scholarly journals Experiencing Male Dominance in Swedish Film Production

2020 ◽  
pp. 163-178
Author(s):  
Maria Jansson ◽  
Louise Wallenberg
Keyword(s):  
Gender Equality ◽  
Film Industry ◽  
Male Dominance ◽  
Film Production ◽  
Vast Number ◽  
Female Protagonists ◽  
Recent Success ◽  
Institutional Aspects ◽  
Similarities And Differences ◽  
Gender Trouble

Abstract Sweden has been hailed for its recent success in increasing the number of female directors, scriptwriters and producers. Published reports, panel discussions and a vast number of press conferences on the pressing matter of gender equality within the industry together with a 5050 quota have all put the Swedish film industry—and its CEO Anna Serner—on the map. However, the last couple of years has disclosed several scandals regarding sexism and discrimination in the Swedish film industry—just as in other national film industries. This paper sets out to discuss how female film workers (e.g., directors, actors and producers) understand and negotiate their experiences of male dominance within their work context. Based on a series of interviews with women working in Swedish film from the early 1960s until today, we analyze similarities and differences in experiences as well as how these experiences are explained by the interviewees. Their stories are analyzed by using feminist institutional theory to understand how policy, funding schemes and other institutional aspects are intertwined with their experiences. The paper sets out to analyze three themes: (1) comments and suggestions during production and post-production regarding female protagonists; (2) experience of gender trouble in the process of fundraising; and (3) strategies used by the interviewed filmmakers to produce a more women-friendly environment during productions.

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye

2018 ◽  
Author(s):  
Enrique Ajuria Ibarra
Keyword(s):  
Southeast Asian ◽  
Horror Films ◽  
Film Production ◽  
Visual Preference ◽  
Female Protagonists ◽  
Cross Border ◽  
Film Series ◽  
Eastern Traditions

The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.

Film Production and Consumption in Contemporary Taiwan

2016 ◽  
Author(s):  
Ya-Feng Mon
Keyword(s):  
Film Industry ◽  
Sensory Experience ◽  
Media Convergence ◽  
Film Production ◽  
Production And Consumption ◽  
And Control ◽  
Depth Interviews

This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms. Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extends so far: volatility remains a key component of the film-going experience.

scholarly journals Scene, Aesthetics and Industry Chain: Postmodern Cultural Thinking of Films in 5G Era

2021 ◽  
Vol 3 (4) ◽  
pp. 19-24
Author(s):  
Heqiang Zhou ◽  
Lei Que
Keyword(s):  
Film Industry ◽  
Important Influence ◽  
Film Production ◽  
Film Culture ◽  
Industry Chain ◽  
Chinese Film ◽  
Post Modernism ◽  
The Way ◽  
Film Aesthetics

With the in-depth influence of 5G technology on film art, the postmodern culture contained in it is also becoming more and more obvious. Understanding the context of the 5G era and clarifying the origin of film postmodernism culture will help us deeply analyze the cause of the rise of postmodernism film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodernism film culture. In addition, we should also think deeply about the film culture under the post-modernism of 5G era, and explore the way to stick to the benign development of film creation and film industry. To enhance our cognition and appreciation of post-modern film culture, to give play to the positive factors of post-modern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

scholarly journals Spotlight on Challenges and Prospect of Directing in Nollywood: A Decade’s Study (2006-2016)

2021 ◽  
Vol 21 (4) ◽  
pp. 100-117
Author(s):  
Kingsley Chukwuemeka Anyira ◽  
Divine Sheriff Uchenna Joe
Keyword(s):  
Survey Research ◽  
Research Method ◽  
Film Industry ◽  
Film Production ◽  
View Point ◽  
Data Collation

The art of video film directing is all encompassing as the director deals with virtually all aspects of film production. This comes with herculean challenges that tend to mar the efforts of directors if not properly addressed. Film scholars cum critics have done a lot of work investing the challenges of the Nigerian Video Film industry with little or no effort to directly ascertain the peculiar challenges of each sector of the industry. To this effect, the paper seeks to source from the directors what these challenges have been over the decade in view and as well through the affected, proffer plausible suppositions asmeasure to ameliorate the identified challenges. In doing so, this paper adopts the view point that the director is the author of the film and thus engages the Survey research method wherein Personal interviews are employed as data collation tool and later analyzed with inferences made from the responses. Conclusively, it anchors on the directors’ views of possible ways to improve/enhance the director’s art in future productions.

scholarly journals Menn, maskuliniteter og faghierarkier

2021 ◽  
pp. 49-74
Author(s):  
Lotta Snickare ◽  
Øystein Gullvåg Holter ◽  
Knut Liestøl
Keyword(s):  
Gender Equality ◽  
Academic Career ◽  
Significant Proportion ◽  
Natural Sciences ◽  
Male Dominance ◽  
Limited Extent ◽  
Masculine Norms ◽  
Informal Communities ◽  
University Of Oslo ◽  
The University

Abstract: Men, Masculinities and Professional Hierarchies Research on gender equality in academia only addresses men’s experiences to a limited extent, and the significance of masculine norms is also poorly elucidated. In this chapter, we present our results on the effects of male dominance in the Faculty of Mathematics and Natural Sciences at the University of Oslo. We first discuss whether it is an advantage to be a man at the faculty. The simple answer, based on our data, is “yes”. However, although we could not identify a specific “male” pattern of problems, a significant proportion of men experience problems – some feel “as affected as women” and oppose specific measures for women. There are also indications of informal communities of men, a poorly-considered majority position, the notion that an academic career is incompatible with family and caregiving – not just for women, but for men too – and tendencies toward an unyielding connection between men, masculinity and professional hierarchies.

Soviet Art House

2021 ◽  
Author(s):  
Catriona Kelly
Keyword(s):  
Film Industry ◽  
Working Life ◽  
Film Production ◽  
Entire System ◽  
Technical Aspects ◽  
Soviet Film ◽  
Soviet Art ◽  
Feature Films

This book examines cinema in the Brezhnev era from the perspective of one of the USSR’s largest studios, Lenfilm. Producing around thirty feature films per year, the studio had over three thousand employees working in every area of film production. The discussion covers the period from 1961 to the collapse of centralized state facilities in 1986. The book focuses particularly on the younger directors at Lenfilm, those who joined the studio in the recruiting drive that followed Khrushchev’s decision to expand film production. Drawing on documents from archives, the analysis portrays film production “in the round” and shows that the term “censorship” is less appropriate than the description preferred in the Soviet film industry itself, “control,” which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced: the various crises that beset film production between 1961 and 1969 (chapter 1) and 1970 and 1985 (chapter 2), the working life of the studio, and particularly the technical aspects of production (chapter 3), and the studio aesthetic (chapter 4). The second part of the book comprises close analyses of fifteen films that are typical of the studio’s production. The book concludes with a brief survey of Lenfilm’s history after the Fifth Congress of the Filmmakers’ Union in 1986, which swept away the old management structures and, in due course, the entire system of filmmaking in the USSR.

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