Research into and around women's participation in cinematic history has enjoyed dynamic growth over the past decade. A broadening of scope and interests encompasses not only different kinds of filmmaking--mainstream fiction, experimental, and documentary--but also practices--publicity, journalism, distribution and exhibition--seldom explored in the past. Cutting-edge and inclusive, Doing Women's Film History ventures into topics in the United States and Europe while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. Contributors grapple with historiographic questions that cover film history from the pioneering era to the present day. Yet the writers also address the very mission of practicing scholarship. Essays explore essential issues like identifying women's participation in their cinema cultures, locating previously unconsidered sources of evidence, developing methodologies and analytical concepts to reveal the impact of gender on film production, distribution and reception, and reframing film history to accommodate new questions and approaches. Contributors include: Kay Armatage, Eylem Atakav, Karina Aveyard, Canan Balan, Cécile Chich, Monica Dall'Asta, Eliza Anna Delveroudi, Jane M. Gaines, Christine Gledhill, Julia Knight, Neepa Majumdar, Michele Leigh, Luke McKernan, Debashree Mukherjee, Giuliana Muscio, Katarzyna Paszkiewicz, Rashmi Sawhney, Elizabeth Ramirez Soto, Sarah Street, and Kimberly Tomadjoglou.

Celebrates the achievements of thirty women working in the motion picture industry, including actors, directors, producers, screenwriters, film editors, and production designers.

The first edition of 'Women in Film Noir' (1978) assembled a group of scholars and critics committed to understanding the cinema in terms of gender, sexuality, politics, psychoanalysis and semiotics. This edition is expanded to include further essays which reflect the renewed interest in Film Noir. Exploring 'neo-noir', postmodernism and other contemporary trends, new essays offer readings of, among others, 'Bound' and 'Basic Instinct', broadening the scope of the book to include questions of race and homosexuality.

A charmingly illustrated and timely tribute to the women who broke glass ceilings in film and television, debuting during an historic time of change in the entertainment industry. Renegade Women in Film and TV blends stunning illustrations, fascinating biographical profiles, and exclusive interviews with icons like Barbra Streisand, Rita Moreno, and Sigourney Weaver to celebrate the accomplishments of 50 extraordinary women throughout the history of entertainment. Each profile highlights the groundbreaking accomplishments and essential work of pioneers from the big and small screens, offering little-known facts about household names (Lucille Ball, Oprah Winfrey, Nora Ephron) and crucial introductions to overlooked pioneers (Alla Nazimova, Anna May Wong, Frances Marion). From 19th century iconoclast Alice Guy Blaché to 21st century trailblazer Ava DuVernay, Renegade Women honors the women who succeeded against all odds, changing their industry in front of the camera and behind the scenes.

Analyzes the treatment of women in American movies and examines the themes of a variety of contemporary movies made by women.

When the movie business adopted some of the ways of other big industries in 1920s America, women--who had been essential to the industry's early development--were systematically squeezed out of key behind-the-camera roles. Yet, as female producers and directors virtually disappeared for decades, a number of female film editors remained and rose to the top of their profession, sometimes wielding great power and influence. Their example inspired a later generation of women to enter the profession at mid-century, several of whom were critical to revolutionizing filmmaking in the 1960s and 1970s with contributions to such classics as Bonnie and Clyde, Jaws and Raging Bull. Focusing on nine of these women and presenting shorter glimpses of nine others, this book tells their captivating personal stories and examines their professional achievements.

The chapter Experiencing Male Dominance in Swedish Film Production” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Film and Female Consciousness analyses three contemporary films that offer complex and original representations of women's thoughtfulness and individuality: In the Cut (2003), Lost in Translation (2003) and Morvern Callar (2002). Lucy Bolton compares these recent works with well-known and influential films that offer more familiar treatments of female subjectivity: Klute (1971), The Seven Year Itch (1955) and Marnie (1964). Considering each of the older, celebrated films alongside the recent, unconventional works illustrates how contemporary filmmaking techniques and critical practices can work together to create provocative depictions of on-screen female consciousness. Bolton's approach demonstrates how the encounter between the philosophy of Luce Irigaray and cinema can yield a fuller understanding of the fundamental relationship between film and philosophy. Furthermore, the book explores the implications of this approach for filmmakers and spectators, and suggests Irigarayan models of authorship and spectatorship that reinvigorate the notion of women's cinema.

Examines the portrayal of women in film, as well as their involvement in the medium - as filmmakers, screenwriters, actresses, critics and characters. This collection of essays is introduced by a discussion of feminist film theory.

The Lola film is a distinct subgenre of the woman's film in which woman's claim to pleasure is entertained without recourse to the figure of the femme fatale. Lola embodies a recognizable set of characteristics through which over time a select group of directors, actors, and audiences have responded in ways that do not succumb to the imperatives of gender. There are over thirty-five Lola films, starting with Marlene Dietrich in The Blue Angel: many are German, others are French, American, British, Italian, and Spanish, but her claim has also resonated in Argentina, China, Egypt, Mexico, Thailand, and the Philippines. Lola can be working class, lesbian, transgender, ethnic, suburban, or any combination. This book examines Lola as a specific and enduring aspect of the early twentieth-century "new woman": woman's forthright claim to pleasure on her own terms, liberated, if only as a cinematic fantasy, from the usual constraints of sex and gender.