40. Roberta Torre’s Angela: The Mafia and the ‘Woman’s Film’

Dzięki obserwacji współczesnego ruchu feministycznego można dostrzec zaskakujące nieraz połączenia z dokonaniami poprzednich pokoleń działaczek kobiecych, ujawniające się w reinterpretowanych wciąż od nowa strategiach działania, jak sięganie do osobistego doświadczenia. Podnoszenie świadomości, ukształtowane w czasie drugiej fali zachodniego feminizmu, wpłynęło na realizacje artystyczne, w tym na feministyczny film dokumentalny lat 70. Celem artykułu jest scharakteryzowanie różnych sposobów realizowania strategii podnoszenia świadomości w Janie’s Janie Geri Ashur (we współpracy z Peterem Bartonem, Marilyn Mulford i Stephanie Palewski, 1970), The Woman’s Film San Francisco Newsreel (1971) i Rape JoAnn Elam (1975). Przybliżywszy samą kwestię podnoszenia świadomości, autorka demonstruje, jak struktura grup podejmujących tę aktywność przekłada się na analizowane prace dzięki m.in. „opowieściom pestkom”, niehierarchicznym relacjom między filmowczyniami a bohaterkami czy chwytom naruszającym strukturę rzeczywistości.

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Falling, Looking, Caring: Red Road as Melodrama

Journal of British Cinema and Television ◽

10.3366/jbctv.2012.0105 ◽

2012 ◽

Vol 9 (4) ◽

pp. 548-568 ◽

Cited By ~ 7

Author(s):

Michael Stewart

Keyword(s):

Central Character ◽

Look Back ◽

The Way ◽

Woman's Film

This article examines Red Road as a melodrama and woman's film. It argues that the film is traductively real and melodramatic, and that conceiving the film in melodramatic terms is contrary to the way in which it has been defined in public discourses and academic analysis. Red Road is film melodrama in a number of related ways, via: tropes of narrative and character; a tendency to look back, work through and act out in a melancholy and melodramatic fashion; an emphasis on familialism and redemption; and the nomination of its central character as a woman and mother. Red Road is a maternal text in familiar and complex ways – for example, in the way in which CCTV is inscribed with guardianship and care, and also via Jackie's presentation as a sexual and narrative riddle and other-worldly figure. Jackie's sphinx-like status, the paper argues, connects with Red Road's multiple and twilight qualities, and this is supported by the film's affective elements, including its treatment of the Red Road flats. This treatment helps to engender Red Road's qualities not only of redemption and rebirth, but also of memory and revision.

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Imaging Modern Girls in the Japanese Woman’s Film

Nippon Modern ◽

10.21313/hawaii/9780824831820.003.0005 ◽

2008 ◽

pp. 76-110

Author(s):

Mitsuyo Wada-Marciano

Keyword(s):

Woman's Film

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The Mad Housewives of the Neo-Woman’s Film

When the Movies Mattered ◽

10.7591/cornell/9781501736094.003.0002 ◽

2019 ◽

pp. 18-35

Author(s):

Molly Haskell

Keyword(s):

Women Characters ◽

Star System ◽

General Sense ◽

New Hollywood ◽

Woman's Film

In this chapter Molly Haskell revisits her landmark book, From Reverence to Rape, which argued that the star system of the classical studio period offered leading actresses power, autonomy and even a subversive feminism that was, ironically, undermined by the freedoms offered by the New Hollywood. In retrospect, however, and with a close consideration of specific films and their interesting, idiosyncratic portrayals, Haskell here considers whether in fact these wayward and searching women, characters unglued and actresses without conventional star personae, can be seen as part of the general sense of rebellion against old norms and social strictures.

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