviet cinema was the portrayals of women. Focusing primarily on the Stalinist period of the Soviet History (1934-1953), I plan to look at the ways in which women were portrayed in popular Soviet cinema and specifically the ways in which these presentations shifted before, during, and after World War II.
B.A.
Bachelors
Arts and Humanities
History
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Horst, Jennifer Lynne Levin C. Melinda. "The making of the documentary film Women in red." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9088.

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Hanson, Helen. "Painted women : framing portraits in film noir and the gothic woman's film of the 1940s." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364751.

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Lacey, Joanne Elizabeth. "Seeing through happiness : class, gender and popular film; Liverpool women remember the fifties film musical." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300615.

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McWilliams, Stephen Thomas. "Exercise and Behavior Change in Adult Women Transitioning into Society: A Documentary Film Analysis." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281081.

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Kinesiology
Ph.D.
The Role of Film as Persuasive Tool of Social Change: Since the introduction of cinema, both non-fiction and fictional films have been used by film makers, artists, and interest groups to change minds and mold opinions. Documentary films in particular, have a history of being used in a variety of ways to further political causes, raise social or patriotic awareness, or as a call to personal activism. In this project, the use of well designed, aesthetically pleasing documentaries have been advocated for potential use in the field of sport psychology to create awareness of the work of practitioners in order to promote healthy behaviors. Filmmaking can serve the field in a number of creative ways. A recent film is submitted as a demonstration of how a well crafted film can be utilized within the field as both a advocacy piece and an educational resource. There has been a long, historical relationship between sports and film. Throughout cinematic history there have been numerous films, both narrative and documentaries, both about sports or subjects that included sports in their story. Sports lend themselves to narrative and documentary storytelling. As a filmmaker, I was drawn to a story about a non-profit organization, "Gearing Up," which uses a bicycle exercise program to help women in recovery from drug and alcohol addiction. The film explores the effectiveness of a therapeutic model developed by "Gearing Up" founder, Kristin Gavin. The production of the film, and my involvement as the producer and director, inspired me to explore the further use of documentary film as both a classroom teaching tool and a vehicle that can inspire behavioral change.
Temple University--Theses
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Vorrasi, Natasha Jaclyn. "Black men, white women : interracial relationships in contemporary Hollywood film /." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arv954.pdf.

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Books on the topic "Women in film"

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Cook, Samantha. Women & film bibliography. 2nd ed. London: BFI Education, 1989.

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Richter, Simon. Women, Pleasure, Film. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730.

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Institute, British Film, ed. Women and film bibliography. [London: British Film Institute, 1992.

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Adelman, Shonagh. Women & violence in film. Ottawa: National Library of Canada, 1990.

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Gilligan, Sarah. Teaching women and film. London: BFI Education, 2003.

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Redding, Judith M. Film fatales: Independent women directors. Seattle: Seal Press, 1997.

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Cheu, Hoi F. Cinematic howling: Women's films, women's film theories. Vancouver: UBC Press, 2007.

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1960-, Paul Louis, ed. Film fatales: Women in espionage films and television, 1962-1973. Jefferson, N.C: McFarland & Co., 2002.

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1952-, Hottell Ruth A., ed. Francophone women film directors: A guide. Madison, N.J: Fairleigh Dickinson University Press, 2005.

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Framed: Women in law and film. Durham: Duke University Press, 2006.

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Book chapters on the topic "Women in film"

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Gaal-Holmes, Patti. "Women and Film." In A History of 1970s Experimental Film, 157–84. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137369383_7.

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Hole, Kristin Lené, and Dijana Jelača. "Women filmmakers and feminist authorship." In Film Feminisms, 6–51. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315618845-2.

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Richter, Simon. "Falling in Love Again … and Again and Again." In Women, Pleasure, Film, 1–11. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730_1.

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Richter, Simon. "Portraits of Lola." In Women, Pleasure, Film, 115–25. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730_10.

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Richter, Simon. "Lola and Motherhood." In Women, Pleasure, Film, 127–36. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730_11.

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Richter, Simon. "Lola, Race, and Ethnicity." In Women, Pleasure, Film, 137–45. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730_12.

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Richter, Simon. "Carousels and Carnivals." In Women, Pleasure, Film, 147–55. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730_13.

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Richter, Simon. "Lola’s Menagerie." In Women, Pleasure, Film, 157–64. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730_14.

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Richter, Simon. "The Colors of Lola." In Women, Pleasure, Film, 165–78. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730_15.

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Richter, Simon. "It’s Lola’s Time." In Women, Pleasure, Film, 179–93. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309730_16.

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Conference papers on the topic "Women in film"

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Bouras, N. "Physical Properties of Thin Film Semiconducting Materials." In WOMEN IN PHYSICS: 2nd IUPAP International Conference on Women in Physics. AIP, 2005. http://dx.doi.org/10.1063/1.2128326.

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Hien, N. T. M., L. H. Hoang, D. Lee, S. Y. Jang, T. W. Noh, In-Sang Yang, Beverly Karplus Hartline, Renee K. Horton, and Catherine M. Kaicher. "Magnetic Ordering Effects on Raman Spectra of Hexagonal Phase of HoMnO[sub 3] Film (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137818.

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Rho, JaeHoon, SeoungHoon Jung, JooYoun Kim, EunJip Choi, Dongwook Kim, Beverly Karplus Hartline, Renee K. Horton, and Catherine M. Kaicher. "Blue-Green-Red Photoluminescence in Defect-Controlled SrTi[sub x]O[sub 3−δ] Thin Film (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137871.

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Sircar, Aenakshi. "Organic Thin Film Transistors for Flexible Electronics." In International Conference on Women Researchers in Electronics and Computing. AIJR Publisher, 2021. http://dx.doi.org/10.21467/proceedings.114.61.

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Progress in electronics gave rise to the concept of flexible electronics. Which are widely being used for medical and aerospace research. Further development in the fields of flexible electronics unfolded another branch of this electronics system called organic flexible electronics. Organic thin-film transistors, Organic light-emitting diodes are a few of the many forms of organic flexible electronics. Organic materials being used as the substrates increase the flexibility of the electronic circuit. The conductivity of these substrates can be controlled as per requirement by varying the doping concentration of the substrate. The cost of production of organic flexible electronics is low as compared to electronics circuits using a silicon substrate. This paper illustrates the various properties of organic materials and their applications and suitability in flexible electronics.
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Pawitan, Zakiah, and Ramadita Fetrianggi. "Representation of Muslim Women in Indonesian Film Posters With Islamic Nuance." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.027.

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Reitman, Julian, and Frieda Reitman. "Women working at the manufacture of electrical machinery, 1904: Film and text." In 2007 IEEE Conference on the History of Electric Power. IEEE, 2007. http://dx.doi.org/10.1109/hep.2007.4510269.

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Adamicka, Monika. "EROTICISM IN THE NOVEL THE CAMP OF FALLEN WOMEN AND IN ITS FILM ADAPTATION." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s07.038.

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Mufidah, Zakiyatul, and Afiifah Al Rosyiidah. "Film Literacy Culture and Identity Expression of Madurese Women in Pesantren (Santriwati) in Madura." In Proceedings of the Social Sciences, Humanities and Education Conference (SoSHEC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/soshec-19.2019.67.

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Saha, Moumita, Sumita Deb, Bhaswati Medhi, and Minakshi Deb Barma. "Utilization of Thin-film to Control Total Phase Shift during Total-internal-reflection." In 2020 IEEE International Women in Engineering (WIE) Conference on Electrical and Computer Engineering (WIECON-ECE). IEEE, 2020. http://dx.doi.org/10.1109/wiecon-ece52138.2020.9398045.

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Kusumastuti, Fenty, Muhammad Taufiq al Makmun, and Karunia Purna Kusciati. "Maintaining Politeness in Film Tilik: A Study of Social Distance and Power Relations on Javanese Women." In International Conference on Language Politeness (ICLP 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210514.003.

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Reports on the topic "Women in film"

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Yadav, Rakesh. Women Directors’ Compensation and Firm Performance of an Emerging Economy: India. EconWorld Workıng Papers, 2017. http://dx.doi.org/10.22440/econworld.wp.2017.003.

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Salama, Hana, and Emma Bjertén-Günther. Women Managing Weapons: Perspectives for Increasing Women’s Participation in Weapons and Ammunition Management. United Nations Institute for Disarmament Research, July 2021. http://dx.doi.org/10.37559/gen/2021/02.

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UNIDIR’s new study Women Managing Weapons: Perspectives for Increasing Women’s Participation in Weapons and Ammunition Management seeks to fill this gap by exploring women’s participation in the field of weapons and ammunition management, particularly their lived experiences in WAM technical roles, such as stockpile managers, armourers, ammunition and technical experts, explosive ordnance disposal specialist. The purpose is to unpack the challenges faced by these women and identify good practices for further inclusion of women in WAM. It also provides ideas for states, international organizations and disarmament stakeholders to improve gender diversity in implementation of arms control commitments, such as the UN PoA and its relevant instruments.
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Saha, Amrita, Jodie Thorpe, Keir Macdonald, and Kelbesa Megersa. Linking Business Environment Reform with Gender and Inclusion: A Study of Business Licensing Reform in Indonesia. Institute of Development Studies (IDS), January 2021. http://dx.doi.org/10.19088/k4d.2021.001.

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Business environment reform (BER) targets inadequate business regulations. It is intended to remove constraints to business investment, enabling growth and job creation, and create opportunities for international business to contribute to and benefit from this growth. However, there is a lack of detailed knowledge of the impact of BER on gender and inclusion (G&I). While a review of existing literature suggests that in general, there is no direct link between BER and G&I, indirect links are likely through the influence of BER on firm performance. Outcomes will be influenced by the differential ways in which women-led firms experience the business environment when compared to their male counterparts, with disparities based on how they are treated under the law, as well as structural and sociocultural factors. The fact that in many countries, female-led firms are fewer and smaller than those of their male counterparts, and may operate in different sectors, also affects these dynamics. This research offers new insights through an in-depth analysis of the impact of the Pelayanan Terpadu Satu Pintu (PTSP) or one-stop shop business licensing reform in 2009 on firm performance in Indonesia, and how these impacts vary based on the gender of firm leadership. The results find that on average, firms benefited from improved business performance (sales), as a direct or indirect effect of this reform, as well as an increase in the number of medium and large-scale firms. Outside Jakarta (Bali, Banten, Lampung), women-led firms experienced a small but significant benefit relative to male-led firms, related to both sales and the number of medium and large-scale firms they run. In Jakarta, women-led firms continued to lag behind men and there were no significant effects on employment, and this held across province and gender. These findings are based on an analysis of the PTSP reform using data from the World Bank Enterprise Survey (WBES), a survey of small, medium and large firms (i.e. with more than four employees) which took place in Indonesia between 2009 and 2015.
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