Bibliografias temáticas / Women immigrants in motion pictures

Literatura científica selecionada sobre o tema "Women immigrants in motion pictures"

Autor: Grafiati

Publicado: 26 de julho de 2024

Última modificação: 27 de julho de 2024

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Artigos de revistas sobre o assunto "Women immigrants in motion pictures"

Hirschman, Elizabeth C. "Consumer Preferences in Literature, Motion Pictures, and Television Programs". Empirical Studies of the Arts 5, n.º 1 (janeiro de 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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Denham, Bryan. "Oriental Irritants and Occidental Aspirants: Immigrant Portrayals in Hearst Magazines, 1905–1945". Journalism & Communication Monographs 24, n.º 1 (4 de fevereiro de 2022): 4–64. http://dx.doi.org/10.1177/15226379211070038.

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William Randolph Hearst became editor and proprietor of the San Francisco Examiner in 1887, and by 1935, he had assembled a media empire consisting of nearly 30 major newspapers, 13 magazines, 8 radio stations, 3 news wires, and 2 motion picture companies. Most scholarship about Hearst has focused on his newspapers; less studied have been the magazines he acquired early in the 20th century. This monograph examines immigrant representations in Hearst magazines published between 1905 and 1945, focusing on how magazine fiction, nonfiction, and “fact-fiction” articles presented immigrants and immigration as social and political issues. Like Hearst himself, the publications favored immigrants from Germany and the Scandinavian countries of northern Europe and tended to disfavor those from China and Japan and, to a lesser extent, Mexico. According to the magazines, immigrants from the Far East and Mexico were “undesirables” who threatened society by, allegedly, importing, selling, and using hazardous drugs. Newspaper advertisements, news articles, and editorials extended these portrayals to wider audiences. Hearst also applied cross-media promotion to motion pictures, with writers converting fiction from his magazines into screenplays for Cosmopolitan Productions and MGM. The monograph contains examples of how magazine content and iconic covers have informed contemporary films and television series. In recent years, stylized representations have glamorized lifestyles but have also perpetuated cultural stereotypes that may contribute to anti-immigrant attitudes.

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Liang, Jichen. "Gender Stereotype and Position of Women in the 19th Century America". BCP Social Sciences & Humanities 20 (18 de outubro de 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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Ezzedeen, Souha R., Marie-Helene Budworth e Chanda Riggi. "Devils and Contenders: Portrayals of Professional Women in North American Motion Pictures". Academy of Management Proceedings 2012, n.º 1 (julho de 2012): 14094. http://dx.doi.org/10.5465/ambpp.2012.14094abstract.

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Kosonogov, Vladimir, José M. Martínez-Selva, Ginesa Torrente, Eduvigis Carrillo-Verdejo, Aurelio Arenas e Juan P. Sánchez-Navarro. "Head Motion Elicited by Viewing Affective Pictures as Measured by a New LED-Based Technique". Multisensory Research 32, n.º 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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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, n.º 3 (setembro de 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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Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels". EduLite: Journal of English Education, Literature and Culture 6, n.º 2 (31 de agosto de 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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

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LEFF, LEONARD J. "What in the World interests Women? Hollywood, Postwar America, and Johnny Belinda". Journal of American Studies 31, n.º 3 (dezembro de 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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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, n.º 70 (junho de 2010): 409–47. http://dx.doi.org/10.18219/ddmh..70.201006.409.

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Marwah, Diniati, Ismunandar Ismunandar e Regaria Tindarika. "BENTUK PENYAJIAN TARI LANGKAH DUA BELAS DI DESA SUNGAI BUNGKOK KALIMANTAN BARAT". Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) 11, n.º 6 (29 de junho de 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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Teses / dissertações sobre o assunto "Women immigrants in motion pictures"

Di, Carmine Roberta. "Cinematic images, literary spaces : the presence of Africa in Italian cinema and Italophone literature /". view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120620.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 226-232). Also available for download via the World Wide Web; free to University of Oregon users.

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

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Noble, Fiona. "Post-transition transitions : childhood, performance and immigration in post-Franco Spanish cinema". Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=227226.

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

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

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

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Phillis, Philip. "Towards an inclusive discourse : representation of Albanian immigrants in Greek cinema". Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6303/.

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This thesis outlines and discusses portrayals of Albanian and Ethnic Greek migrants from Albania in contemporary Greek cinema. The focus is on seven coproduced films made between 1993 and 2009 that set out to challenge endemic xenophobia and nationalism. The latter have served the most in the exclusion of Albanian immigrants in Greece. The exclusion of Albanian migrants in Greece can be linked to a history of opposition between both countries which has led to a collective predisposition towards Albanians as inherently criminal. This is not an isolated event, but a broad phenomenon that saw Southern European cinemas becoming increasingly preoccupied with the presence of migrants in a region that has not been conditioned to hosting but rather to sending émigrés. Such films therefore also challenge the cultural bedrock of Greece and Europe. It is argued in this thesis that the shift from a national cinema to a transnational mode of filmmaking and representation, that asserts difference and a decline in national sovereignty, is an entirely alien experience to the history of Greek cinema. By utilising a holistic and critically informed framework and methodology, the author unpacks the films' creative and cultural context and addresses them as one body in relation to the specific cultural and historical backdrop. Consequently the texts per se are addressed in order to measure the degree to which they achieve a radical representation of difference and an overall shift from the norm of an insular cinema and film discourse. It is argued that the proposed films plant the seeds for an inclusive discourse but not without reinforcing obvious essentialisms that underlie nationalism and Eurocentrism. Therefore, the author argues that nationalism and Eurocentrism inform the films and hinder their aspiration towards a radical discourse.

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

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

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Kwok, Crystal Lee. "Ghosts and goddesses : women, cinema, & the image /". Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14040220.

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

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Livros sobre o assunto "Women immigrants in motion pictures"

Lindstrom, Kara. Sparkle life. New York, NY: Other Press, 2006.

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Writing diaspora: South Asian women, culture, and ethnicity. Aldershot, Hants, England: Ashgate, 2005.

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Roma, Museo di, ed. I vestiti dei sogni: La storia dei costumisti italiani per il cinema. Bologna: Edizioni Cineteca di Bologna, 2015.

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

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

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

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

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

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Bad women: Regulating sexuality in early American cinema. Minneapolis: University of Minnesota Press, 1995.

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Pat, Kirkham, e Thumin Janet, eds. Me Jane: Masculinity, movies, and women. London: Lawrence & Wishart, 1995.

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Capítulos de livros sobre o assunto "Women immigrants in motion pictures"

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

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"Viral Visions: The Pandemic Archive in Miasma, Plants, Export Paintings (2017) and Many Undulating Things (2019)". In Women Filmmakers and the Visual Politics of Transnational China in the #MeToo Era. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728355_ch09.

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Cinematic Orientalism overlaps with the archival history of ornamental export goods, medicinal plants, and racially inflected theories of disease in Bo Wang and Pan Lu’s video installation Miasma, Plants, Export Paintings (2017) and a section of the essay film Many Undulating Things (2019). The installation video and the film use documents such as drawings, photographs, and film clips of China and the Chinese to plumb the depths of the persistence of racism and sexism in global visual culture. The COVID-19 pandemic and subsequent upsurge in anti-Chinese violence places the themes treated in these motion pictures into an ongoing conversation about racism and sexism in the wake of imperial expansion and colonialism in Asia.

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George, Susan A. "Femspec Science Fiction". In The Oxford Handbook of New Science Fiction Cinemas, 88–100. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197557723.013.4.

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Abstract This chapter defines and illustrates the “femspec” slant in science fiction (sf) cinema and the important part it has played in the development of a feminist sf vision. Focusing mainly on the women characters in sf cinema, it examines how these characters both promote and criticize feminist ideologies, while “speculating” on a feminist future. Through the analysis of Captain Marvel, the Marvel Studio’s first female-led film, it demonstrates the ways in which mass-market products such as major motion pictures are bringing contemporary feminist perspectives into new focus for an audience already familiar with earlier feminist attitudes.

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Morgan, David. "Evangelical Images and the American Tract Society". In Protestants & Pictures Religion, Visual Culture, and the Age of American Mass Production, 43–74. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195130294.003.0003.

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Abstract with the disestablishment of religion in the early nineteenth century, New England clergy and laity who had enjoyed in statesanctioned Christianity a vision of a nation with a divine purpose were faced with the challenge of preserving their sense of national mission in a state that no longer officially authorized the practice of the Christian faith. Facing the steady growth of non-English-speaking, nonProtestant immigrants and the expansion of a frontier populated by unchurched whites and non-Christian Indians, a number of evangelical clergy, Christian professionals, businessmen, and well-stationed women formed benevolent societies such as the ABS (1816) and the ASSU (1824). These benevolent associations worked to reform the expanding American populace by producing enormous amounts of literature such as the Bible or Sunday school instructional materials and distributing them as widely as possible. The ATS was established in 1825 when the American Tract Society of Boston, formerly called the New England Tract Society, and many other smaller tract societies in the northeast merged with New York’s Religious Tract Society to form a national organization based in New York City on Nassau Street. Composed primarily of Presbyterians, Congregationalists, and Baptists, the ATS set itself the task of distributing tracts throughout the United States and around the world. Yet its greatest efforts were domestic.

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Leonard, Kendra Preston. "Women’s Compiled Scores in Early Film Music". In Hidden Harmonies, 53–70. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845375.003.0004.

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Women from all classes across the United States were recognized as highly successful and effective composers and arrangers. In contemporary and later interviews and publications including The American Organist, Moving Picture News, and Moving Picture World, accompanists such as organists Rosa Rio and Alice Smyth-Jay and violinist Helen Ware describe composing motifs or themes for characters and events in silent films that they then used to create full scores for the motion pictures they accompanied. Industry insiders credited accompanist-composers who were deemed especially good at their jobs with the success of many theatres and for providing artistic excellence in the burgeoning medium. Women’s music for feature films, shorts, and newsreels served to suggest, shape, and help define the musical tastes of the time, to educate listeners, and to show how music could serve as a creative, narrative, and interpretative force in the cinema.

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Kalinak, Kathryn. "A history of film music I". In Film Music: A Very Short Introduction, 30—C4P35. 2^a ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/actrade/9780197628034.003.0004.

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Abstract Music has been central to the history of film. This chapter charts that history through a global perspective, looking at the origins and development of musical accompaniment to motion pictures from the United States to South America, from Europe, Russia, and the Soviet Union to India, Japan, China, and numerous other countries in between. That history includes attention to the variety of forms that musical accompaniment to early film took from phonographic accompaniment to live performance, from improvisation to cue sheets to original film scores, and from a single musician to a symphony orchestra. This chapter incorporates new research since the first edition of this book in 2010 on film music in Ireland, Austria, Turkey, the Dutch East Indies, and the Netherlands; the role of women in the early film music industry; and the role of film music in the continued resurgence of silent film screenings.

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Stokes, Melvyn. "Fighting a Vicious Film". In D. W. Griffith’s The Birth of a Nation, 129–70. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195336788.003.0007.

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Abstract The long war over The Birth of a Nation began quietly. On January 20, 1915, a small subcommittee of the National Board of Censorship of Motion Pictures met in New York to watch The Clansman (soon to be renamed). The subcommittee was made up of ten people, including two members of the board’s general committee. It is impossible to identify the members of this group—the board insisted on the anonymity of its viewing committees. It was certainly all white and in all likelihood predominantly female: in the spring of 1915, the board had a general pool, the so-called Censoring Committee, of 116 censors, of whom 95 were women. All that is known about the committee for certain is that it approved Griffith’s film for general exhibition. The producers of The Clansman must have been pleased; the board’s decision seemed to suggest that the film would not be greatly troubled by censorship difficulties. Over the next few days and weeks, they would come to realize that this was an illusory impression.

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Aguayo, Angela J. "Subjugated Histories and Affective Resistance". In Documentary Resistance, 149–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0005.

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Starting in the early 1970s, many documentaries began addressing the shifting cultural climate surrounding the issue of abortion in the United States. While some consideration has been given to how abortion has been represented on television and in motion pictures, scant attention has been paid to how the documentary genre has forged the public space for this controversial issue. This chapter briefly maps and assesses how feminists have documented and utilized the documentary genre to recover women’s history and reclaim public space for reproductive justice and the failures to accomplish these aims as access to reproductive care continues to erode. The chapter tracks how women, engaged in feminist struggle, create documentary commons specific to the collision between lived experience and social expectations. The chapter focuses particularly on a moment in 2005 when Third Wave feminist and activist filmmakers attempted to engage abortion politics through the documentary confessional mode. Tracking the move from public confession to representations of an escalating and violent antichoice movement brings the struggle into sharper focus. Analysis of these documentaries and their parallel activist interventions includes interviews with three directors, archival material, and ethnographic research.

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