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wmm

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Journal Article
Camera Obscura (2013) 28 (1 (82)): 125–133.
Published: 01 May 2013
...Kristen Fallica This essay commemorates the fortieth anniversary of the independent feminist film organization Women Make Movies (WMM) by reflecting on its history and relationship to larger currents in feminist media culture. Based on archival research, this contribution to Camera Obscura 's...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... by and about women in the world and helped hundreds of women get their films made through its Production Assistance Program. Films from WMM programs have won prizes at the last five Sundance Film Festivals and have been nominated for or won Academy Awards in five of the last six years. Zimmerman speaks around...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
...B. Ruby Rich This article considers the early history of women-directed media, examining its links to political action campaigns in the 1970s and exploring the aims of women's film festivals, production workshops, and Women Make Movies itself. Acknowledging a personal role in the WMM crisis...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 135–145.
Published: 01 May 2013
..., dir. Valeria Sarmiento, France, 1982) in practice: women make movies at forty Remembering “Punto de Vista: Latina” in Two Voices Catherine L. Benamou and Bienvenida Matías A Call to Rememberance In the early 1980s, Women Make Movies (WMM) became home to a community-­based...
Journal Article
Camera Obscura (2016) 31 (1 (91)): 153–163.
Published: 01 May 2016
... media collectives. These collec- tives, such as New Day Films, Iris Films, and Women Make Movies (WMM), taught production skills to women and other popula- tions often denied access to production technologies and distrib- uted materials that were perceived as being too controversial...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 107–147.
Published: 01 May 2002
... Board of Canada’s Studio D, Forbidden Love has a higher production value than some of the other documentaries discussed in this article, and, according to White, is one of WMM’s bestsellers. Institutional support for documentary work often makes the difference between film...