‘Being a Woman Documentary Maker in Taiwan’ – An Interview with Singing Chen and Wuna Wu

2018 ◽  
Author(s):  
Chris Berry
Keyword(s):  
Social Environment ◽  
Working Conditions ◽  
Film Industry ◽  
Women Filmmakers ◽  
Local Politicians ◽  
Strong Position

Women documentarists have a strong position in the Taiwanese film industry. They receive commissions from people from all social strata, including local politicians and candidates to the presidential post. Berry’s interview thus focuses on the working conditions and social environment for women filmmakers in Taiwan.

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Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date.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 ).

Feminism and Women’s Film History in 1980s Turkey

2017 ◽  
Author(s):  
Eylem Atakav
Keyword(s):  
Film Industry ◽  
Film History ◽  
Feminist Movement ◽  
Women Filmmakers ◽  
Historical Overview ◽  
Turkish Cinema ◽  
History Of ◽  
Women's Film ◽  
Film Texts ◽  
The Relationship

This chapter explores the relationship between feminism and women's film history in the context of 1980s Turkey. In discussing women's film history, the chapter includes not only the history of women filmmakers and the films they have made but also the link between the history of Turkish film industry and feminism. It begins with a historical overview of the feminist movement in Turkey and then examines its visible traces in film texts produced during the 1980s in order to argue that those films can be most productively understood as explorations of gendered power relations. The chapter then considers how the enforced depoliticization introduced in Turkey after the 1980 coup opened up a space for feminist concerns to be expressed within commercial cinema. It also shows how this political context gave rise to the newly humanized, more independent heroine that characterized Turkish cinema during the period, but suggests that the films were nevertheless made largely within the structures of a patriarchal commercial cinema.

Close up: The female gaze and ethnic difference in two Vietnamese women's films

2015 ◽  
Vol 46 (3) ◽  
pp. 444-462 ◽  
Author(s):  
Lan Duong
Keyword(s):  
Ethnic Minority ◽  
Sexual Desire ◽  
Ethnic Difference ◽  
Film Industry ◽  
Women Filmmakers ◽  
Vietnamese Women ◽  
Female Gaze ◽  
Feminist Film ◽  
Male Dominated ◽  
Women's Films

This article looks at two contemporary films by Vietnamese women. In Việt Linh's Travelling Circus (1988) and Phạm Nhuệ Giang's The Deserted Valley (2002), a female gaze is sutured to that of an ethnic minority character's, a form of looking that stresses a shared oppression between women and the ethnic Other. While clearing a space for a desiring female gaze in Vietnamese film, they nonetheless extend an Orientalist view of racialised difference. A feminist film optic, one that does not consider industry history and constructions of race, fails to mark out the layered relations of looking underlying Vietnamese filmmaking. This study attends to the ways women filmmakers investigate gendered forms of looking, sexual desire and otherness within the constraints of a highly male-dominated film industry.

scholarly journals TELEVISION AND THE “OBJET A”: PSYCHOANALYSIS AND THE "BOOB TUBE"

eTopia ◽  
2005 ◽  
Author(s):  
Gregory C. Flemming
Keyword(s):  
Social Environment ◽  
Film Industry

It was Metz’ project, as Baudry before him, to position the filmic apparatus within its ideological framework in order to expose the medium that had been hidden beneath a discursive concentration on content. Metz and Baudry did not only interrogate the machinery of the cinema – the camera, the projector, the screen, the theatre – but also the position that its subject assumed to it: The cinema’s audience was not an external element, but its constitutive suture. And it was not just that the film industry created this position to empty the pockets of her patron’s; for Baudry, it represented the fulfillment of a centuries old desire to obtain a realer-than-real, as first manifested in Plato’s creation of the hypothetical cave-come-prison. So too for Metz the cinema was “a veritable psychical substitute, a prosthesis for our primally dislocated limbs” (15). My analysis here is similar to that of Baudry and Metz, though its object is different. Here television is unearthed from its content, described in its function as a member of our bodies, psyches, and social environment.

scholarly journals The Impact of Shared Versus Individual Office Space on Therapist Appraisal of Their Work Environment

2018 ◽  
Vol 13 (1) ◽  
pp. i26
Author(s):  
Shane L Rogers ◽  
Stephen J Edwards ◽  
Rebecca Perera
Keyword(s):  
Mental Health ◽  
Work Environment ◽  
Social Environment ◽  
Working Conditions ◽  
Physical Environment ◽  
Primary Objective ◽  
Physical Work ◽  
Office Space ◽  
The Social ◽  
The Impact

Objective:  The primary objective was to investigate the impact of shared versus individual office space on therapist appraisal of the work physical and social environment, and overall appraisal of working conditions. Method:  Therapists (n = 59) from Child and Adolescent Mental Health Services in Western Australia were surveyed about their appraisal of the social and physical work environment, in addition to their overall appraisal of working conditions. Results:  Compared to therapists with individual offices, therapists occupying shared office space reported lower appraisal of the work physical environment and lower overall appraisal of working conditions. No difference was found between groups for appraisal of the work social environment. Additionally, when statistically controlling for office space, both the appraisal of the social and physical environment made an independent contribution to the prediction of overall work satisfaction. Conclusion:  This research reveals that shared office space can negatively impact therapist appraisal of their work environment and reduce overall appraisal of working conditions. Additionally, results reveal the high importance of the physical environment for staff satisfaction in a mental health service.

Brazilian Women’s Filmmaking and the State during the 1970s and 1980s

2017 ◽  
Author(s):  
Leslie L. Marsh
Keyword(s):  
Film Industry ◽  
The State ◽  
Women Filmmakers ◽  
Film Festivals ◽  
Supportive Role ◽  
The Government ◽  
Auteur Cinema ◽  
Brazilian Film ◽  
The Military

This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.

Introduction

2017 ◽  
Author(s):  
Leslie L. Marsh
Keyword(s):  
Twentieth Century ◽  
Film Industry ◽  
Women Filmmakers ◽  
Personal Finances ◽  
Production Practices ◽  
Brazilian Film ◽  
Studio Era ◽  
International Success

This introductory chapter provides an overview of the role of women in the Brazilian film industry during the twentieth century. Brazilian women have been channeling their visions of politics and society through cinema throughout the twentieth century. From the beginnings of sound cinema to the close of the studio era, pioneer Brazilian women filmmakers sought out their own opportunities from within the structures of the film industry. They often began as actresses who learned the craft of filmmaking and influenced a film's production while on set. Others relied on their personal finances to produce their own films, referred to as cavação—a staple of production practices in Brazil during the early twentieth century. However, it was on the heels of the international success of Cinema Novo that women began gaining a more solid foothold in filmmaking in Brazil.

Ain’t No Peace in the Family Now

2017 ◽  
Author(s):  
Sean P. Holmes
Keyword(s):  
Working Conditions ◽  
Motion Picture ◽  
Film Industry ◽  
New Technology ◽  
Men And Women ◽  
Cultural Hierarchy ◽  
Standard Contract ◽  
Cultural Life ◽  
The Family ◽  
The Right

This chapter focuses on new technology and its impact on acting as an occupation. It begins by describing how the advent of film transformed patterns of employment in the commercial entertainment industry. Returning to the theme of cultural hierarchy, it goes on to argue that even as the legitimate theater drifted toward the periphery of the nation's cultural life, the old theatrical elite continued to claim the right, through the mechanism of the Actors' Equity Association (AEA), to speak for the entire acting community. After examining working conditions in the motion picture studios, it turns its attention to the Equity campaign to organize the film industry, asserting that its architects were less concerned with negotiating a standard contract than with imposing their authority upon the men and women of the silver screen. The chapter argues that an overwhelming majority of motion picture actors reacted with hostility to what they saw as the AEA's attempt to “Broadwayize” Hollywood, interpreting it as a threat to their collective autonomy and a denial of the specificity of their work. By refusing to obey the strike call in the summer of 1929, they were declaring their independence from the traditions of the legitimate stage.

scholarly journals Where in the World are Chinese Women Filmmakers? Transnational China and World Cinema in the Twenty-First Century

2021 ◽  
pp. 1-24
Author(s):  
Gina Marchetti
Keyword(s):  
Film Industry ◽  
Chinese Women ◽  
First Century ◽  
Women Filmmakers ◽  
Female Desire ◽  
Cross Border ◽  
Cultural Transformations ◽  
World Cinema ◽  
Female Bodies ◽  
Political Economic

Abstract Transnational Chinese women filmmakers reflect the enormous changes happening in the global film industry as well as political, economic, technological, social, and cultural transformations taking place in the region since the beginning of the millennium. An analysis of Hong Kong writer-director Aubrey Lam’s Anna & Anna (2007) uncovers how this film explores the divided psyche of a woman torn between “two systems” that model femininity for women in Singapore and Shanghai in the 21st century. Lam’s narrative touches on issues central to the work of many women working across the Chinese-speaking world including migration, labor relations, postcolonial and postsocialist identities, commodification of female bodies in consumer culture, cross-border sexualities, female desire and domesticity.

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