DOCSLIB.ORG

PDF Download British Women Film Directors in the New Millennium

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF Download British Women Film Directors in the New Millennium BRITISH WOMEN FILM DIRECTORS IN THE NEW MILLENNIUM 1ST EDITION PDF, EPUB, EBOOK S Hockenhull | 9781137489913 | | | | | British Women Film Directors in the New Millennium 1st edition PDF Book Throughout Self Made , she permits the spectator to see the preparation of the vignettes unfold as well as the final sketch, and the film explores the tension between the public and private in the respondents, and the distortion of boundaries in performance. Also, they are based on action and fantasy, and these are not genres in which women often work. An annual report is created, discussing how women have contributed to as filmmakers. The s and s saw the rise of record-breaking salaries for actresses like Demi Moore and Julia Roberts. Which are the most inspirational five books about film ever written? Haifa Al-Mansour is the first Saudi female filmmaker and is considered to be Saudi's most controversial film creator, especially after her iconic film that created a buzz, Wadjda. However, recently women have stepped up and took the lead as successful directors, producing films mainly revolving around female issues within society. These films developed her reputation for respectful handling of the sensitive legacy of artists amongst their fans. Women in Film Los Angeles. The group also contributes their time to creating articles discussing how women are viewed in film, not only as filmmakers but as fictional characters as well. This is because our items are shipped from different locations. Mira Nair , a talented and accomplished Indian filmmaker, has written, produced and directed a plethora of award-winning documentaries. Back in when it was first published, it was, like Martin Peters, ten years ahead of its time. Women film directors also documented the participation of women in anti-imperialist movements. Howard, Angela; Kevenik, Frances M. The nearest we have to a British national filmography was created not by any institute or university but by one man. Inhaltsverzeichnis Frontmatter Chapter 1. There are so many wonderful writers out there. Plus one: this lightly fictionalised memoir of film criticism, love affairs and the quest for beauty and perfection is so funny that it often makes you bark with laughter. The question of whether we should believe our eyes or any of our senses is dramatised in a setting that uncannily predicts cinema. The true comparison is masculinity versus femininity. The book that almost single-handedly revived serious interest in the long-reviled world of silent film. Associated Press. The Guardian. In Japan for a long time Kinuyo Tanaka was the only woman to make feature films. Sociological Inquiry. At once imaginative myth-making and insightful, demystifying critical essay. In considering the way that films are put together, many feminist film critics have pointed to what they argue is the " male gaze " that predominates in classical Hollywood filmmaking. The Bible of the dedicated cinephile when it was first published in , and still an invaluable route map of what needs to be seen. The Digital Edition and Archive quick link. About Us. Resisting the oppression of female sexuality was one of the core goals of second-wave feminism. Archived from the original on July 22, A study done by USC Annenberg researched what it meant to be a female in the film industry, no matter if they were working behind the scenes or were fictional characters. For example, Ibsen toured around areas in the States such as Hollywood to pick up different stylistic techniques. Analysis focused on they ways "cinematic production affect the representation of women and reinforce sexism". Writings on film by film-makers form a generally undervalued genre. Furthermore, since the revolutionary start of filmmaking, black women filmmakers have continuously struggled and are still struggling to showcase their work on feature films in Hollywood. Statements consisting only of original research should be removed. Bloomington: Indiana University Press, , p. Indeed, this is true about all the writers on film that I admire most — even the aesthetes and dandies. Shirley Clarke was an independent American filmmaker in the s. The concept has had its fair share of criticisms, causing some female filmmakers to distance themselves from it in fear of being associated with marginalization and ideological controversy. Press releases and media enquiries. Alas, only one more book! Even though there is a huge gender disparity in filmmaking, there are notable exceptions, women who have figuratively broken through the celluloid ceiling and become pioneers in their field. Or Robert Warshow? British Women Film Directors in the New Millennium 1st edition Writer The second part of the book examines the innovation, creativity and resourcefulness of British female film directors, as well as the considerable variety of films that they produce, selecting specific examples for analysis in the process. Joyce Wieland was a Canadian experimental film maker. Starring Awkwafina as Billi in one of the best roles of , The Farewell explores generational and geographic tensions when a family learns that their mother and grandmother is dying. Apply for British certification and tax relief. The ocker is a term to describe an Australian savage man. Archived from the original on 16 March Alile Sharon Larkin is known as a film director, producer, and writer. Women in Film and Television International WIFTI is a "global network comprised of over forty Women In Film chapters worldwide with over 10, members, dedicated to advancing professional development and achievement for women working in all areas of film, video and digital media. This article possibly contains original research. These aphoristic memos from the legendary director are often as inscrutable as Zen Buddhist koans, yet reflecting on them can produce a similar enlightenment. Nia DaCosta. Journal of Gender Studies. Feminist film theory is theoretical film criticism derived from feminist politics and feminist theory. The dialogue as artform. Oxford: Oxford University Press. Share: Share on Facebook opens in a new tab Share on Twitter opens in a new tab Share on Linkedin opens in a new tab Share on email opens in a new tab Comment: Comments count: 0. The film felt both historically significant and tragically topical. Search for projects funded by National Lottery. Gender Myths and Feminist Fables. Handbook of American Women's History. Black Camera. Brazilian Cinema has a number of women directors whose works date from the s. This first collection by the most thoughtful, penetrating, and far-reaching of UK film critics ever remains scandalously overlooked and undervalued. Social and economic aspects are two categories that have aroused females to become film directors. The one film book I crammed into my suitcase to keep me company when I went to live abroad for a couple of years; every dip into its pages offered something to think about, wonder at or silently dispute. Do those women talk to each other? Female director, Alice Guy was existent during the birth of cinema. The Women of Courage award was established in to recognize women who persevere through adverse conditions and circumstances in their quest for the rights of all women in the entertainment industry and society at large. Amazon Studios These two important male figures are what made the three film directors borrow such creative techniques. The primary reason for many of them to commit to being filmmakers was to depict stories of women in their original and true essence as well as to strive in readapting roles of females on the Mexican screen. So you think you know what intertextuality is? However, "older [male] actors make more than their female equals" in age, with "female movie stars mak[ing] the most money on average per film at age 34, while male stars earn the most at Specifically, Mulvey explained that mainstream or Hollywood films are unable to provide the experience of contradiction, reinforcing anti-realism and, this is where the avant-garde cinema is useful for women and feminism because they share "a common interest in the politics of images and problems of aesthetic language. Main article: Female buddy film. Returns must be postmarked within 4 business days of authorisation and must be in resellable condition. The Economist wrote of Leni Riefenstahl that Triumph of the Will "sealed her reputation as the greatest female filmmaker of the 20th century". The study reported women make up from the top films : [8]. Sociological Inquiry. Retrieved 21 September July Learn how and when to remove this template message. Monster catapulted Patty Jenkins to critical acclaim in and pop culture phenomenon Wonder Woman demonstrated Jenkins knows how to stage a stunning set-piece or two that has pull at the box office, as well. British Women Film Directors in the New Millennium 1st edition Reviews Access the digital edition. New York Times. Back to the top. Amid a period of increased awareness concerning the paucity of women in above- the-line positions, key female film directors are identified along with an analysis of their productions through various dimensions, taking into account funding strategies, production, distribution and exhibition methods, as well as aesthetics and genre. UP California. Chick flick is a slang term for the film genre dealing mainly with love and romance and is targeted to a female audience. At first glance it looks like a series of nostalgic, fireside chats with actors and film-makers from the good old days of British cinema. Feminist film theory is theoretical film criticism derived from feminist politics and feminist theory. Her father is Francis Ford Coppola. The saddest lacuna of all is Roger Tailleur , an extraordinary prose stylist and encyclopaedic brain who, on a good day, makes Manny Farber seem like Harry Knowles. This book focuses on the output of women film directors in the period post Millennium when the number of female directors working within the film industry rose substantially.
Load more

Recommended publications
  • Sofia Coppola and the Significance of an Appealing Aesthetic
    SOFIA COPPOLA AND THE SIGNIFICANCE OF AN APPEALING AESTHETIC by LEILA OZERAN A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2016 An Abstract of the Thesis of Leila Ozeran for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2016 Title: Sofia Coppola and the Significance of an Appealing Aesthetic Approved: r--~ ~ Professor Priscilla Pena Ovalle This thesis grew out of an interest in the films of female directors, producers, and writers and the substantially lower opportunities for such filmmakers in Hollywood and Independent film. The particular look and atmosphere which Sofia Coppola is able to compose in her five films is a point of interest and a viable course of study. This project uses her fifth and latest film, Bling Ring (2013), to showcase Coppola's merits as a filmmaker at the intersection of box office and critical appeal. I first describe the current filmmaking landscape in terms of gender. Using studies by Dr. Martha Lauzen from San Diego State University and the Geena Davis Institute on Gender in Media to illustrate the statistical lack of a female presence in creative film roles and also why it is important to have women represented in above-the-line positions. Then I used close readings of Bling Ring to analyze formal aspects of Sofia Coppola's filmmaking style namely her use of distinct color palettes, provocative soundtracks, car shots, and tableaus. Third and lastly I went on to describe the sociocultural aspects of Coppola's interpretation of the "Sling Ring." The way the film explores the relationships between characters, portrays parents as absent or misguided, and through film form shows the pervasiveness of celebrity culture, Sofia Coppola has given Bling Ring has a central ii message, substance, and meaning: glamorous contemporary celebrity culture can have dangerous consequences on unchecked youth.
    [Show full text]
  • The Cultural Traffic of Classic Indonesian Exploitation Cinema
    The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally.
    [Show full text]
  • Carried Away: 'Revisioning' Feminist Film Theory Toward a Radical Practice
    MA MAJOR RESEARCH PAPER Carried away: 'revisioning' feminist film theory toward a radical practice Submitted by Kimberley Radmacher - Supervisor: Professor Scott Forsyth The Major Research Paper is submitted in partial fulfillment ofthe requirements for the degree of Master of Arts Joint Graduate Programme in Communication & Culture Ryerson University - York University Toronto, Ontario, Canada April 30, 2004 Carried away: 'revisioning' feminist film theory toward a radical practice The question of women's expression has been one of both self-expression and communication with other women, a question at once of the creation/invention of new images and of the creation/imaging of new forms of community. Ifwe rethink the problem of a specificity of women's cinema and aesthetic forms in this manner, in terms of address-­ who is making films for whom, who is looking and speaking, how, where, and to whom--then what has been seen as a rift, a division, an ideological split within feminist film culture between theory and practice, or between formalism and activism, may appear to be the very strength, the drive and productive heterogeneity of feminism. 1 It's difficult to believe that after over 30 years of feminist theory "breaking the glass ceiling" is still a term often heard from women professionals. Still, while women continue to make up a trifling percentage of CEOs in Fortune 500 companies, and are continually paid 72% of the wages of their male counterparts,2 small advances continue to be made by women in both these areas? Yet, one profession that stands out as persistently keeping women on the outside looking in is mainstream filmmaking, especially directing.
    [Show full text]
  • Filmic Tomboy Narrative and Queer Feminist Spectatorship
    UNHAPPY MEDIUM: FILMIC TOMBOY NARRATIVE AND QUEER FEMINIST SPECTATORSHIP A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Lynne Stahl May 2015 © 2015 Lynne Stahl ALL RIGHTS RESERVED UNHAPPY MEDIUM: FILMIC TOMBOY NARRATIVE AND QUEER FEMINIST SPECTATORSHIP Lynne Stahl, Ph.D. Cornell University, 2015 ABSTRACT This dissertation investigates the ways in which American discourses of gender, sexuality, and emotion structure filmic narrative and the ways in which filmic narrative informs those discourses in turn. It approaches this matter through the figure of the tomboy, vastly undertheorized in literary scholarship, and explores the nodes of resistance that film form, celebrity identity, and queer emotional dispositions open up even in these narratives that obsessively domesticate their tomboy characters and pair them off with male love interests. The first chapter theorizes a mode of queer feminist spectatorship, called infelicitous reading, around the incoherently “happy” endings of tomboy films and obligatorily tragic conclusions of lesbian films; the second chapter links the political and sexual ambivalences of female-centered sports films to the ambivalent results of Title IX; and the third chapter outlines a type of queer reproductivity and feminist paranoia that emerges cumulatively in Jodie Foster’s body of work. Largely indebted to the work of Judith Butler, Lauren Berlant, and Sara Ahmed, this project engages with past and present problematics in the fields of queer theory, feminist film criticism, and affect studies—questions of nondichotomous genders, resistant spectatorship and feminist potential within linear narrative, and the chronological cues that dominant ideology builds into our understandings of gender, sexuality, narrative, and emotions.
    [Show full text]
  • Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000S
    SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s By © 2017 Christina H. Hodel M.A., New York University, 2008 B.A., California State University, Long Beach, 2006 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Germaine Halegoua, Ph.D. Joshua Miner, Ph.D. Catherine Preston, Ph.D. Ronald Wilson, Ph.D. Alesha Doan, Ph.D. Date Defended: 18 November 2016 The dissertation committee for Christina H. Hodel certifies that this is the approved version of the following dissertation: SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s Chair: Germaine Halegoua, Ph.D. Date Approved: 25 January 2017 ii ABSTRACT Conformity messaging and subversive practices potentially harmful to healthy models of feminine identity are critical interpretations of the differential depiction of the hiding and usage of tween girl characters’ extraordinary abilities (e.g., super/magical abilities and celebrity powers) in Disney Channel television sitcoms from 2001-2011. Male counterparts in similar programs aired by the same network openly displayed their extraordinariness and were portrayed as having considerable and usually uncontested agency. These alternative depictions of differential hiding and secrecy in sitcoms are far from speculative; these ideas were synthesized from analyses of sitcom episodes, commentary in magazine articles, and web-based discussions of these series. Content analysis, industrial analysis (including interviews with industry personnel), and critical discourse analysis utilizing the multi-faceted lens of feminist theory throughout is used in this study to demonstrate a unique decade in children’s programming about super powered girls.
    [Show full text]
  • Reframing the Gaze: How Women Filmmakers Influence the Portrayal of Women On-Screen
    REFRAMING THE GAZE: HOW WOMEN FILMMAKERS INFLUENCE THE PORTRAYAL OF WOMEN ON-SCREEN by MEGAN DECK A PORTFOLIO THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2019 An Abstract of the Thesis of Megan Deck for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2019 Title: Reframing the Gaze: How Women Filmmakers Influence the Portrayal of Women On-Screen Approved: _______________________________________ Professor Daniel Steinhart This thesis was inspired by my passion for women filmmakers and my curiosity about how a filmmaker’s gender identity informs how women are represented in films. I investigated the complicated history of women’s role in Hollywood to learn why there are few female directors and writers working in Hollywood presently. I examined how the male-dominated film industry affects the representation of women on-screen using the concepts of the male gaze and the Bechdel test. I argued that if men create a distinctly male point of view in their filmmaking, women therefore create a female point of view, also known as the female gaze. I found that having men or women in creative production roles (directing, writing, cinematography, or producing) strongly affects how women in a film are portrayed in Hollywood films. To put theory into practice, I wrote, directed, and edited a short film with a female protagonist and recruited a film crew of all women to help me construct the female gaze.
    [Show full text]
  • The Contemporary American Horror Film Remake, 2003-2013
    RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake.
    [Show full text]
  • Feminist Film Theory
    Feminist Film Theory paradigm in feminist film theory, produc- ing pertinent readings of many Hollywood ANNEKE SMELIK genres like melodrama, film noir, horror, Radboud University Nijmegen, The Netherlands science fiction, and the action movie. In the 1990s feminist film theory moved away from Feminist film theory came into being in the a binary understanding of sexual difference early 1970s with the aim of understanding to multiple perspectives, hybrid identities, cinema as a cultural practice that represents andpossiblespectatorships.Thisresultedin and reproduces myths about women and an increasing concern with questions of eth- femininity. Theoretical approaches were nicity, masculinity, and queer sexualities. In developed to critically discuss the sign and the first decade of 2000 feminist film theory image of woman in film as well as open made room for new theoretical approaches, up issues of female spectatorship. Femi- ranging from performance studies and nist film theory criticized on the one hand phenomenology to Deleuzian studies. Femi- classical cinema for its stereotyped repre- nist film theory was highly influential in the sentation of women, and discussed on the 1970s and 1980s, making a lasting impact other hand possibilities for a women’s cinema on the wider fields of visual culture and that allowed for representations of female cultural studies, especially with the study of subjectivity and female desire. The feminist woman-as-image and the male gaze. wave in film studies was prompted by the Early feminist criticism in the 1960s emergence of women’s film festivals. Fem- was directed at sexist images of women in inist film studies in general had a wider, classical Hollywood films.
    [Show full text]
  • Gender-Colored English Neologisms in Cinematic Discourse Veronika V
    Original Paper DOI: Gender-Colored English Neologisms in Cinematic Discourse Veronika V. Katermina Kuban State University, (Russian Federation, Krasnodar) ORCID: 0000-0001-9141-9867, Researcher ID: L-2817-2017; Scopus Author ID: 57191404821; e-mail: [email protected] Polina S. Biryukova Kuban State University, ORCID ID: 0000-0002-5417-0991 e-mail: [email protected] __________________________________________________________________ Received: /Accepted: /Published online: Abstract: The paper dwells upon the study of English neologisms with a gender component in cinematic discourse. The paper considers gender-colored neologisms of the space of cinematic discourse, classified on a semantic basis into neologisms that characterize genres of cinema, participants of cinematic discourse (filmmakers, viewers, actors), the process of creating a film. The research material was the neological units of cinematic discourse with a gender component which were taken from modern English-language online dictionaries, guides, glossaries, social news sites. The paper gives definitions of such notions as “neologism”, “cinematic discourse” and also identifies “distorted” and “fair” gender stereotypes in the composition of the definitions and contextual field of the neologisms under consideration. The presence of a rather large stratum of new terms related to the considered groups which include a gender component indicate the connection between cultural and linguistic aspects of life: new words reflect the changing realities, preferences of people and the relationship of old language forms with new concepts and ideas. Neologisms under study are grouped by gender opposition if there are similar neologisms in meaning but different in gender. Synonymous rows of some gender-coloured neologisms that characterize a certain gender and do not have a “gender opposite” are given.
    [Show full text]
  • Les Héroïnes De Séries Américaines
    LesHéroïnes de séries américaines Dirigée par Stéphane Rolet, Sarah Hatchuel, Ariane Hudelet, Claire Cornillon et Éric Maigret, la collection « Sérial » s’attache aux manifestations du phénomène sériel sous toutes ses formes (littéraire, filmique, historique, sociologique, artistique, etc.), sans exclusive. Qu’elles soient plastiques (par exemple les séries de Warhol), littéraires (feuilletons, romans), ludiques (jeux vidéo, jeux de rôle), cinématographiques, télévisées, ou de bandes dessinées, les séries sont un phénomène de la modernité qui s’impose à nous en raison de leur nombre, de leur complexité et de la qualité artistique qu’elles peuvent atteindre. Dans une dynamique de pause et de reprise, la répétition du même et le principe de variation constituent de fait l’horizon d’attente de toute série, suscitant le plaisir sans cesse renouvelé de retrouvailles et de surprise. Loin de s’enliser dans une monotonie compulsive provoquant ennui et désintérêt, la série est devenue un phénomène de société, en particulier grâce à sa richesse d’invention. Bien que la série vise et promette un achèvement, elle peut cependant exister pleinement sans nécessairement avoir de fin. La série suppose aussi, très souvent, un mélange des genres fructueux et la migration d’un mode de création vers un autre : par exemple de la littérature vers les films ou à la série TV, de cette dernière vers la bande dessinée, ou vice versa. Céline Morin LesHéroïnes de séries américaines de Ma Sorcière bien-aimée à The Good Wife Presses universitaires François-Rabelais 2017 Conception graphique : Charlotte Boutreux • PUFR Mise en page : Christine Martin • PUFR © Tous droits réservés, 2017 Presses universitaires François-Rabelais 60 rue du Plat d’Étain BP 12050 • 37020 Tours cedex 1 • France www.pufr-editions.fr Dépôt légal : 2e semestre 2017 ISBN : 978-2-86906-491-1 ISSN : 2428-3231 À Sienna, la plus inspirante de mes héroïnes.
    [Show full text]
  • ENG 280 00 2 (3 Credits) Fall 2009 Wednesday Section
    Cedar Crest College Dr. Carolyn Segal 111 Hartzel Hall 610.437.4471 x3394 [email protected] Office hours: T and TR., 2:30-3:30 p.m.; W, 11:00 a.m.-noon; and by appointment Women Go to the Movies Or How to Read a Film ENG 280 00 2 (3 credits) Fall 2009 Wednesday Section Texts: Daphne du Maurier, Rebecca Alice Walker, The Color Purple Amy Tan, The Joy Luck Club Susanna Kaysen, Girl, Interrupted Handouts: Film terms, archetypes, outline of A Woman's View, syllabus/studyguide. Additional Readings are on two-hour reserve at the circulation desk in the library: Ask for The Woman's View Folder, which contains required excerpts from Jeanine Basinger‟s book Course Description: The study of images of women in film, from the 1930s “Golden Age” to the present. This class is scheduled to meet for three hours rather than the usual two and a half. This is to ensure that we have adequate time to view and discuss the works on the syllabus. Discussions will focus on the ways in which movies and their portrayals of women mirror their times; the ways in which film adaptations transform the original sources; the use of various forms, techniques, and conventions of film and prose; and archetypes as keys to "reading" both literature and films. This course fulfills the categories of Humanities (new curriculum) and Arts, Arts & Society, and Self-Design (old curriculum). It does not fulfill the WRI-2 requirement. Format: Lecture/discussion/viewing. Course Objectives (the following are in accordance with the educational goals of the Humanities Department, as stated in the “Assessment Framework” document): --At the completion of the course, students will have an overview of developments in film in general and in the genre of the woman's film in particular.
    [Show full text]
  • Feminist Perspectives: from Science to Art
    FEMINIST PERSPECTIVES: FROM SCIENCE TO ART A Thesis submitted to the faculty of Z o \ < l San Francisco State University In partial fulfillment of the requirements for the Degree Master of Arts In Philosophy by Hilda Loury San Francisco, California August 2018 Copyright by HILDA LOURY CERTIFICATION OF APPROVAL I certify that I have read Feminist Perspectives: From Science to Art by Hilda Loury, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Philosophy at San Francisco State University. Professor Professor FEMINIST PERSPECTIVES: FROM SCIENCE TO ART Hilda Loury San Francisco, California 2018 I offer a taxonomy to situate various positions in the spectrum of feminist perspectives on both science and art. I defend the contention that feminist perspectives are crucially important for the empirical sciences because they have promoted and generated more reflexive bodies of scientific research. My thesis is, since the fields of science and art are relevantly similar - they share epistemic, representational, and interpretive characteristics and objectives that are relevant in the application of feminist perspectives from science to art - feminist perspectives have been and will continue to be crucially important in both aesthetic theorizing and art practice. Feminist perspectives promote and generate more reflexive theories of art, beauty, taste, and value as well as contribute to more advancement, diversity, and inclusion throughout the artworld. I certify that the Abstract is a correct representation of the content of this thesis. AKNOWLEDGEMENTS This work dedicated to my mother, Flora.
    [Show full text]