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Journal articles on the topic 'Women in the motion pictures'

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Published: 25 July 2024

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1

Liang, Jichen. "Gender Stereotype and Position of Women in the 19th Century America." BCP Social Sciences & Humanities 20 (October 18, 2022): 131–35. http://dx.doi.org/10.54691/bcpssh.v20i.2175.

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This article is about the movie Little Women (2019), which is produced by Colombia Pictures, Regency Enterprises and Sony Pictures, and has won many awards such as Young Artist Award and Best Family Motion Picture. This movie is mainly about the main character Jo, a writer that does not want to get married, and her family, Amy, Meg and Beth. It reflects the truth and the society of the 19th Century America, expressing the impacts made by these situations at that time. Therefore, this movie mainly discusses women’s position through film production, which brings a positive impact on later films while discussing about women’s positions and gender stereotype.

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2

Hirschman, Elizabeth C. "Consumer Preferences in Literature, Motion Pictures, and Television Programs." Empirical Studies of the Arts 5, no. 1 (January 1987): 31–46. http://dx.doi.org/10.2190/3c9d-4vf6-v7nt-hbpw.

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This study examined the relationship between five motives—sensory arousal, cognitive arousal, escapism, mastery-control, and emotional involvement—and preferences for different types of content in three cultural media—television programs, motion pictures, and books. The findings both confirmed and extended prior theorization and found some intriguing differences in content preferences between women and men.

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Ezzedeen, Souha R., Marie-Helene Budworth, and Chanda Riggi. "Devils and Contenders: Portrayals of Professional Women in North American Motion Pictures." Academy of Management Proceedings 2012, no. 1 (July 2012): 14094. http://dx.doi.org/10.5465/ambpp.2012.14094abstract.

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4

ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory." British Journal for the History of Science 50, no. 3 (September 2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day.

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HWANG HO DUK. "Like a motion picture, Like the Lives of Virtuous Women -the issues emerging with Mujŏng(The Heartless): Gramophone, (Motion) pictures, Gun and typography." DAEDONG MUNHWA YEON'GU ll, no. 70 (June 2010): 409–47. http://dx.doi.org/10.18219/ddmh..70.201006.409.

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6

Kosonogov, Vladimir, José M. Martínez-Selva, Ginesa Torrente, Eduvigis Carrillo-Verdejo, Aurelio Arenas, and Juan P. Sánchez-Navarro. "Head Motion Elicited by Viewing Affective Pictures as Measured by a New LED-Based Technique." Multisensory Research 32, no. 7 (2019): 575–88. http://dx.doi.org/10.1163/22134808-20191363.

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

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Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels." EduLite: Journal of English Education, Literature and Culture 6, no. 2 (August 31, 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.

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8

LEFF, LEONARD J. "What in the World interests Women? Hollywood, Postwar America, and Johnny Belinda." Journal of American Studies 31, no. 3 (December 1997): 385–405. http://dx.doi.org/10.1017/s0021875897005744.

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During World War II, when the Office of War Information urged the American film companies to help the nation win the war, the OWI's Bureau of Motion Pictures delivered both moral support and guidance. The BMP “Manual” (1942), for instance, encouraged producers to show women dropping off their children at day-care centers, then cheerfully heading off to jobs where they enjoyed equal opportunity and equal pay. Scenes like those may have been fantasy, and for some women wryly amusing, and yet, in the late 1940s and beyond, as one historian says, World War II came to be thought of as “the best war ever,” the war, according to myth, where there were no tensions over class, or race, or gender.

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9

Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood." Pacific Historical Review 80, no. 2 (May 1, 2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.

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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depicted Los Angeles as an urban El Dorado for single white women on the make. In response, tens of thousands of women moved west to work in the picture business, helping to make Los Angeles the first western boomtown where women outnumbered men.

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10

Marwah, Diniati, Ismunandar Ismunandar, and Regaria Tindarika. "BENTUK PENYAJIAN TARI LANGKAH DUA BELAS DI DESA SUNGAI BUNGKOK KALIMANTAN BARAT." Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) 11, no. 6 (June 29, 2022): 421. http://dx.doi.org/10.26418/jppk.v11i6.55840.

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

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Peng, Alicia Inge. "Social Changes in America: The Silent Cinema Frontier and Women Pioneers." Humanities 13, no. 1 (December 21, 2023): 3. http://dx.doi.org/10.3390/h13010003.

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Silent cinema acted as a bridge between early motion pictures and today’s film industry, playing a transformative role in shaping feminist film history and American society. This article explores pioneering American women in the silent film industry who ventured into technology, film culture, marginalized communities, and social movements. Despite the prevalence of racist and sexist propaganda, American silent films were a frontier for innovation, filmmaking, and exploring the New Women concept. This study examines 23 American silent films that have often been overlooked and rarely studied, whereby film analysis generally aligns with established feminist silent film theories. By shedding light on a previously overlooked film directed by May Tully, this study challenges the widespread belief that there existed “no women directors in 1925”. The examination of databases reaffirms American women directors’ contributions to silent films, especially during the early years of the silent film era. The results modify the previous scholarly notion that “influential women directors’ involvement was over by 1925”. Following an initial surge in their active leadership during the early years, influential women directors’ participation was over after 1922, rather than 1925.

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Hasan, Haris. "The Depiction Of Rape Scenes In Popular Hindi Cinema : A Critical Examination Of Representation Of Gender In Media." Journal of Women Empowerment and Studies, no. 12 (October 27, 2021): 42–46. http://dx.doi.org/10.55529/jwes.12.42.46.

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The portrayal of female gender in performing arts has been a product of constant societal change. From the days when Female parts were acted upon by male counterparts to the advent of motion pictures and the role of women in making the medium their own , the journey has been long. This can be also studied under the context of anthropology, gender issues, and women emancipation. The female characters have been always fixed into the narrative by the virtue of a certain appeal they exhibit. From Laura Mulvey’s male gaze theory in cinema to the aesthetics of violence in cinema , both have been depicted in experimental ways in films. The portrayal of rape scenes dishonoring the basic existential being of any women have been shot in a number of ways to make a case in point in the film narrative. The shooting of such sequences and the psychological impact of this on the female casts is a critical study within cinema studies. Much to the women empowerment and vocal voices there has been a critical debate on how to film the female body and more so traumatic sequences such as the depiction of rape in the narrative.

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13

Fronc, Jennifer. "“HISTORICAL PRESENTATION” OR “LIBEL TO THE RACE”?: CENSORSHIP AND THE BIRTH OF A NATION." Journal of the Gilded Age and Progressive Era 14, no. 4 (October 2015): 612–15. http://dx.doi.org/10.1017/s1537781415000432.

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On April 9, 1915, the fiftieth anniversary of General Lee's surrender at Appomattox, The Birth of a Nation opened in Boston. Audience members were “prepared for the unusual” the moment they entered the Tremont Theatre. After “a young man in evening dress and a silk hat” took tickets, “two young women in flounced hoop skirts and with long curls … ma[d]e a sort of graceful minuet bow, and hand[ed] you a program.” While “soldiers ‘on guard’ in the Civil War uniforms of the North and South” flanked the aisles, another costumed young woman “escort[ed] you to your seat.” As the film projector flickered to life, a title card issued an important caveat to the audience: “This is an historical presentation of the Civil War and Reconstruction period and is not meant to reflect in any way upon any race or people of today.” D. W. Griffith did not write this title card; rather, the National Board of Censorship of Motion Pictures (NBC) inserted it to fend off protestors and signal its commitment to filmmakers’ First Amendment rights.

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14

Zięba, Hubert. "Rasa, płeć, choroba. Sposoby reprezentowania czarnych kobiet w kontekście epidemii AIDS w Stanach Zjednoczonych." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 97–118. http://dx.doi.org/10.19195/0860-6668.21.4.6.

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Race, sex, disease. Modes of representing black women in the context of the AIDS epidemic in the United StatesIn this article I try to outline the ways of representing black women in the context of the AIDS epidemic in the United States. The point of departure for prospecting for such images is the development of the feminist thought and women cinema practices, described by E. Ann Kaplan and Alexandra Juhasz, which diverge from a unified category of women towards a multicultural aspect of femininity. In the face of rendering HIV/AIDS dominantly from a white male perspective in the most popular motion pictures about the disease, I begin with Georges Didi-Huberman assumption, according to which, under a layer of popular images of disasters, there are always different depictions yet to be discovered. Referring to the concept of minoritarian strategies, formulated by Gilles Deleuze and Felix Guattari, I attempt to make a formal and stylistic analysis of four films, two documentaries and two features. Simultaneously I try to demonstrate that actions taken by women involved in different levels of film production cross the traditional opposition between the mainstream and independent cinemas. The films analyzed in this article are: Sandra’s Web: A Mother’s Diary 1996, dir. Beverly Peterson, Wilhemina’s War 2015, dir. June Cross, Life Support 2007, dir. Nelson George, and Precious 2009, dir. Lee Daniels.

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15

강성현. "The U.S. Army Photography and the “Seen Side” and “Blind Side” of the Japanese Military Comfort Women: The Still Pictures and Motion Pictures of the Korean Comfort Girls in Myitkyina, Sungshan, and Tengchung." Korea Journal 59, no. 2 (June 2019): 144–76. http://dx.doi.org/10.25024/kj.2019.59.2.144.

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16

Roy, Mouparna. "Male Gaze in Indian Cinema: The Presentation of Women in Mainstream Cinema." Journal of Humanities and Education Development 3, no. 5 (2021): 94–101. http://dx.doi.org/10.22161/jhed.3.5.14.

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Since the advent of motion pictures, movies have had a great impact on the masses. It has been used as a medium of communication with society as it has been said that movies are the reflection of society. In the Indian context, we can see the depiction of different identities in the cinemas, like gender, queer, ethnic groups and so on (multiculturalism). But the question is how far it is to address the problems of these marginalized sections. Even as a common person, we can notice the less or misrepresentation or misrecognition of the subaltern groups in Indian cinema. One of the most misrepresented among these and the most discussed topic is gender as patriarchy is dominant in almost every society which makes the subjugation of women a global grievance. In the cinematic world, too women have been exploited or oppressed and misrepresented by different means. One of the problems which have been talked about over and over is the concept of ‘male gaze’ (Mulvey, 1975). Women have always been objectified or commodified in the cinemas across the globe. Therefore, the concept of the ‘male gaze’ given by Mulvey addresses the problems of cinemas often being made from the male point of view and the content is specifically made for a heterosexual male. The ‘female-centric’ movies which are claimed by the filmmakers as a way of women's empowerment have also been criticized by the feminists as merely a male standpoint. In this paper, I will try to analyze a few Indian movies and see how much the ‘male gaze’ is persistent in these movies

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17

Roy, Mouparna. "Male Gaze in Indian Cinema: The Presentation of Women in Mainstream Cinema." Journal of Humanities and Education Development 3, no. 5 (2021): 94–101. http://dx.doi.org/10.22161/jhed.3.5.13.

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Since the advent of motion pictures, movies have had a great impact on the masses. It has been used as a medium of communication with society as it has been said that movies are the reflection of society. In the Indian context, we can see the depiction of different identities in the cinemas, like gender, queer, ethnic groups and so on (multiculturalism). But the question is how far it is to address the problems of these marginalized sections. Even as a common person, we can notice the less or misrepresentation or misrecognition of the subaltern groups in Indian cinema. One of the most misrepresented among these and the most discussed topic is gender as patriarchy is dominant in almost every society which makes the subjugation of women a global grievance. In the cinematic world, too women have been exploited or oppressed and misrepresented by different means. One of the problems which have been talked about over and over is the concept of ‘male gaze’ (Mulvey, 1975). Women have always been objectified or commodified in the cinemas across the globe. Therefore, the concept of the ‘male gaze’ given by Mulvey addresses the problems of cinemas often being made from the male point of view and the content is specifically made for a heterosexual male. The ‘female-centric’ movies which are claimed by the filmmakers as a way of women's empowerment have also been criticized by the feminists as merely a male standpoint. In this paper, I will try to analyze a few Indian movies and see how much the ‘male gaze’ is persistent in these movies.

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18

Donald, Stephanie Hemelryk. "Book Review: Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon, Streetwalking the Metropolis: Women, the City and Modernity." International Journal of Cultural Studies 4, no. 2 (June 2001): 250–54. http://dx.doi.org/10.1177/136787790100400208.

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19

Isha Mittal. "Use of Women’s Beauty and Makeup in Battle: Unveiling Stereotypes and Strength." Creative Saplings 2, no. 09 (December 26, 2023): 35–45. http://dx.doi.org/10.56062/gtrs.2023.2.09.462.

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Since the earliest writings of Bharatmuni's Natyashastra, an essential text in Indian aesthetics written more than two thousand years ago, women have been essentially connected with beauty and makeup. Shringararasa was mostly associated with women in the Rasa philosophy. This link has persisted and can even be seen in current Hollywood productions. It is interesting how beauty has been portrayed in two distinct manners throughout various historical works of literature, films, and books. On one hand, it has supported stereotypes like child marriage and placed restrictions on women's access to higher education and the workforce. On the other side, beauty has the ability to oppose patriarchy and, in a larger sense, be a tool for engaging in the struggle against oppression and lending support to diverse freedom movements. When faced with these obstacles, women stand out as heroes because they actively destroy patriarchal repressive institutions. Numerous narratives, motion pictures, and stage plays—both fiction and non-fiction—emphasize the extraordinary resilience of women and demonstrate how they employ cosmetics and beauty not just as a means of self-expression but also as instruments of adaptation in feminist movements and combat zones. These tales capture the essence of Goddess Durga, who stands for fortitude and tenacity. This paper analyses both perspectives of beauty, citing various texts, movies, novels, and other media as sources for its arguments. Let us continue the teachings of history, mythology, and film by traversing the complexity of beauty, strength, and resistance. Let us raise the voices of those who question conventions, celebrate diversity, and collaborate to create a society where every individual, regardless of gender, may thrive and contribute to the prosperity of a genuinely inclusive and just world.

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20

Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.

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Levy, Emanuel. "Stage, Sex, and Suffering: Images of Women in American Films." Empirical Studies of the Arts 8, no. 1 (January 1990): 53–76. http://dx.doi.org/10.2190/90lj-px9t-q0j8-kb0g.

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This article systematically examines the portrayal of women in the American cinema over the last sixty years, from 1927. More specifically, it addresses itself to the following issues: the main attributes of screen women in terms of age, marital status, and occupation; the guidelines prescribed by American films for structuring women's lifestyles; the degree of rigidity of these normative prescriptions and proscriptions; and recent changes in the portrayal of women. The research is based on content analysis, quantitative and qualitative, of 218 screen roles, male and female, which have won the Academy Award, bestowed annually by the Academy of Motion Picture Arts and Sciences for the best achievements in film acting. The study demonstrates the differential treatment of gender in American films and the durability of specific screen stereotypes for men and for women. The prevalence of rigid conventions in the portrayal of women for half a century is explained in relation to male economic and ideological dominance in Hollywood and in American society at large.

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22

Edenheim, Sara. "Jakten på det "queera ögonblicket". Om det subversivas (o)möjligheter." Tidskrift för genusvetenskap 24, no. 1 (June 15, 2022): 29–46. http://dx.doi.org/10.55870/tgv.v24i1.4180.

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The main question in this article is how and where subversion is possible. As a point of departure the author uses the work of Tiina Rosenberg, a researcher of theatre and gender at Stockholm university, who presents a theory on subversion, or "queer moment", produced by women in male clothing on stage. The article argues against the idea that this genre disturbs the heterosexual normativity and order of gender; instead it seems to reproduce that same order, partially through the relations between the characters and partially through the reason for female cross-dressing presented both within and outside these particular dramaturgies. Three examples are analysed: the stage play Twelfth Night (Shakespeare) and the motion pictures Yentl (Singer/Streisand) and Victor,Victoria! (Edwards, Hoemburg/Edwards). By focusing on both the male character who finds himself attached to the disguised woman, and on the female character who is attracted to the same, the author concludes that while the male character does not question his sexuality but rather the gender of his 'male' friend, the female character is easily led astray by superficial words and clothing and hence reproducing the stereotypical female behaviour. The male character, on the other hand, reproduces male (hetero)- sexuality as potent and capable of 'seeing' through any disguise. Hence, heteronormativity is found to play an important part in the entire dramaturgy-not only in the ending scene where everything is set right through falling disguises and weddings. However, the subversive part of the cross-dressing woman on stage or in film is not completely disregarded and the author presents, by using the theories of Teresa de Lauretis and Judith Butler, a possible identification with a woman in male clothing as a way of expressing a (lesbian) desire based on a fetishist use of male clothing as a symbol of disavowing both female and male fallocentric desire.

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Mengxiao, Xu, and Mahyuddin Bin Ahmad. "Explore Issues and Challenges Involving Female Characters in Documentary Filming." Journal of Law and Sustainable Development 11, no. 3 (August 1, 2023): e713. http://dx.doi.org/10.55908/sdgs.v11i3.713.

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Purpose: A documentary film or documentary is a non-fictional motion picture intended to reflect reality, typically for the goals of instruction, preservation of history, or training. Documentary filming heroines must always be noble, alluring, and seductive, regardless of the type of roles they perform. Method: The same method of objectification is employed in Michael Bay's “Transformers” film, on the other hand, are what ultimately influence both male and female filmmakers as well as audiences to make sense of the narratives, reasoning, and symbolisms that the media industry, particularly cinema, uses to construct its framework and establish its method of operation. Result: As a result, it serves as an essential medium for female creative expression and a source of knowledge for women. The mild paradox that results from this is that women are not hired for jobs where past employment is required to prove one's value. Conclusion: The fallouts of the review provide a more thorough picture of female representation in documentary filming and how viewers have evolved to perceive it through time. Unfortunately, women face a variety of problems in addition to media underrepresentation.

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Talukder, Anirban, Sougata Kumar Burman, Gairik Bera, Jayeeta Mukherjee, Mousumi Maji, and Debojyoti Santra. "A Cross-sectional Observational Study of the Etio-pathology, Socioeconomic Distribution and Clinical Pictures of Ectopic Pregnancy in a Tertiary Medical College and Hospital in Bankura, West Bengal, India." Journal of Medical Sciences and Health 9, no. 2 (October 31, 2023): 197–203. http://dx.doi.org/10.46347/jmsh.v9i2.23.136.

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Background: Ectopic pregnancy or abnormal implantation of embryo is one of the foremost causes of mortality and morbidity in women of reproductive age worldwide. Its serious consequences can be effectively averted by early diagnosis and timely intervention. This study aimed at determining the incidence, predisposing socio-economic factors and etiolo-pathology, and assessment of various clinical manifestations and treatment modalities of ectopic pregnancy. Methods: This observational cross- sectional survey was conducted in the department of obstetrics and gynaecology BSMCH, Bankura from 1.4.2015 to 31.3.2016. It included 100 patients with admitted with clinically or sonologically confirmed ectopic pregnancy after informed consent, data was collected and analysed thereafter. Results: It was observed that 68% of the cases belonged to 21-30 years of age, 80% with low socio-economic status, 69 % comprised of multigravidas. The typical risk factors detected were history of PID, abortion and previous tubal surgery. The most consistent clinical feature was pain in lower abdomen (98%) followed by amenorrhoea (90%) and vaginal bleeding (82%). 97% of the patients presented with pallor and 23% with shock. In 73% patients cervical motion tenderness could be elicited clinically and adnexal mass in USG was found in 95 %. Urine pregnancy test was positive in all patients and right side was the commonest side of involvement (53%). All the patients underwent surgical intervention. Conclusion: Prompt detection from history, clinical features, USG and appropriate and well-timed management are of utmost importance to enhance better maternal survival and conservation of reproductive capacity. Keywords: Ectopic pregnancy, UPT, PID, Tubal surgery, Adnexal mass, POD fluid, Ampulla

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Komarova, Kseniya. "Inequality between women and men in South Korea: a discourse-analysis of the motion picture “Kim Ji-young: Born 1982”." Woman in russian society, no. 1 (March 30, 2022): 61–71. http://dx.doi.org/10.21064/winrs.2022.1.5.

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Jacobs, Carolyn Condon. "Convalescing Profiles." Feminist Media Histories 9, no. 3 (2023): 31–49. http://dx.doi.org/10.1525/fmh.2023.9.3.31.

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The influenza epidemic of 1918–20 was one of the deadliest events in recent human history, killing at least fifty million people worldwide and at least 675,000 Americans in just two years. Yet, because of government censorship during the pandemic and a lasting cultural silence about the flu, we still have a great deal to learn about this period. In the wake of the COVID-19 crisis, remembering the experience of the Spanish flu has become especially urgent. This essay argues that motion picture fan magazines, many of which are available digitally through the Media History Digital Library, are crucial archives of women’s experiences during the pandemic. Interactive sections of these publications gave readers—especially women and girls—rare opportunities to publicly share their own experiences with the flu. Celebrity “convalescing profiles” expressed anxieties and established expectations for women during the flu pandemic. Revisiting these publications today reveals the importance of celebrity and sites of fan engagement in forging ideas about illness and health.

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27

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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28

Young, Linda. "Motion Pictures." SMPTE Journal 105, no. 4 (April 1996): 177–78. http://dx.doi.org/10.5594/j15829.

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29

Masson, Alan J. "Motion Pictures." SMPTE Journal 108, no. 2 (February 1999): 75–78. http://dx.doi.org/10.5594/j17112.

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30

Masson, Alan J. "Motion Pictures." SMPTE Journal 107, no. 1 (January 1998): 11–13. http://dx.doi.org/10.5594/j17616.

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31

Bonnaud, Irène, Suzanne Doppelt, Christophe Triau, and Sacha Zilberfarb. "Motion pictures." Vacarme 15, no. 2 (2001): 60. http://dx.doi.org/10.3917/vaca.015.0060.

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32

Burns, Edward J. "Motion Pictures." SMPTE Journal 97, no. 4 (April 1988): 268–74. http://dx.doi.org/10.5594/j00667.

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33

Young, Linda. "Motion Pictures." SMPTE Journal 106, no. 1 (January 1997): 9–11. http://dx.doi.org/10.5594/j09530.

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34

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 104, no. 4 (April 1995): 186–88. http://dx.doi.org/10.5594/j09609.

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35

Ricotta, Frank J. "Motion Pictures." SMPTE Journal 103, no. 4 (April 1994): 211–15. http://dx.doi.org/10.5594/j09688.

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36

Antonoff, Michael. "Motion Pictures." Scientific American 296, no. 5 (May 2007): 24–25. http://dx.doi.org/10.1038/scientificamerican0507-24.

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37

Mitchison, Tim J. "Motion pictures." Nature 357, no. 6373 (May 1992): 32. http://dx.doi.org/10.1038/357032a0.

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38

Gomery, Douglas. "Motion Pictures." Communication Booknotes 16, no. 5 (May 1985): 49. http://dx.doi.org/10.1080/10948008509488306.

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39

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 1 (January 1986): 7–9. http://dx.doi.org/10.1080/10948008609488219.

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40

Gomery, Douglas. "Motion Pictures." Communication Booknotes 17, no. 9-10 (September 1986): 98–107. http://dx.doi.org/10.1080/10948008609488269.

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41

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 7-8 (July 1987): 63–69. http://dx.doi.org/10.1080/10948008709488193.

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42

Gomery, Douglas. "Motion Pictures." Communication Booknotes 18, no. 9-10 (September 1987): 93–99. http://dx.doi.org/10.1080/10948008709488203.

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43

Gomery, Douglas. "Motion Pictures." Communication Booknotes 19, no. 5 (September 1988): 95–103. http://dx.doi.org/10.1080/10948008809488155.

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44

Block, Eleanor, James K. Bracken, Eleanor S. Block, and Bruce A. Austin. "Motion Pictures." Communication Booknotes Quarterly 29, no. 1 (January 1998): 52–60. http://dx.doi.org/10.1080/10948009809361557.

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Levine, Niall, John A. Lent, and Bruce Austin. "Motion pictures." Communication Booknotes Quarterly 29, no. 2 (March 1998): 88–96. http://dx.doi.org/10.1080/10948009809361564.

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Austin, Bruce A., Eleanor Block, Chris Sterling, Robert Huesca, and Gary R. Edgerton. "Motion pictures." Communication Booknotes Quarterly 29, no. 4 (September 1998): 196–203. http://dx.doi.org/10.1080/10948009809361586.

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Austin, Bruce A., Niall Levine, and Chris Sterling. "Motion pictures." Communication Booknotes Quarterly 30, no. 4 (September 1999): 227–31. http://dx.doi.org/10.1080/10948009909361637.

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48

Blasko, Edward J. "Motion Pictures." SMPTE Journal 95, no. 4 (April 1986): 413–19. http://dx.doi.org/10.5594/j17960.

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49

Iosifian, S. A., and V. A. Petrovskii. "Motion Pictures." Russian Education & Society 37, no. 10 (October 1995): 11–22. http://dx.doi.org/10.2753/res1060-9393371011.

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50

Baptista, John L. "Motion Pictures." SMPTE Journal 101, no. 4 (April 1992): 231–34. http://dx.doi.org/10.5594/j02302.

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