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women's films

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Journal Article
Camera Obscura (2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
...Patricia White Camera Obscura 2009 Patricia White , an editor of Camera Obscura since 1997, also serves on the board of Women Make Movies. She is a professor of film and media studies at Swarthmore College and is working on a book on global women's feature filmmaking of the past...
Journal Article
Camera Obscura (2019) 34 (2): 133–161.
Published: 01 September 2019
...E. L. McCallum This essay argues that twenty-first-century melodrama films by female directors rework the core components of classic melodrama form—not only its timing, but also narrative form, agnition, and the underlying fantasy of union. While they retain a focus on objects and setting...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 147–155.
Published: 01 December 2018
...Sebastian Heiduschke Although women today graduate from Germany’s film schools in numbers nearly equal to those of men, they remain heavily underrepresented in the nation’s film industry. This essay employs statistical evidence to take stock of the situation for women filmmakers and examines three...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 171–178.
Published: 01 December 2007
... award-winning books, Contested Culture: The Image, the Voice, and the Law (1991) and Fire and Desire: Mixed-Race Movies in the Silent Era (2001). Currently she is working on a manuscript entitled “Fictioning Histories: Women Film Pioneers,” on the difficulties of historical writing. Rosa Porten...
Journal Article
Camera Obscura (2006) 21 (3 (63)): 153–156.
Published: 01 December 2006
...Robin Blaetz Camera Obscura 2006 Robin Blaetz is an associate professor and chair of the Film Studies Program at Mount Holyoke College. She has written Visions of the Maid: Joan of Arc in American Film and Culture (2001) and is completing an anthology titled Women's Experimental...
Journal Article
Camera Obscura (2020) 35 (2 (104)): 159–169.
Published: 01 September 2020
...Janice Loreck; Sian Mitchell; Whitney Monaghan; Kirsten Stevens The Melbourne Women in Film Festival (MWFF) is a four-day event in Melbourne, Australia, that supports and celebrates the work of Australian women filmmakers. Launched in 2017, the festival emerged from our desire as screen academics...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 159–166.
Published: 01 January 1990
...Rhona Berenstein Copyright © 1990 by The Johns Hopkins University Press 1990 Remembering History: Films by Women at the 1989 Toronto Film Festival Rhona Berenstein . . . the textual construction (written filmic, etc.) of discursive spaces in which not Woman...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 150–158.
Published: 01 January 1990
...Jeanne Allen Copyright © 1990 by The Johns Hopkins University Press 1990 Palaces of Consumption as Women’s Club: En-countering Women’s Labor History and Feminist Film Criticism ]eanne Allen As leading promoters of consumer culture in the United States...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 129–145.
Published: 01 December 2018
...Hester Baer; Angelica Fenner In this conversation, which took place in Berlin, Ger­many, in August 2017, filmmaker Tatjana Turankskyj discusses recent developments in Pro Quote Film, the feminist initiative she cofounded with several other women filmmakers to promote gender parity in German film...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 179–186.
Published: 01 May 2017
...). © 2017 by Camera Obscura 2017 Stephanie Rothman exploitation film women directors feminist filmmaking Figure 1. Director Stephanie Rothman on the set of The Student Nurses (US, 1970) IN PRACTICE Stephanie Rothman Does Not Exist...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 195–214.
Published: 01 September 1985
... Women and Film: Both Sides of the Camera, and its reception is symp- tomatic of the debate within the feminist film community over the use of psychoanalysis in feminist film theory. For example, in a scathing review of Kaplan’s book1 in the December 1983 issue ofAmerican FZZm, B. Ruby Rich...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 147–155.
Published: 01 May 2013
... to address the under- and misrepresentation of women in film and media; today, the New York–based nonprofit supports the creation and circulation of independent film and media by and about women through its production assistance program, extensive distribution service, and advocacy role. The conversation...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 41–66.
Published: 01 September 2008
...Catherine Zimmer This essay explores Cheryl Dunye's The Watermelon Woman (1997) in the context of reflexive practice in film. The film has been variously approached as queer cinema, women's autobiographical and documentary cinema, and black cinema; this essay emphasizes how one might add to all...
Journal Article
Camera Obscura (2018) 33 (3 (99)): 1–19.
Published: 01 December 2018
...Hester Baer; Angelica Fenner Setting the stage for this special issue of Camera Obscura , the introduction makes the case for German cinema as a renewed site for the theorization of women’s film authorship and feminist film production today. German cinema presents an especially generative case...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 107–137.
Published: 01 September 2009
...Suzanne Gauch Relating the trajectory of a young Franco-Moroccan woman who returns to her native city of Fez and embraces a mystical form of Islam, Farida Benlyazid's 1988 feature film A Door to the Sky has become a mainstay at international women's film festivals and in classes on gender...
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 (2014) 29 (1 (85)): 5–31.
Published: 01 May 2014
... that critique the masculine underpinnings of art cinema. Central to this reading of Bier's director image and her films are the increasingly transnational dimensions of women's film practice and the broader decentering of paradigms of national cinema over the past two decades. Belinda Smaill is a senior...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... movements (feminisms) on film produc- tion. Her argument relates the lack of scholarship concerning women filmmakers (beyond auteur studies) to the lack of atten- tion paid to feminisms’ impact. To render “a more historical sense” of women’s relation to cinema overall, Cook calls for tex- tual...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... ignores the active exchanges—sometimes explicit, sometimes subterranean—taking place among filmmakers and their films across Asia. The contributions to queer Asian cinema of women filmmakers, many of whom have had long careers in television and documentary and short-film production, have not been...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 127–153.
Published: 01 May 2021
... carpet demonstration. “Female Stars Call for Equal Pay in Cannes Protest,” AFP Relax News, 12 May 2018 Figure 3. The eighty-two women standing on the red carpet stairs, representing the eighty-two female directors with films in the official selection competition across the seventy-one-year...
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