scholarly journals Portrayal of Women from Stereotype to Empowered in Film Studies

2021 ◽  
Vol 12 (3) ◽  
pp. 3282-3287
Author(s):  
Poonam Pichanot Et.al
Keyword(s):  
Film Studies ◽  
Film Criticism ◽  
Layer By Layer ◽  
Written Form ◽  
Feminist Film ◽  
Hindi Cinema

Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered appropriate because women are a large part of the population of the country and their on-screen representation is thus critical in deciding the promotion of current stereotypes in the country in the society . The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. Cinema has limited itself to established sketches of femininity

scholarly journals Sexuality, Feminism and Polish Cinema in Maria Kornatowska’s "Eros i film"

Panoptikum ◽  
2020 ◽  
pp. 117-130
Author(s):  
Małgorzata Radkiewicz
Keyword(s):  
Gender Identity ◽  
Critical Analysis ◽  
Film Studies ◽  
Gender And Sexuality ◽  
The Body ◽  
Creative Potential ◽  
Feminist Theories ◽  
Feminist Film ◽  
The Relationship ◽  
Film Critic

The text addresses the issue of feminist film criticism in Poland in the 1980s, represented by the book by Maria Kornatowska Eros i  film [Eros and Film, 1986]. In her analysis Kornatowska focused mostly on Polish cinema, examined through a feminist and psychoanalytic lens. As a film critic, she followed international cinematic offerings and the latest trends in film studies, which is why she decided to fill the gap in Polish writings on gender and sexuality in cinema, and share her knowledge and ideas on the relationship between Eros and Film. The purpose of the text on Kornatowska’s book was to present her individual interpretations of the approach of Polish and foreign filmmakers to the body, sexuality, gender identity, eroticism, the question of violence and death. Secondly, it was important to emphasize her skills and creative potential as a film critic who was able to use many diverse repositories of thought (including feminist theories, philosophy and anthropology) to create a multi-faceted lens, which she then uses to perform a subjective, critical analysis of selected films.

Introduction

2021 ◽  
pp. 1-18
Author(s):  
Jordan Schonig
Keyword(s):  
Film Studies ◽  
Formal Analysis ◽  
Film Theory ◽  
Gestalt Psychology ◽  
Film Criticism ◽  
Philosophical Intuition ◽  
History Of ◽  
Generic Structures ◽  
Temporal Flow ◽  
Film Form

The Introduction examines why “movement” is often invoked as a term in film criticism and film theory but is rarely analyzed as an aspect of film form. The reason for this is twofold. First, because film theory has largely examined movement only as a defining property of the cinematic medium, movement is rarely singled out in film criticism. Second, because film theory has inherited the philosophical intuition that form is primarily spatial rather than temporal, formal analysis in film studies tends to break up the temporal flow of film into static units, such as in shot breakdowns and frame analyses. In film studies, then, “form” and “movement” are conceptually incompatible. As a means of thinking motion and form together, the Introduction proposes the concept of “motion forms,” generic structures, patterns, or shapes of motion. The Introduction then explores the philosophical roots of the motion form in phenomenology and Gestalt psychology, and explains how such a way of thinking about cinematic motion differs from other phenomenological approaches in film studies. Finally, the introduction outlines the six chapters of the book, each of which investigates a particular motion form that emerges throughout the history of cinema.

A Feminist Perspective Analysis of Gender in Cinema of Saudi Arabia

2020 ◽  
pp. 59-73
Author(s):  
Gülşah Sarı
Keyword(s):  
Saudi Arabia ◽  
Social Structure ◽  
Saudi Arabian ◽  
Feminist Perspective ◽  
Film Criticism ◽  
Analysis Technique ◽  
The Social ◽  
Feminist Film ◽  
Female Director ◽  
Perspective Analysis

In this study, Wadjda (2012), directed by Haifa El Mansur, will be analyzed from a feminist perspective in the context of the concept of gender. Mansur demonstrates to the cinema audience through a 10-year-old girl that women get out of their passive positions and get their rights partially. In this study, firstly the social structure of Saudi Arabia and the position of woman, the concept of gender and feminist film criticism, which is the analysis technique of the film, will be examined and the position of women in Saudi Arabian society will be examined through Wadjda shot by a Saudi female director.

Greek Cinema

2011 ◽  
Author(s):  
Dan Georgakas
Keyword(s):  
United States ◽  
World War Ii ◽  
Film Studies ◽  
The United States ◽  
State Funding ◽  
Film Criticism ◽  
Greek Language ◽  
World War ◽  
Greek Culture ◽  
Special Cases

Greek film studies have followed in the wake of the erratic history of Greek cinema. From 1900 through the end of World War II, Greek cinema was, at best, a cottage industry, and at times it all but ceased to exist. The first Greek-language sound films were made in the United States, and during the 1930s, most Greek films had to have final production done in other nations, often Egypt. Film commentary during this period was largely limited to tabloids. At the conclusion of World War II, Greece entered into the fertile studio period in which some two thousand films were made over two decades. Film criticism was again mainly limited to the popular press. Following the fall of the Greek junta in 1974, Greece entered a new period of filmmaking. State funding was established and scholarly works began to appear. Although the rising tide of Greek film studies has remained spotty in many ways, its discourse increasingly parallels that of other nations. Greek film studies are enhanced by the contributions of numerous scholars in the Greek diaspora, particularly in the United Kingdom and the United States. Although scholarly momentum has been building and is taken seriously by scholars in other disciplines, Greece still has only one university film program, and that program is mainly oriented to production. Among the issues surrounding Greek film scholarship is the question of what specifically constitutes Greek cinema. This concern arises because the boundaries of the Greek state have shifted dramatically since the early 20th century, and because numerous filmmakers of Greek origin work in various nations. Generally speaking, Greek-language films are considered Greek films, while films made by Greeks in the diaspora are not so considered unless there is some continuing connection with Greek-language cinema. Expatriates who make films in Greece, such as Jules Dassin, and individuals who make films in more than one language, such as Nikos Papatakis and Michael Cacoyannis, are seen as special cases and treated accordingly. More so than film scholarship in other nations, scholars of Greek film often seek to relate cinema to the dynamics of Greek culture. Nevertheless, they increasingly blend such considerations with the wider issues in film criticism and the relationship of Greek cinema to international and regional filmmaking.

Women and Film

2011 ◽  
Author(s):  
Lucy Fischer
Keyword(s):  
United States ◽  
Race And Ethnicity ◽  
Film Studies ◽  
Film History ◽  
The United States ◽  
Point Of View ◽  
Early Years ◽  
The United Kingdom ◽  
Second Wave Feminism ◽  
Feminist Film

“Women and Film” encompasses numerous issues in academic film studies, including the histories of female practitioners in the industry; the works they produced; female audiences; female critics, historians, archivists, and theorists; and the portrayals of women on the movie screen. In the early years of cinema, women played a significant role in filmmaking (e.g., the director Lois Weber and the scenarist Frances Marion in the United States), but these individuals were soon forgotten as the industry became male dominated. Thus, it was not until the rise of second-wave feminism in the 1970s and 1980s that the work of these pioneers was revived and documented. By then, of course, another generation of female filmmakers had surfaced internationally (e.g., Lina Wertmuller in Italy and Margarethe von Trotta in Germany). Not only were the careers of these artists studied, but also their works were analyzed in monographs and articles, often focusing on whether or not they evinced a specific female point of view or style. Female critics and theorists were also known in the silent era (e.g., H. D. (Hilda Doolittle) in the United States and Iris Barry in the United Kingdom), but it was not until the contemporary period that a field of feminist film history, criticism, and theory emerged. This comprised several subareas: readings of the images of women in film—be it flapper or femme fatale; studies of women in particular film genres; monographs on individual artists; analyses of iconic actresses; analyses of female audiences; and formulations of feminist theory. In the 21st century, the field has expanded further to correct certain prejudices and limitations. An early emphasis on the white woman has been rectified by studies of race and ethnicity. The latest scholarship has also moved beyond a concentration on the United States and Europe to embrace studies of women and film in Asia, Latin America, the Middle East, and Africa. Finally, while early writing on the topic privileged the heterosexual female (as screen subject and viewer), more recent writing has examined questions of lesbianism, bisexuality, and the transgendered body as applied to questions of women and cinema.

Feminist Film Aesthetics: A Contextual Approach

Hypatia ◽  
1990 ◽  
Vol 5 (2) ◽  
pp. 137-148 ◽  
Author(s):  
Laurie Shrage
Keyword(s):  
Film Criticism ◽  
Contextual Approach ◽  
Hollywood Films ◽  
Feminist Film ◽  
Film Texts ◽  
Classical Hollywood ◽  
Film Aesthetics

This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.,

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