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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Aryawaningrat, I. Gusti Ayu Agung, Hendra Santosa, and I. Komang Arba Wirawan. "ACTUALIZATION OF WOMEN IN DOMESTIC AREAS IN THE GALUH FILM." Capture : Jurnal Seni Media Rekam 11, no. 1 (November 18, 2019): 46–59. http://dx.doi.org/10.33153/capture.v11i1.2651.
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This research focuses on the actualization of women in the domestic area in the film Galuh. This film is an interesting study because the content in this film that contains local wisdom with the source of film ideas from marriage Pada Gelahang and also emphasizes the identity of conventional women with their domestic space. The formulation of the problem in the research is how the actualization of women in their domestic areas in the film Galuh. The purpose of this study is to study the actualization of women in their domestic territory in the film Galuh. This study uses descriptive qualitative research methods, with interpretive analysis. This research uses film’s elements such as narrative film and cinematic as well as ecofemism to present the spectrums that are seen in films that show women in quite different ways by complementing Galuh and which load more in the domestic area. The results of this study provide a specific understanding of Galuh through narrative and cinematic films that depict Galuh and her daughter as conventional and unconventional female characters with their domestic space.
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SINHA, PRIYAM. "“Cultured Women” do not act in films: Tracing Notions of Female Stardom in Bombay Cinema (1930s–1950s)." Journal of Indian and Asian Studies 01, no. 02 (July 2020): 2050012. http://dx.doi.org/10.1142/s2717541320500126.
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Women were absent from the archives and rendered as invisible within the film business that was changing the urban landscape of Bombay city in the 1930s through talkies. Questions were raised about female sexuality and respectability primarily due to a morality discourse closely associated with women acting in films. Tension, moral panic and distress had emerged from the dominant stigma regarding films making industries being a heterosexual and hybrid workspace. Moreover, an economy that capitalizes on voyeuristic pleasures of its male audience by objectifying women’s bodies. So, even though it offered women higher salaries unlike other professions, it was deemed as “dangerous” for women. Therefore, “cultured women”, essentially from the upper class, were discouraged from being a part of the studio film industry situated in the cosmopolitan Bombay city. Taking forward Neepa Majumdar’s (2009) dialogue on the denial of agency to women in Indian cinema, this paper traces the incorporation of feminist agenda into film making. This paper is limited to studying the biographical, autobiographical details and picturization of three eminent actresses: Nargis, Kanan Devi and Durga Khote. Further, I would elaborate on the struggles undertaken by them and the roles they played in films in order to deconstruct the notion of female stardom and an “ideal Indian woman” picturized in Bollywood from the 1930s–1950s. This period holds relevance in film historiography due to the ideological construction of female stardom that had its pros and cons which I would be discussing in depth through the paper.
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Cvetanovska, Jelena. "WOMEN IN ANTHROPOLOGICAL FILM." ЕтноАнтропоЗум/EthnoAnthropoZoom 12 (2015): 73–93. http://dx.doi.org/10.37620/eaz15120073c.
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Blanton, Virginia, Martha M. Johnson-Olin, and Charlene Miller Avrich. "Medieval Women in Film." Medieval Feminist Forum 50, no. 3 (November 10, 2014): 1–135. http://dx.doi.org/10.17077/1536-8742.1982.
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Camero, Emperatriz Arreaza. "Teaching Women in Film." Feminist Media Studies 1, no. 3 (January 2001): 386–87. http://dx.doi.org/10.1080/14680770152649596.
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Fares, Gustavo. "Borges's Women in Film." Chasqui 34 (2005): 166. http://dx.doi.org/10.2307/29742053.
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Nenno, Nancy P. "Women, Fascism and Film." Totalitarian Movements and Political Religions 2, no. 2 (September 2001): 73–90. http://dx.doi.org/10.1080/714005445.
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Ross, Sara. "Karen Ward Mahar (2008) Women Filmmakers in Early Hollywood." Film-Philosophy 14, no. 1 (February 2010): 490–95. http://dx.doi.org/10.3366/film.2010.0038.
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Et.al, Poonam Pichanot. "Portrayal of Women from Stereotype to Empowered in Film Studies." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 3282–87. http://dx.doi.org/10.17762/turcomat.v12i3.1577.
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Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered appropriate because women are a large part of the population of the country and their on-screen representation is thus critical in deciding the promotion of current stereotypes in the country in the society . The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. Cinema has limited itself to established sketches of femininity
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Fauziatunnisa, Fauziatunnisa, and Swita Amallia Hapsari. "REPRESENTASI IDENTITAS “COMFORT WOMEN” DALAM FILM I CAN SPEAK THE REPRESENTATION OF “COMFORT WOMEN” IDENTITY IN THE KOREAN MOVIE TITLED I CAN SPEAK." Jurnal Audience 2, no. 2 (July 25, 2019): 155–75. http://dx.doi.org/10.33633/ja.v2i2.2711.
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AbstrakFilm Korea yang berjudul I Can Speak merupakan film yang diadaptasi dari kisah nyatatentang comfort women di Korea Selatan dan Jepang. Film ini menggunakan genre komedidan menjelaskan tentang seorang perempuan yang berjuang mencari keadilan atas kasuswanita penghibur atau comfort women selama lebih dari satu tahun. Penelitian ini fokus padarepresentasi identitas comfort women dalam film “I Can Speak”. Penelitian ini menggunakanpendekatan kualitatif dan dikaji melalui teknik analisa Semiotika dari Roland Barthes. Untukmendapatkan tujuan dari penelitian, maka digunakan teori Gender Struktural Fungsionaldan teori pendukung The Second Sex dalam kajian feminis untuk melengkapi analisa. Hasildari penelitian ini yakni menjelaskan bahwa perempuan dijadikan objek seksual oleh militerJepang yang dikenal sebagai comfort women. Film ini menyampaikan pesan bahwa perempuandipandang sebagai orang kedua atau tidak menjadi prioritas dari laki-laki yang dikenal dengan(liyan). Gagasan dari korban comfort women ini adalah sejarah yang terlupakan dalam filmI Can Speak menggambarkan dengan jelas bahwa para korban masih memperjuangkan hakmereka. Comfort women menjadi isu sensitif dan masih menjadi topik serius hingga saat ini.Kata kunci : Analisis semiotika, comfort women, gender structural fungsional, Representasi, film AsbstractThe Korean movies titled I Can Speak is an adapted movie based on true story of comfort womenat South Korea and Japan. This movie featuring a comedy genre and describe a woman whofight for her justice a comfort women victim over the years. This study focus on representativeof comfort women identity in the movie titled “I can speak”. This type of research is a qualitativemethod using semiotic data with Roland Barthes analysis technique. To achieve the purposeof the study, a functional structural gender theory and a feminism philosophy of the secondsex support and complete the analysis . The result of this study, describe that women had been used as a sexual object for Japanese military satisfaction which is later known as comfort women. This film deliver a message of women’s become the second sex or not priority thanmen’s identified as (liyan). The idea of comfort women victim is a forgotten history yet in themovie “I Can Speak” clearly illustrate that the victims still struggling to fight for their right.Comfort women is become the sensitive issue and being a serious topic until these day.Keywords: Comfort women, functional structural gender, representative film, semiotic analysis
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Islam, Md Mohiul. "Madam Fuli: An Echo of the Struggles of Women in Bangladeshi Society." Jurnal Pengajian Media Malaysia 22, no. 2 (December 1, 2020): 17–30. http://dx.doi.org/10.22452/jpmm.vol22no2.2.
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Madam Fuli(1999) is an award winning creation of Shahidul Islam, the director of the film. It is one of the most remarkable films in Dhallywood, the Film Industry of Bangladesh, which won the National Film Award afterwards for its storyline and stunning acting by the protagonist’s (Fuli) cast Shimla. This film gave a jolt to the contemporary social systems of Bangladesh regarding our attitude towards the skin color of women and also towards our concept of beauty. Through the portrayal of various stage of Fuli’s life, the director, Shahidul Islam Khokon, who is the producer and the screen-play writer of this film, takes attempts to show what are the things and incidents a girl or a woman go through in the society in Bangladesh. By putting a tagline as ‘Fight for Right’ the director wants to visualize the struggle of a woman in the society of Bangladesh. But somehow, this film actually encourages the same follies and vices of the social practices that it intends to resist. This article shows how Madam Fuli actually waters into the roots of the same old racist concept of beauty.
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N.K, Amaljith. "FEMINISM AND REPRESENTATION OF WOMEN IDENTITIES IN INDIAN CINEMA: A CASE STUDY." Brazilian Journal of Policy and Development 3, no. 1 (April 8, 2021): 10. http://dx.doi.org/10.52367/brjpd.2675-102x.2021.3.1.10.
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The film is one of the most popular sources of entertainment worldwide. Plentiful films are produced each year and the amount of spectators is also huge. Films are to be called as the mirror of society. Because they portray the actual reality of the society through the cinematography. Thus, cinema plays an essential role in shaping views about, caste, creed and gender. There are many pieces of research made on the representation of women or gender in films. But, through this research, the researcher wants to analyse in-depth about the character representation of women in the Malayalam film industry how strong the so-called Mollywood constructs the strongest and stoutest women characters in Malayalam cinema in the 21st-century cinema. The study titled “Feminism and Representation of Women Identities in Indian Cinema. A Case Study” confers how women are portrayed in the Malayalam cinema in the 21st century and how bold and beautiful are the women characters in Malayalam film industry are and how they act and survive the social stigma and stereotypes in their daily life. All sample films discuss the plights and problems facing women in contemporary society and pointing fingers towards the representation of women in society. The case study method is used as the sole Methodology for research. And Feminist Film theory and theory of patriarchy applied in the theoretical framework.
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Ernawati, Arni. "Studi Kasus Politik Identitas Perempuan dalam Film Ada Apa dengan Cinta." Nyimak: Journal of Communication 4, no. 1 (March 24, 2020): 53. http://dx.doi.org/10.31000/nyimak.v4i1.2297.
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Media audiovisual seperti film diyakini bisa menjadi alat penyampai pesan paling ampuh untuk masyarakat. Tidak heran banyak industri film semakin tumbuh subur untuk berlomba-lomba membuat film. Tema film yang hadirkan pun bermacam-macam, dan tema percintaan masih mendominasi dalam industri perfilman kita. Salah satu film yang turut meramaikan industri perfilman adalah film Ada Apa dengan Cinta (AADC) yang dirilis pada 7 Februari 2002. Film ini bisa dikatakan sebagai film pelopor dan paling laris pada masanya untuk kategori film pop-remaja atau percintaan platonis remaja. Film ini mengandung pesan penting bagi perempuan. Penelitian ini bertujuan untuk membuka dan menganalisis pesan menyangkut politik identitas perempuan yang dibawakan dalam film AADC. Penulis mencoba mengamati setiap alur dan adegan dalam film. Film ini membawakan tentang perempuan yang dalam tekanan patriarki dan perempuan yang berjuang keluar dari tekanan tersebut. Hasil yang didapat dalam penelitian ini berupa hasil studi kasus atau analisis yang berhubungan dengan politik identitas dalam film.Kata Kunci: Politik identitas, perempuan, analisis film ABSTRACTAudio-visual media like film as the most powerful message delivery tool for public. No wonder many film industries are floushing to compete making movies. The theme of the film has been introduced with variuos kinds, and romance films still win our film industry. One of the titles the film present, which helped enliven the film industry is the film Ada Apa dengan Cinta (AADC). The film is a teenage love story by Rudi Soedjarwo success kicked off the Indonesia film market. The film background is about Rangga and Cinta with the spices of romance in adolescene, arguably the forerunner and most film best-selling in his time for the category of pop-teen film or teen platonic romance. Besides this film about important messages about and for women. This research tries to opened and analyzed messages about the identity politics of women presentedin the film. The authors tries to withdraw every plot and scene in the film.This film tells about womwn under patriarchal pressure and women who struggle to get out of that pressure. to get a guess and analyzing messages containing identity politics delivered. The result obtained in this research consist of case studies and anlyzes relating to identify politics film.Keywords: Identity politics, women, film analysis
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Romli, Rosnandar, Mella M. Roosdinar, and Aat Ruchiat Nugraha. "Representasi Perempuan dalam Film Ayat-Ayat Cinta." Jurnal Komunikasi Global 7, no. 2 (January 1, 2019): 183–204. http://dx.doi.org/10.24815/jkg.v7i2.11239.
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Film as part of mass communication has a considerable influence on the formation of opinions that occur in society. One of the best-selling films in 2008 was the film Ayat-Ayat Cinta. This research was carried out with assumptions about the existence of ideological battles that took place in a media discourse and representation of women in a film. The purpose of this research was to find out the representation of women in the film Ayat-Ayat Cinta through events in film stories that were commodified by cinematographers and audiences. The type of research method used is qualitative descriptive research analyzing media content with critical discourse analysis methods by Sara Mills. The research was conducted by dissecting the text in the film, looking at the subject-object position and the producer-reader position in climax scenes, to see how women are represented in the scenes. The results showed that the film still uses male perspectives in viewing the events; women are still represented more as objects than subjects; women are still viewed from the perspective of other parties (mostly men); the film leads the audience to identify themselves with male figures; and this film still affirms the patriarchal ideology
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Yatagai, Fumie. "War Memory and Mizoguchi’s Film." Tribhuvan University Journal 29, no. 1 (March 31, 2016): 41–46. http://dx.doi.org/10.3126/tuj.v29i1.25669.
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This paper focuses on the Japanese film director called Kenji Mizoguchi who worked not only the making films but gave the caricature impact to the Japanese society. He was touching with the Japanese philosophy and spirit before and after the World War II.
He described the common life of the Japanese life, especially tracing on how the women were dis-treated because of the context of the machismo in the public and at home. Also, the women were prohibited to have good education. The Japanese women at that time had a harsh moment to find their identity.
For instance, as I experienced the poverty and discriminations just to be a women, Mizoguchi’s film encouraged me and opened a door to the new life.
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Antoinette Shalini, Lourdes, and Alamelu C. "A JOURNEY FROM STRUGGLE TO PROMINENCE IN THE INDIAN FILM PINK." Humanities & Social Sciences Reviews 7, no. 5 (October 26, 2019): 823–26. http://dx.doi.org/10.18510/hssr.2019.75105.
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Purpose of the study: This work explores feminism as a conceptual framework for viewing society and its impact on women by analyzing the changes in women’s life and attitude through the film Pink.
Methodology: The study is descriptive research and is analyzed through the content and follows interpretive methods for critical analysis.
Main Findings: An amazing, valiant movie that spotlights on real young women who live genuine lives and manage thorny routine issues, which every young woman faces all over the world and relates with.
Applications of this study: The present work is interpreted in the light of feminist theory and criticism which has paved path for many solutions all over the world through not only writings but also by various means, in which films play a vital role where the struggles have been brought out in the screen so that women could relate themselves with the characters portrayed in the films which are not only imaginative; but the real face of many unknown women in the society.
Novelty/Originality of this study: The present work differs and deals with the co-existence that this society should abide by, be it a man or women both have equal roles in the society and through the lead actor this bold issue has been dealt in the film Pink.
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Asrita, Stara. "Konstruksi Feminisme Perempuan Sumba." ARISTO 7, no. 1 (December 17, 2018): 147. http://dx.doi.org/10.24269/ars.v7i1.1388.
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In much feminist literatures show that women often have been underneath men power. This study aims to analyze about women representation in film “Marlina si Pembunuh dalam Empat Babak”. The method is critical discourse to see hidden contexts in this film with a gender perspective. Some scenes show that woman had a choice to protect herself. The main character of this film, Marlina tried to give a poison and murdered the thieves who want to robber and rape her. Those Marlina’s acts were different if we comparing with women stereotype that existed. Women were described as a second person, gentle and depend on men. The feminist movement in this film show women’s emancipation in social life, struggle to protect her body and family problems in Sumba’s woman.
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Lestari, Rizki Widya. "KEKERASAN TERHADAP PEREMPUAN DALAM FILM INDONESIA." KANAL: Jurnal Ilmu Komunikasi 3, no. 2 (October 1, 2016): 107. http://dx.doi.org/10.21070/kanal.v3i2.303.
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This study aimed to analyze the depiction of violence experienced by women in the film "7 heart, 7 love, 7 women". These research method used textual analyses to interpret the signs that are produced in a media text are elements of violence experienced by women. The results showed that violence to the women include (a) physical violence, among others: strangling, pulling, injuring a pregnant woman, and rape, (b) symbolic violence, among others: (1) psychological violence: deceive, insult, infidelity; (2) financial violence: lack of accountability husband; (3) functional violence: restrictions on women's social role as executor of reproductive function.
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Ross, Sheryl Tuttle. "Sharon Lin Tay (2009) Women on the Edge: Twelve Political Film Practices." Film-Philosophy 17, no. 1 (December 2013): 487–92. http://dx.doi.org/10.3366/film.2013.0030.
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Patria, Asidigisianti Surya, Nova Kristiana, and Hendro Aryanto. "Woman Exploitation in Warkop DKI Poster Film." Humaniora 12, no. 1 (March 30, 2021): 13–19. http://dx.doi.org/10.21512/humaniora.v12i1.6756.
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The research aimed to determine a representation of women in the poster of Warkop DKI comedy film (Dono, Kasino, Indro) in 1980-1989 from a woman point of view. The involvement of women as models in the film poster media was not yet clear in terms of their roles; however, women could be used more as commodities of capitalism to reap profits. In the patriarchal rule, men were assumed to be created as culture-making in the other women were subordinated. The research applied a descriptive qualitative methods by collecting data using documentation techniques. The collected data was reducted, presented, and concluded. Roland Barthes’ semiotic theory was used to analyze poster design elements that contained the exploitation of the female body. The research results find that (1) women in the film poster media are only subordinated to the poster to attract men, potential viewers. (2) Film posters show sexual exploitation and eroticism that is made into a high-selling and quite promising commodification.
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BIELBY, DENISE D., and WILLIAM T. BIELBY. "WOMEN AND MEN IN FILM." Gender & Society 10, no. 3 (June 1996): 248–70. http://dx.doi.org/10.1177/089124396010003004.
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Kalinak, Kathryn. ": Women and Film . Janet Todd." Film Quarterly 43, no. 3 (April 1990): 62–63. http://dx.doi.org/10.1525/fq.1990.43.3.04a00200.
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Jansson, Maria. "Gender equality in Swedish film policy: Radical interpretations and ‘unruly’ women." European Journal of Women's Studies 24, no. 4 (March 1, 2017): 336–50. http://dx.doi.org/10.1177/1350506817692387.
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Gender quotas have been a crucial part of Swedish film policy since 2006 and have resulted in an increasing number of films with women directors, producers and screenwriters. However, films with women directors are still likely to have smaller budgets and less money for marketing and distribution than films with men directors. This article suggests that, in the context of film governance, gender quotas are discursively constructed in ways that circumscribe the opportunities to change current gender relations. Nevertheless, gender quotas have been used as a springboard for more radical interpretations to improve women’s conditions and challenge the foundation of the governance regime. The article also explores the idea that bottom-up representational claims are necessary to ensure that quotas and the inclusion of women result in women’s voices being heard. Such measures require the governance regime to be sensitive to voices that deviate from the norm.
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José, Monseny Bonifasi. "Les Femmes, le silence et le réel chez Ingmar Bergman." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 15–28. http://dx.doi.org/10.24193/subbdrama.2021.1.01.
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"The Women, the Silence and the Real in Ingmar Bergman. The main aim of this paper is to provide a psychoanalytic interpretation of the scream in the films of Ingmar Bergman, starting from Jacques Lacan’s consideration that the scream constitutes the abyss from which the silence emerges. After the outline of the difference between Silet and Taceo, the paper approaches three important aspects in the films of Bergman: the space of silence enveloping the silence of the film characters, the silence beyond the phallic, masculine order, and the silence as an empty void impossible to fill in the scream of Agnes (from Cries and Whispers). Keywords: woman, silence, real, anxiety, scream, death, dying, emptiness, voice. "
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Sherman, Sarah, Jeni Harden, Dawn Cattanach, and Sharon T. Cameron. "Providing experiential information on early medical abortion: a qualitative evaluation of an animated personal account, Lara’s Story." Journal of Family Planning and Reproductive Health Care 43, no. 4 (July 8, 2017): 269–73. http://dx.doi.org/10.1136/jfprhc-2016-101641.
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BackgroundAn animated film has been created to provide information to women requesting early medical abortion (EMA). The 9 min film, Lara’s Story, was created using one woman’s personal account of her experience. This study evaluated the views of women who had recently undergone EMA on the film and its potential usefulness in providing experiential information to women requesting EMA.MethodWomen who had undergone EMA within the past month were recruited. They were shown the film and interviewed in a semi-structured style. Interviews were recorded and transcribed verbatim. They were analysed using cross-sectional indexing and thematic analysis with an inductive approach.Results13 women were interviewed. All reported that the film gave a realistic account of EMA and most agreed that they would have wanted to watch it before EMA had it been available. Some said that it might help women who were struggling with decision-making with regard to EMA and all said that there should be unrestricted access to the film from the website of the abortion service. The women commented that the animated style of the film allowed all groups of women to relate to the story. Some commented that Lara’s experience of pain, bleeding and side effects such as nausea differed from their own and therefore felt that it would be useful to make more than one woman’s account available.ConclusionThe availability of animated audiovisual films recounting women’s experiences of EMA might be a valuable adjunct to clinical information for women seeking EMA.
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Haggith, Toby. "Women Documentary Film-makers and the British Housing Movement, 1930–45." Journal of British Cinema and Television 18, no. 4 (October 2021): 478–97. http://dx.doi.org/10.3366/jbctv.2021.0591.
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This article examines the role women played, as film-makers and participants, in the development of the documentary genre from 1930 into the wartime period. In the 1930s and 1940s, the topics of slum clearance and town planning were a preoccupation of British documentary and non-fiction cinema. This article therefore first focuses on the little-known propaganda films generated by housing charities in the 1930s. After an examination of the use of films in the campaigns for better housing between the wars, it concentrates on three films which are linked by the inclusion of filmed interviews with the poorly housed. The study starts with a re-evaluation of Housing Problems (1935) and Kensal House (1937), widely regarded as the first of the genre, placing them in the context of the housing movement. It then gives an overview of the housing issue and female documentary-making during the Second World War, as background to a case study of film-maker Kay Mander, concentrating on her end-of-war manifesto Homes for the People (1945), which saw a further development of the interview technique and presented the women's perspective in a feminist manner. This article shows that women were not only instrumental in the development of the housing documentary but that the films they made promoted a female-orientated and progressive view of housing provision and town planning for working-class people. It was a passion for social change and a growing belief in the democratisation of the image of the poorly housed that determined changes in treatment in the films of the documentary film movement.
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Dickens, Chad. "Projections 13: Women Film-makers on Film-making (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 1 (2006): 81–82. http://dx.doi.org/10.1353/flm.2006.0004.
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Irawan, Rahmat Edi. "Representasi Perempuan dalam Industri Sinema." Humaniora 5, no. 1 (April 1, 2014): 1. http://dx.doi.org/10.21512/humaniora.v5i1.2975.
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Studies on the presence and the role of women in film industry are interesting to observe. Physically, women exist and play role in the world of film industry, as old as the film itself. In terms of quantity, the number of women seen on screen is also not inferior to men seen in the film. The issue is precisely whether the presence and nearly with the same quantity with men, women are enough to give meaning to the quality of the film itself. Article used literature study, to see how the literatures interrelate several theories of mass communication, especially those raised on the issue of representation. Conclusions or results of the study for this paper are women’s presence and participation as well as comparable quantity of them with men in film industry do not have a lot contribution to the improvement of the quality of the film industry itself. This relates to the women who exist and participate in the film industry rely only on certain physical size of the body and woman is only as a complement to sweeten the mere presence of a movie.
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Putra, Gesang Manggala Nugraha, and Trisnavia Elma Kharisa. "ARE ALL WOMEN FEMINISTS? A CRITICAL VIEW ON LADY BIRD (2017) FILM." Lire Journal (Journal of Linguistics and Literature) 4, no. 1 (March 16, 2020): 1–15. http://dx.doi.org/10.33019/lire.v4i1.56.
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Introduction: In the study of film as media, there is a growing tendency on labelling films with female leads and female production crews as feminist films. Objective: This study aims to test such claim in the film Lady Bird (2017). Method: To do so, the study employs Feminist Identity Development Model by Downing and Roush to look at the main lead of the film, along with analyses on the film’s narrative and cinematographic aspects. Findings: The study finds that the female lead fails to undergo all the five stages of Feminist Identity Development Model. The study further explores that her advancement through the stages is being held back by her dependence to her family and those around her. Conclusion: The study, then, suggests some further inquiries on the interrelatedness of age and feminism.
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Mweemba, Oliver, Helen Smith, and Helen Coombe. "Exploring the Gender-Specific Impact of Educational Film on Maternal and Child Health Knowledge and Behavior: A Qualitative Study in Serenje District, Zambia." International Quarterly of Community Health Education 41, no. 2 (April 4, 2020): 209–23. http://dx.doi.org/10.1177/0272684x20916600.
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Background Educational film is a communication tool that helps to present complex information simply and clearly, keeping audiences interested for longer and helping to reinforce important learning. Medical Aid Films produces educational films targeted at communities and health workers, with a focus on maternal and child health (MCH) content. Pilot work suggests that film screenings have attracted male as well as female viewers and have started to increase male involvement in MCH care. We explored stakeholder perspectives and gender-specific responses to educational films screened in a rural district of Serenje, Zambia. Methods A qualitative study using focus group discussions and in-depth interviews with men and women who had viewed the films at least once, and key informant interviews with health workers who helped deliver the film screenings. Thematic framework analysis was used to derive themes and subthemes, and illustrative quotes are used to substantiate interpretation of the findings. Results Men’s and women’s perspectives are clustered around the influence of the films on knowledge and behavior in relation to MCH topics and male involvement and overall community responses to the films. The three themes summarizing key informant perspectives relate to their impressions of the influence of the films on male involvement in MCH and their views on using film to deliver heath information. Conclusion Educational films have the potential to improve women’s and men’s knowledge and awareness of MCH topics, including healthy nutrition and welfare of women during pregnancy, the need to seek skilled care during pregnancy and for childbirth, and the importance of male involvement in supporting the care of women and children. Before widespread implementation, decisions must be made about whether and how to integrate the films with community health education programs, the needs, values, and preferences of men and women and how to present and deliver the film content in a way that maximizes participation of men and women in MCH but does not undermine women’s rights, autonomy, or safety.
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Kerlan-Stephens, Anne. "The Making of Modern Icons: Three Actresses of the Lianhua Film Company." European Journal of East Asian Studies 6, no. 1 (2007): 43–73. http://dx.doi.org/10.1163/157006107x197664.
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AbstractBetween 1930 and 1937, the Lianhua Film Company was one of the major studios in China, and in many ways was a symbol of modernity. The policy of the Company towards its actors was quite new and contributed to the creation of a new social status for this group, especially for the women. This paper focuses on three female stars (Wang Renmei, Chen Yanyan and Li Lili,) who worked for the Lianhua Film Company. Through a detailed analysis of the photos published in its magazine, Lianhua Huabao, as well as feature films produced by the Company, we will study Lianhua's strategies to transform these women into professional actresses. Their image was created by the entanglement of three spheres: their private lives, their public lives and their fiction lives played on screen. We will consider the sometimes conflicting relationships between these spheres by looking at the visual sources (photos and feature films) in conjunction with the actresses' biographies and movie roles. This will underline the complexity and ambiguity of a process understood by the Lianhua Film Company not only as the making of professional actresses but also as the creation of a new, modern Chinese woman.
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Frempong, Debbie. "“Have You Eaten?” Portrayals of Deviant Women in Nollywood." Black Women and Religious Cultures 1, no. 1 (November 2020): 78–88. http://dx.doi.org/10.53407/bwrc1.1.2020.100.04.
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This paper explores filmic representations of womanhood in Nollywood, Nigeria’s largest film industry. Focusing on three different films over the span of 10 years, the essay argues that Nollywood’s engagements with Christian moral norms significantly impacts its portrayals of women, producing specific narratives around deviance and its accompanying failures of womanhood. It also shows how these narratives are differentiated through social class, as they highlight the institutionalized capitalist-sexist nature of the professional sphere women have to navigate. Traversing the public-private spheres, these narratives reveal the social pressures that simultaneously produce and disrupt ideas of womanhood. By analyzing the films, the essay posits that Nollywood’s representation of women reflects contemporary social anxieties about modernity, capitalism and morality, which are in turn refracted through the image of the deviant woman.
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Klauß, Cornelia. "New Horizons and Disruptions. East-German Female Directors of the DEFA-Studios and from Underground." Panoptikum, no. 23 (August 24, 2020): 43–50. http://dx.doi.org/10.26881/pan.2020.23.03.
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On the occasion of a publication Sie – Regisseurinnen der DEFA und ihre Filme, Berlin, Schriftenreihe der DEFA-Stiftung, 2019, all female directors who worked for the DEFA studios in the GDR were identified for the first time. More than sixty women directors worked for DEFA between 1946 and 1992. They made feature films and documentaries, worked in advertising film and in the animation studio. Particularly among the smaller formats, there is a striking number of female directors who were able to accommodate their preferred themes in the slipstream of the major productions. They problematized the official reading of equal rights and created counter-images in their figures and portraits. To be added to the canon of female filmmaking are also the independent women filmmakers, who were only allowed to realize and show their works outside the official media structures. These were female artists who discovered the film medium for themselves and made Super-8 abstract films with elements of performance on very low budgets.
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Easen, Sarah. "Building Reputations: The Careers of Mary Field, Margaret Thomson and Kay Mander." Journal of British Cinema and Television 18, no. 4 (October 2021): 498–517. http://dx.doi.org/10.3366/jbctv.2021.0592.
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Film historians have generally concentrated their research of British non-fiction film-making on the male directors and producers of the British documentary movement. This has resulted in the marginalisation of those operating in other non-fiction genres, in particular the many women documentarists who worked on educational, instructional, travel, commercial, government and industrial films from the 1930s to the 1970s. This article examines the histories of three women documentary film-makers to assess why women are frequently missing from the established accounts of the genre and argue for their inclusion. It provides an overview of women in British documentary histories, followed by case studies of three women who worked in the sector: Mary Field, Margaret Thomson and Kay Mander. It investigates their collegial networks and considers the impact of gender discrimination on their careers in order to understand why they have received so little recognition in histories of the British documentary film movement.
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Lott, Martha. "The Relationship Between the “Invisibility” of African American Women in the American Civil Rights Movement of the 1950s and 1960s and Their Portrayal in Modern Film." Journal of Black Studies 48, no. 4 (April 18, 2017): 331–54. http://dx.doi.org/10.1177/0021934717696758.
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This research argues that the representation of African American women in modern civil rights film is a result of the “invisibility” that they faced during the civil rights movement in America during the 1950s and 1960s. To make its argument, this article contends that the media’s scant but negative coverage of women activists along with male leaders, such as Malcolm X’s attitude toward African American women during the period of the movement, is the reason why ultimately African American women activists received lack of recognition for their involvement in the movement. This work also argues that the lack of recognition for these women is evident in modern civil rights film and they negatively portray African American women’s role during the movement. This is shown by examining two films— Selma and The Help. This work also debates whether using film as a historical source is correct. This work touches upon the ongoing stereotypical role of “Mammy” in films such as The Help and argues that overall, by studying various arguments, and as historian Peniel Joseph believes, that many prestigious movies take dramatic license with historical events, arguing that films are not scholarly books and people should not learn about historical events through films.
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Turan, Müge. "You Don't Own This War: Arab Women's Cinema Showcase." Film Quarterly 73, no. 2 (2019): 87–92. http://dx.doi.org/10.1525/fq.2019.73.2.87.
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With only nine films, “Here and Now: Contemporary Arab Women Filmmakers,” a film series exhibited in August 2019 at Toronto's TIFF Bell Lightbox, is inevitably limited in the variety of style, form, and storytelling it can convey. However, by highlighting both the diversity and intersectionality of identities, the films presented are linked by a compelling thematic thread: they all investigate how cinema represents Arab women with a focus on the body, its materiality, and the power relations that determine it. Although each film reflected its local political and socio-economic context, collectively these films by Arab women utilized the body as a mediated object with the potential to destabilize, disrupt, and transform.
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Vitali, Valentina. "Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 78–91. http://dx.doi.org/10.1177/0974927620935754.
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Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Where are they trained? What are the conditions in which they work? What kind of films they make? How do they fund production? How do their films circulate? And finally: Is there a women’s cinema in Myanmar? What follows thus outlines the context in which women in Myanmar make films today and introduces the work of a small number of them. I conclude with reflections on three short films: A Million Threads (2006, by Thu Thu Shein), Now I am 13 (2013, by Shin Daewe), and Seeds of Sadness (2018, by Thae Zar Chi Khaing), two of which can be found online (at http://yangonfilmschool.org/___-free-yfs-film / and https://www.youtube.com/watch?v=vX0LUZQcMCQ ).
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Schäfer, Sandra. "Whose Gaze? Stories Told between Kabul, Herat and Berlin." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 61–77. http://dx.doi.org/10.1177/0974927620935255.
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This visual essay focuses on contemporary women’s cinema in Afghanistan, which started in 2001, when, for the first time, women made films in Afghanistan. They narrate stories from their perspectives, and choose different filmic means, characters and genres to tell their stories. With a selection of film stills and photographs, this visual essay introduces the work of these women filmmakers. The images are accompanied by text that describes the contents and the making of their films. Text includes quotations from filmmakers reflecting on their practice. The directors whose work I present are, among others, Roya Sadat, Saba Sahar, Diana Saqeb and Aiqela Rezaie. As some of the filmmakers also work as actresses, I draw an arc into the changeful history of Afghan cinema and the role women played as actresses in these films. The essay highlights the period between 2002 and 2009, when I worked in Kabul making my film Passing the Rainbow and co-organising the film festival SPLICE IN on Gender and Society.
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Zegers, Lara DA, and Richard HC Zegers. "(Un)safe sex in James Bond films: what chance for sex education?" Scottish Medical Journal 63, no. 4 (November 2018): 113–18. http://dx.doi.org/10.1177/0036933018809601.
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Background and aims Many women in Bond films make love to James Bond (alias 007). Our objective was to quantify the practice of (un)safe sex in Bond films. Methods and results All 24 Bond films were watched together by the authors and the following data were recorded: if the women had sex with 007, whether the women consumed any alcohol before they had sex, whether contraceptives were mentioned and/or used by 007 or the women and whether the women survived the film. Bond had sexual relations with a total of 58 different women. Twenty-two percent of the women had consumed alcohol. In none of the films was any type of contraception mentioned or used. A total of 28% women did not survive the film. Conclusion If he were real, Bond outnumbers the British men at least fivefold when it comes to the number of sexual partners over a lifetime. Nevertheless, over time casual sex is becoming less frequent for 007. Sexually transmitted diseases, safe sex and (unwanted) pregnancies seem not to exist in the films. Some suggestions were made to promote safe sex in future Bond films as movies can play an important role in sex education.
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Evans, Barbara. "Rising Up." Feminist Media Histories 2, no. 2 (2016): 107–21. http://dx.doi.org/10.1525/fmh.2016.2.2.107.
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The London Women's Film Group was formed in 1972 in response to the seemingly impermeable male-dominated film industry and culture of the time along with the urgently felt need to put women's stories, told by women, on the screen. Made up of a dedicated assortedment of practitioners and theorists, the group produced a variety of films, both individually and collectively, including Women of the Rhondda (1973), Put Yourself in My Place (1974), The Amazing Equal Pay Show (1974), and Whose Choice? (1976). The group and its work provided inspiration to one another and to many other women who perceived the lack of feminist expression in film. In this essay, early Film Group member Barbara Evans provides a personal account of the formation and key moments in the evolution of the group.