Alicia Malone’s take on Influential Women in Film! “Once again Alicia Malone champions women filmmakers, opening the floodgates to a great new wave of female voices and creative vision.”―Maria Giese, filmmaker and activist #1 Bestseller in Movies & Video Guides & Reviews With the success of the Wonder Woman movies and the results following the outcry of the #MeToo movement, now is the time to highlight the female influences in film history previously left unheard! The voices of powerful women in old Hollywood—told. You may have heard the term “male gaze,” coined in the 1970s, about how art and entertainment have been influenced by the male’s perspective. What about the opposite? Women have been making movies since the very beginning of cinema. In The Female Gaze, Alicia Malone explores the ideas, thoughts, and views we learn from women from behind the scenes. What does the world look like through the “female gaze”? Learn about women who changed the world. Discover brilliantly talented and accomplished women directors, both world renowned and obscure, who have shaped the film industry in ways rarely fully acknowledged. Find mini-essays written by women like Alicia Malone and other diverse female film critics. Featuring past and present films, this behind the scenes guidebook is perfect for the Hollywood history fan in your life. Inside, observe: • How female directors’ voices shaped films and the film industry • The advancements and accomplishments of influential women in history and film • The lives of these women and the struggles they faced throughout Hollywood history If you liked Women in Art or Camera Man, you’ll adore the powerful women in history found in Alicia Malone’s The Female Gaze.

The female gaze is used by writers and readers to examine narratives from a perspective that sees women as subjects instead of objects, and the application of a female gaze to male-dominated discourses can open new avenues of interpretation. This book explores how female manga artists have encouraged the female gaze within their work and how female readers have challenged the male gaze pervasive in many forms of popular media. Each of the chapters offers a close reading of influential manga and fancomics to illustrate the female gaze as a mode of resistant reading and creative empowerment. By employing a female gaze, professional and amateur creators are able to shape and interpret texts in a manner that emphasizes the role of female characters while challenging and reconfiguring gendered themes and issues.

The Female Gaze in Documentary Film – an International Perspective makes a timely contribution to the recent rise in interest in the status, presence, achievements and issues for women in contemporary screen industries. It examines the works, contributions and participation of female documentary directors globally. The central preoccupation of the book is to consider what might constitute a ‘female gaze’, an inquiry that has had a long history in filmmaking, film theory and women’s art. It fills a gap in the literature which to date has not substantially examined the work of female documentary directors. Moreover, research on sex, gender and the gaze has infrequently been the subject of scholarship on documentary film, particularly in comparison to narrative film or television drama. A distinctive feature of the book is that it is based on interviews with significant female documentarians from Europe, Asia and North America.

In The World Wars Through the Female Gaze, Jean Gallagher maps one portion of the historicized, gendered territory of what Nancy K. Miller calls the "gaze in representation." Expanding the notion of the gaze in critical discourse, Gallagher situates a number of visual acts within specific historic contexts to reconstruct the wartime female subject. She looks at both the female observer's physical act of seeing - and the refusal to see - for example, a battlefield, a wounded soldier, a torture victim, a national flag, a fashion model, a bombed city, or a wartime hallucination. Interdisciplinary in focus, this book brings together visual (twenty-two illustrations) and literary texts, "high" and "popular" expressive forms, and well-known and lesser-known figures and texts.

"In response to the poor representation of women in art galleries and museums, Philadelphia-based collector Linda Lee Alter decided in the 1980s to focus on art by women. The result, now at the Pennsylvania Academy of the Fine Arts, is an extraordinarily diverse and powerful collection of nearly 500 objects by some of the most influential female artists of the past 50 years. Emphasizing contemporary living artists, but including major works by Louise Bourgeois, Elizabeth Catlett, Alice Neel, Louise Nevelson, and others, Alter formed her collection with the intent of giving it to a public institution in order to make women artists more visible. This gorgeously illustrated volume celebrates the collection and its legacy by bringing together leading scholars of feminism, and modern and contemporary art to discuss how the artists in Alter's collection saw and transformed the world. Among the essays are discussions of the impact of feminism in Chicago, Philadelphia and the San Francisco Bay area; self-portraiture by women in the 1970s and 1980s; the legacy of Elizabeth Catlett on younger African American artists; collaborative practice among women; an interview with Linda Lee Alter; and an appreciation by artist Diane Burko." -- Publisher's description.

DON’T MISS PHOEBE ROBINSON’S COMEDY SERIES EVERYTHING’S TRASH—NOW ON FREEFORM! New York Times bestselling author and star of 2 Dope Queens Phoebe Robinson is back with a new, hilarious, and timely essay collection on gender, race, dating, and the dumpster fire that is our world. Wouldn't it be great if life came with instructions? Of course, but like access to Michael B. Jordan's house, none of us are getting any. Thankfully, Phoebe Robinson is ready to share everything she has experienced to prove that if you can laugh at her topsy-turvy life, you can laugh at your own. Written in her trademark unfiltered and witty style, Robinson's latest collection is a call to arms. Outfitted with on-point pop culture references, these essays tackle a wide range of topics: giving feminism a tough-love talk on intersectionality, telling society's beauty standards to kick rocks, and calling foul on our culture's obsession with work. Robinson also gets personal, exploring money problems she's hidden from her parents, how dating is mainly a warmed-over bowl of hot mess, and definitely most important, meeting Bono not once, but twice. She's struggled with being a woman with a political mind and a woman with an ever-changing jeans size. She knows about trash because she sees it every day--and because she's seen roughly one hundred thousand hours of reality TV and zero hours of Schindler's List. With the intimate voice of a new best friend, Everything's Trash, But It's Okay is a candid perspective for a generation that has had the rug pulled out from under it too many times to count.

Girl on Girl looks at how women are using photography, the internet and the female gaze to explore self–image and female identity in contemporary art. A new generation of women is taking the art world – online and offline – by storm. In an image–obsessed culture saturated with social media, these 40 artists are using photography and the female gaze to redefine the fields of fashion, art, advertising and photojournalism, making a profound impact on our visual world. Forty artists are featured, all of whose principal subject matter is either themselves or other women. Each is accompanied by a short profile based on personal interviews with the author, giving a fascinating insight into this exciting shift in female creativity. "Charlotte Jansen has brought together some of the finest female photographers of our generation" – Refinery29 "A very important book" – Vogue Italia "Young female artists are using photography and social media to explore issues of female identity. This gorgeous book introduces 40 of them, in an investigation of photography and the female gaze."– Eva Wiseman, Observer Magazine Features work by Aneta Bartos Tonje Bøe Birkeland Nakeya Brown Juno Calypso Anja Carr Amanda Charchian Petra Collins Maisie Cousins Nathalie Daoust Shae DeTar Lalla Essaydi Maya Fuhr Yaeli Gabriely Petrina Hicks Ayana V. Jackson Lebohang Kganye Lilia Li–Mi–Yan Pixy Liao Alexandra Marzella Rania Matar Izumi Miyazaki Monika Mogi Zanele Muholi Mihaela Noroc Birthe Piontek Elizabeth Renstrom Marianna Rothen Phebe Schmidt Leah Schrager Molly Soda Johanna Stickland Iiu Susiraja Deanna Templeton Yvonne Todd Mayan Toledano Jaimie Warren Isabelle Wenzel Aviya Wyse Jessica Yatrofsky Pinar Yolaçan

The #1 international bestseller and The New York Times Editor’s Choice “As lush as the novels of Kate Morton and Diane Setterfield, as exciting as The Alienist and Iain Pears’ An Instance of the Fingerpost, this exquisite literary thriller will intrigue book clubs and rivet fans of historical fiction.” —A.J. Finn, #1 New York Times bestselling author of The Woman in the Window “A lush, evocative Gothic.” —The New York Times Book Review “This terrifically exciting novel will jolt, thrill, and bewitch readers.” —Booklist, starred review Obsession is an art. In this “sharp, scary, gorgeously evocative tale of love, art, and obsession” (Paula Hawkins, bestselling author of The Girl on the Train), a beautiful young woman aspires to be an artist, while a man’s dark obsession may destroy her world forever. Obsession is an art. In 1850s London, the Great Exhibition is being erected in Hyde Park and, among the crowd watching the dazzling spectacle, two people meet by happenstance. For Iris, an arrestingly attractive aspiring artist, it is a brief and forgettable moment. But for Silas, a curiosity collector enchanted by all things strange and beautiful, the meeting marks a new beginning. When Iris is asked to model for Pre-Raphaelite artist Louis Frost, she agrees on the condition that he will also teach her to paint. Suddenly, her world begins to expand beyond her wildest dreams—but she has no idea that evil is waiting in the shadows. Silas has only thought of one thing since that chance meeting, and his obsession is darkening by the day. “A lush, evocative Gothic” (The New York Times Book Review) that is “a perfect blend of froth and substance” (The Washington Post), The Doll Factory will haunt you long after you finish it and is perfect for fans of The Alienist, Drood, and Fingersmith.

Based in the peasantry for the most part, Latin American women's art is profoundly tied to a complex fabric of cultural heritage. This glorious celebration of the unsung and virtually unseen women artists of Latin America presents a dazzling group of women who challenge common assumptions about the nature of artists and their art. Those profiled include painters, sculptors, photographers, textile artists, musicians, dancers, choreographers, and filmmakers. Photos.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.