Subversive Auteur, Subversive Genre

2018 ◽  
pp. 34-59
Author(s):  
Katarzyna Paszkiewicz
Keyword(s):  
Feminist Criticism ◽  
Genre Theory ◽  
Women Directors ◽  
Auteur Theory ◽  
Interactive Relationship ◽  
Central Argument ◽  
Female Director ◽  
Film Authorship ◽  
Female Filmmakers ◽  
Death Of The Author

This chapter offers a theoretical revision of auteur theory as a gendered concept, as well as reconceptualisation of women’s cinema and film authorship in relation to genre theory. It starts by raising several questions: is the much-debated concept of auteur equally applicable to female filmmakers, and if so, how, and in what cultural and industrial contexts? Does the female director working in genre film ‘transcend’ the industrial form in the way that the male auteur is said to ‘transcend’ genre? The first section of this chapter briefly explores the gendering of the politique des auteurs and discusses the implications of the ‘death of the author’ for feminist criticism. It then goes on to consider new approaches to film authorship, which offer a more dialogical, ‘interactive’ relationship to wider film cultures than the previously discussed perspectives. The remainder of the chapter builds on Jane Gaines’s (2012) argument on the interchangeability of the critical categories ‘women’ and ‘genre’, and the problematic question of feminist/authorial subversion of mainstream forms. The chapter’s central argument is that rather than subverting genres, some women directors explore their aesthetic and imaginative power.

Impossible Liaisons? Genre and Feminist Film Criticism

2018 ◽  
pp. 1-33
Author(s):  
Katarzyna Paszkiewicz
Keyword(s):  
Genre Theory ◽  
Gendered Identities ◽  
The Status ◽  
Women's Culture ◽  
Feminist Film ◽  
Women's Cinema ◽  
Women's Film ◽  
Film Authorship ◽  
Female Filmmakers ◽  
Film Genres

This chapter traces how, traditionally, feminist analyses of films authored by women tended to centre on experimental or art-house cinema and, subsequently, on genres culturally codified as ‘female’. It then goes on to engage with the most important debates around the concept of ‘women’s cinema’ and their significance in relation to genre theory. In particular, Alison Butler’s insights into women’s cinema as ‘minor cinema’, adapted from Deleuze and Guattari’s (1975) concept of the minor – as an alternative to the negative aesthetics of counter-cinema – is particularly apt here, as it allows for a reconsideration of women’s film authorship in mainstream productions and the ‘major’ language of film genres. Following and expanding this concept, it is argued that genres can be particularly productive spaces from which to think about female filmmakers, film authorship and the cultural politics of gender (especially in terms of the status of the woman author or her lack of status), as will be explored in the following chapters. Finally, instead of locking women filmmakers into a segregated gender sphere defined by ‘women’s culture’, the chapter argues for the mutability of gendered identities and questions the oversimplified notion of gender-to-gender cinematic identification – a typical assumption underpinning the categorisation of genres by gender – and suggests that ‘opportunities for resistance are more available than the opposition between “dominant cinema” and “counter-cinema” allows’ (Cook 2012: 33).

New Blood in Contemporary Cinema

2020 ◽  
Author(s):  
Patricia Pisters
Keyword(s):  
Women Directors ◽  
Family Ties ◽  
Horror Genre ◽  
Contemporary Cinema ◽  
New Generation ◽  
Female Filmmakers ◽  
General Scope ◽  
New Millennium

Since the new millennium, a growing number of female filmmakers have appropriated horror aesthetics for their films. In this book Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadžihalilović and Ana Lily Amirpour, who put ‘a poetics of horror’ to new use in their work. In this way they expand the range of perspectives relating to gendered as well as racialized themes of the horror genre. Exploring such themes as rage, trauma, sexuality, family ties and politics New Blood in Contemporary Cinema takes avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have turned the camera inward to reveal mental landscapes of pain and sorrow that translates in a poetics and aesthetics of horror, thus enlarging the general scope and stretch the emotional spectrum of the genre.

Female Director and Agency Cost: Does board gender diversity at Indian corporate board reduce agency conflict?

2021 ◽  
Vol 9 (3) ◽  
Author(s):  
Shubhanker Yadav ◽  
Miklesh Prasad Yadav
Keyword(s):  
Data Analysis ◽  
Panel Data ◽  
Stock Exchange ◽  
Panel Data Analysis ◽  
Agency Cost ◽  
Fixed Effect ◽  
Principal Agent ◽  
Women Directors ◽  
Effect Model ◽  
Female Director

We examined the presence of women directors in top-level management and their effect on principal-principal conflict (PP) and principal-agent conflict (PA) on the firms listed on Indian stock exchange using a panel model approach. For analysis purpose, this study covers the sample of 75 companies belonging to various industries and listed in Bombay Stock Exchange Index, has been studied over thirteen financial years, i.e. from year 2006 to year 2019. This study uses panel data analysis, i.e. fixed effect model and random effect model. The proportion and presence (dichotomous) of women directors on top level management board is taken as the independent variable. Principal-principal conflict measured by assets utilization ratio (AUR), and principal-agent conflict is been measured by dividend payout ratio (DPR), are taken as dependent variable in this study. The prime results of this study using panel data analysis, i.e. fixed effect (FE) and random effects (RE) estimation models point towards no significant impact of the female director (proportion and presence) on the firm’s agency cost (PP and PA). 

The Double Day of Valeria Sarmiento

2021 ◽  
Vol 7 (3) ◽  
pp. 154-177
Author(s):  
Elizabeth Ramírez-Soto
Keyword(s):  
Division Of Labor ◽  
Latin American ◽  
Nation State ◽  
American Film ◽  
Women Directors ◽  
Latin American Film ◽  
Film And Television ◽  
Gendered Division Of Labor ◽  
Creative Partnership ◽  
Female Filmmakers

Though sometimes rightly hailed as one of Latin America’s most important women directors, Valeria Sarmiento is more frequently referred to as the wife (now widow) and closest collaborator of Raúl Ruiz. Since Ruiz’s death in 2011, she has been completing his unfinished films. At the same time, she continues directing her own projects. This essay unpacks her unique creative partnership—working as an editor for her husband while simultaneously striving to direct her own work—as a “double day,” a concept that serves to interrogate the multiple (often unrecognized) tasks demanded of female filmmakers in relation to modes of production developed outside the boundaries of the nation-state, at the interstices of European and Latin American film and television industries. The article examines the interconnections between the gendered division of labor in filmmaking and the precarious mobilities that result from exile.

scholarly journals Impact of Women Directors on Corporate Financial Performance-Indian Context

2019 ◽  
Vol 6 (3) ◽  
pp. p320 ◽  
Author(s):  
Pradip Kumar Das
Keyword(s):  
Corporate Governance ◽  
Financial Performance ◽  
Listed Companies ◽  
Scientific Basis ◽  
Sustainable Growth ◽  
Women Directors ◽  
Female Directors ◽  
Problems And Solutions ◽  
And Performance ◽  
Female Director

Good corporate governance creates the properly structured board of directors capable of taking independent decisions for the welfare of the company. Women directors or female directors with varied backgrounds and experiences tend to look at problems and solutions from wider perspectives, thereby, diversity in boards has been widely considered as an important contributor to improved decision-making. Against this backdrop, the paper empirically investigates the association between participation of female director on board with the financial performance of corporate, using a sample of 16 listed companies’ board membership in India. The study reflects positive and significant impact of female directors on financial performance in the listed companies. The findings could be scientific basis for Indian company to build the most proper board for themselves and contributes to the existing literature through the empirical evidence with more insight into the effect of corporate governance, particularly female directors on firm outcomes from a typical developing country, India. Thus, it is suggested that Indian companies should think about the femininity on board and in senior management to improve financial viability and performance to achieve sustainable growth.

scholarly journals Carried away: 'revisioning' feminist film theory toward a radical practice.

2021 ◽  
Author(s):  
Kimberley Radmacher
Keyword(s):  
Feminist Theory ◽  
Women Professionals ◽  
Film Theory ◽  
Feminist Criticism ◽  
Fortune 500 ◽  
Women Directors ◽  
Feminist Film Theory ◽  
Radical Feminist ◽  
Fortune 500 Companies ◽  
Feminist Film

""It's difficult to believe that after over 30 years of feminist theory "breaking the glass ceiling" is still a term often heard from women professionals. Still, while women continue to make up a trifling percentage of CEOs in Fortune 500 companies, and are continually paid 72% of the wages of their male counterparts, 2 small advances continue to be made by women in both these areas? Yet, one profession that stands out as persistently keeping women on the outside looking in is mainstream filmmaking, especially directing. Indeed, no woman has ever won an Oscar for directing, and women are rarely nominated in the category, most likely because women direct less than 1 % of mainstream films. While women continue to chip their way up the corporate ladder, albeit excruciatingly slowly, women directors of mainstream films are actually declining in numbers. It is ironic that it should be in the area of filmmaking that women have made such small progress. The implication of feminist film criticism's rifts and divisions, played out in theories of heterogeneity or what makes up a feminist aesthetic, typifies the continuing contribution that feminist criticism has made to critical and ultural studies on a whole. Much current critical theory is indebted to feminist film theory, but in tum, critical, psychoanalytic, post structuralist and cultural studies' influences on radical feminist theory have effected--or at least influenced--a shift that tends to privilege a critical practice dealing primarily with image/representation. As a result, feminist approaches to media have centred on '[re]reading' popular culture through a narrow feminist paradigm which in film criticism, especially, has meant that dominant critical strategies chiefly have been limited to a political tactic of "reading against the grain," rather than a tactic of producing contemporary feminist films."--Pages 2-3.

Impact of gender diversity in boardroom on risk-return profile of Indian corporates

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Narander Kumar Nigam ◽  
Kirtivardhan Singh ◽  
Purushottam Arya
Keyword(s):  
Firm Performance ◽  
Positive Impact ◽  
Stock Exchange ◽  
Gender Diversity ◽  
Women Directors ◽  
Tobit Regression ◽  
Firm Risk ◽  
Risk And Return ◽  
Content Type ◽  
Female Director

Purpose The existing literature point that the presence of women directors in a firm reduces its risk. However, the relation between boardroom gender diversity and a firm’s return is widely disputed leading to no concrete answer. Some studies mention that women directors have a positive impact on firm performance, whereas, on the other hand, some findings suggest that women directors reduce financial performance. This paper aims to study the relationship of firm risk and return with boardroom gender diversity and the net impact on firm performance in the Indian context. This study uses not only traditional measures of risk and return but also the third measure of risk-adjusted returns to postulate its findings. Design/methodology/approach Based upon the data of the top 100 of the Bombay Stock Exchange-500 firms for the period FY 2009–2010 to FY 2018–2019, this study applied fixed effect panel regression and random effects Tobit regression to examine the effect of board gender diversity on firm performance. Findings The study concludes that firms with women directors on board have lower risk and lower returns. It also results in a higher risk-adjusted return, creating a positive impact on a firm’s performance. Originality/value The paper contributes to the existing literature on corporate governance by considering return, risk and risk-adjusted returns in single research to have a holistic measure of firm performance. It provides empirical evidence from one of the largest emerging economies, India where the female director and independent female director have been introduced recently.

Introduction

2018 ◽  
pp. 1-23
Author(s):  
Christopher Holliday
Keyword(s):  
Genre Theory ◽  
Popular Media ◽  
Market Response ◽  
Main Body ◽  
Film Genre ◽  
Global Circulation ◽  
Animated Films ◽  
Animated Film ◽  
Central Argument ◽  
Media Form

The introduction argues for the significance of the computer-animated film by placing this popular media form within its historical, cultural and critical contexts. It charts the rejuvenation of U.S. animation during the 1990s and the broader market response to Toy Story (1995), as well as identifying the global circulation of computer-animated films by establishing the expansion of the international computer graphics community and rise in CG facilities, divisions and subsidiaries beyond Hollywood. The introduction also unfolds its central argument regarding film genre, expounding the evaluative possibilities made available by genre theory to the close examination of the computer-animated film. The main body of writing surveys the critical contexts that have accounted for the computer-animated film’s scholarly place across a multitude of disciplines. Genre is then innovatively positioned as an enabling tool that brings into relief the terms under which computer-animated films can be held distinct from other forms and styles of animation.

scholarly journals Carried away: 'revisioning' feminist film theory toward a radical practice.

2021 ◽  
Author(s):  
Kimberley Radmacher
Keyword(s):  
Feminist Theory ◽  
Women Professionals ◽  
Film Theory ◽  
Feminist Criticism ◽  
Fortune 500 ◽  
Women Directors ◽  
Feminist Film Theory ◽  
Radical Feminist ◽  
Fortune 500 Companies ◽  
Feminist Film

""It's difficult to believe that after over 30 years of feminist theory "breaking the glass ceiling" is still a term often heard from women professionals. Still, while women continue to make up a trifling percentage of CEOs in Fortune 500 companies, and are continually paid 72% of the wages of their male counterparts, 2 small advances continue to be made by women in both these areas? Yet, one profession that stands out as persistently keeping women on the outside looking in is mainstream filmmaking, especially directing. Indeed, no woman has ever won an Oscar for directing, and women are rarely nominated in the category, most likely because women direct less than 1 % of mainstream films. While women continue to chip their way up the corporate ladder, albeit excruciatingly slowly, women directors of mainstream films are actually declining in numbers. It is ironic that it should be in the area of filmmaking that women have made such small progress. The implication of feminist film criticism's rifts and divisions, played out in theories of heterogeneity or what makes up a feminist aesthetic, typifies the continuing contribution that feminist criticism has made to critical and ultural studies on a whole. Much current critical theory is indebted to feminist film theory, but in tum, critical, psychoanalytic, post structuralist and cultural studies' influences on radical feminist theory have effected--or at least influenced--a shift that tends to privilege a critical practice dealing primarily with image/representation. As a result, feminist approaches to media have centred on '[re]reading' popular culture through a narrow feminist paradigm which in film criticism, especially, has meant that dominant critical strategies chiefly have been limited to a political tactic of "reading against the grain," rather than a tactic of producing contemporary feminist films."--Pages 2-3.

Sign in / Sign up

Export Citation Format

Share Document