Out in the Cold? Women Filmmakers in Iceland

2020 ◽  
pp. 179-195
Author(s):  
Guðrún Elsa Bragadóttir
Keyword(s):  
Women Filmmakers

The Cellophane Wall

2018 ◽  
Author(s):  
J. E. Smyth
Keyword(s):  
Cultural History ◽  
American Business ◽  
Women Filmmakers ◽  
American Film ◽  
Business Enterprise ◽  
Collaborative Models ◽  
Bette Davis ◽  
Studio System ◽  
Film Authorship ◽  
Over Time

Between 1924 and 1954, Hollywood was, more than any other American business enterprise, enriched by women: women’s pictures, women audiences and fans, and women filmmakers. McLean, Head, McCall, Davis, Harrison, Hopper, and many other Hollywood women offered collaborative models of the studio system. These are difficult concepts for film historians to face. Recognizing that the Hollywood studio system enabled women’s careers between 1924 and 1954 forces a reconsideration of two ideologies that have held sway over American film and cultural history: the “great man” theory of film authorship, and the assumption that things for Hollywood’s women have improved over time, due to our faith in “progressive” history. Today, women trying to break into the industry are told that although things are difficult and women are not represented equally in the creative professions, the situation has improved since the bad old studio days. “Bunk!” as Bette Davis would have said.

Women Filmmakers Refocusing

2006 ◽  
Vol 60 (2) ◽  
pp. 66-67
Keyword(s):  
Women Filmmakers

Auteurism, Machismo-Leninismo, and Other Issues

2018 ◽  
Vol 4 (1) ◽  
pp. 11-36 ◽  
Author(s):  
Isabel Seguí
Keyword(s):  
Entire Range ◽  
Driving Factors ◽  
Personal Relationships ◽  
Women Filmmakers ◽  
Film Production ◽  
Women's Labor ◽  
Political Cinema ◽  
Production Practices ◽  
The 1960S ◽  
Shed Light

This article contextualizes and characterizes production practices in political cinema in Bolivia and Peru between the 1960s and 1990s, reading them as a communitarian endeavor that included many more women than official history acknowledges. It also documents the work of two overshadowed filmmakers—the Bolivian Beatriz Palacios and the Peruvian María Barea—mainly in their roles as film producers and managers of small producing companies, but also as directors. In order to effectively incorporate women into Andean cinema history, I advocate for a nonhierarchical historiographical methodology and the academic consideration of personal relationships as one of the driving factors in artisanal political production cultures. A non-auteurist approach to unearthing Andean women filmmakers is central to this revisionist project that aims to shed light on an entire range of women's labor in collaborative film production, not only directorial work.

scholarly journals Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019

2020 ◽  
Vol 11 (1) ◽  
pp. 78-91
Author(s):  
Valentina Vitali
Keyword(s):  
Motion Picture ◽  
Film Industry ◽  
English Speakers ◽  
Women Filmmakers ◽  
Short Films ◽  
Arts And Culture ◽  
National University ◽  
Women's Cinema ◽  
Development Department

Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Where are they trained? What are the conditions in which they work? What kind of films they make? How do they fund production? How do their films circulate? And finally: Is there a women’s cinema in Myanmar? What follows thus outlines the context in which women in Myanmar make films today and introduces the work of a small number of them. I conclude with reflections on three short films: A Million Threads (2006, by Thu Thu Shein), Now I am 13 (2013, by Shin Daewe), and Seeds of Sadness (2018, by Thae Zar Chi Khaing), two of which can be found online (at http://yangonfilmschool.org/___-free-yfs-film / and https://www.youtube.com/watch?v=vX0LUZQcMCQ ).

Reimagining Boundaries: Amateur Animations

2018 ◽  
pp. 196-226
Author(s):  
Annamaria Motrescu-Mayes ◽  
Heather Norris Nicholson
Keyword(s):  
Women Filmmakers ◽  
Story Telling ◽  
Visual Effects ◽  
Working At Home ◽  
Animation Industry ◽  
Different Ages ◽  
Stop Motion ◽  
At Home

Very few amateur women filmmakers chose to focus on animation and none have been identified in the colonial settings considered in this book. This chapter discusses varied approaches to animation and suggests that early stop motion experiments were entertaining acts of story-telling and capturing scenes of childhood. Some filmmakers added animated titling sequences to their films and used special visual effects, either working on their own, with a partner or as part of a larger group as seen in films by the Grasshopper Group and Leeds Animation Workshop. Working at home characterises many of this chapter's examples although some teachers have explored animation with children of different ages. IAC records and reminiscences trace over eighty years of women's involvement including still active practitioners and many invisible and under-acknowledged contributors to Britain's professional mid century animation industry

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