Introduction: Late Hammer

This introduction to a dossier of short pieces on Barbara Hammer locates the work of the late filmmaker in the context of feminist film culture and the journal Camera Obscura. It briefly reviews several phases of the artist's career before focusing on the output of the last decade of the filmmaker's life. Diagnosed with terminal cancer, Hammer made work dealing with her body; gave footage she shot over the years to several filmmakers to finish as they wished; set up a grant for lesbian experimental filmmakers; and collaborated with curators, archivists, and her partner, Florrie Burke, to shape her own legacy. Pieces by the collaborators who contributed to this dossier are introduced.

Victim-Warriors and Restorers—Heroines in the Post-Apocalyptic World of Mad Max: Fury Road

The article discusses the evolving image of female characters in the Mad Max saga directed by George Miller, focusing on Furiosa’s rebellion in the last film—Mad Max: Fury Road. Interestingly, studying Miller’s post-apocalyptic action films, we can observe the evolution of this post-apocalyptic vision from the male-dominated world with civilization collapsing into chaotic violence visualized in the previous series to a more hopeful future created by women in the last part of the saga: Mad Max: Fury Road (2015). We observe female heroes: the vengeful Furiosa, the protector of oppressed girls and sex slaves, the women of the separatist clan, and the wives of the warlord, who bring down the tyranny and create a new “green place.” It is worth emphasizing that the plot casts female solidarity in the central heroic role. In fact, the Mad Max saga emerges as a piece of socially engaged cinema preoccupied with the cultural context of gender discourse. Noticeably, media commentators, scholars and activists have suggested that Fury Road is a feminist film.

Can the Neoliberal Subject Condemn [Him]self?: Locating Masculinity at FOX News in Bombshell

Director Jay Roach’s 2019 film Bombshell draws on a series of real-life sexual allegations against FOX News founder Roger Ailes, depicting the climate in the newsroom and portraying a number of FOX personalities. As a film marketed for mass audiences, it is crucial to question the extent to which the film successfully serves to critique sexism in the FOX News newsroom. The purpose of this paper is thus to examine the portrayal of masculinity and sexism and FOX News in Bombshell. To explore the dynamic of this newsroom, this paper centers on interrogating Bombshell against the notion of a “feminist film”. I first attempt to analyze and locate gendered dynamics within Bombshell, then reflect on portrayed gendered dynamics with reference to the history of FOX News and the way competing masculinities work in the news organization. The FOX News newsroom is unique in the ways varying dynamics of gender manifest within its locale: in front of the camera, a kind of neoconservative “traditionalist” morality and gender order; behind the camera, an “amoral” gender dynamic that aligns with neoliberal free-market principles. I then explore how a gender order is upheld in contradiction, often by the very subjects who are subjected under a masculine-dominant gender order. I question the possibility of any future of gender egalitarianism at FOX News, and conclude by arguing that Bombshell misses the mark in interrogating a gender order, instead problematically framing sexism as chiefly upheld by individuals.

Jill Craigie, Post-war British Film Culture and the British Film Academy

This article seeks to locate the socialist feminist film-maker Jill Craigie in the British film culture of the post-war period. Long regarded in scholarly accounts as something of an outsider, a woman who was effectively shut out of the industry during the 1950s, this article seeks to position Craigie rather differently. While acknowledging the obstacles she undoubtedly faced, it details aspects of her achievements and her visibility in the British film culture of the immediate post-war period. Craigie's politically driven documentaries and realist film practice accorded with prevailing discourses of ‘quality’ and she acquired the status of what would today be termed a media personality who worked across film, radio, television and print media. Considering Craigie as a figure embedded in the British film establishment, this article gives particular emphasis to her role in the British Film Academy (BFA), arguing that the significance of this practitioner-led organisation has yet to be fully recognised in British film history. The argument draws on archives held at the British Academy of Film and Television Arts (BAFTA) to begin a discussion of how the BFA, and Craigie as the first woman to be elected to its Management Council, played its part in the development of British film culture.

Tired Gaze: A Feminist Reading of Quentin Dupieux’s Rubber (2010)

Rubber (2010) could be read as a monstrous replication of a male-dominated society that sees women subordinated and exploited simply for their “otherness” to men. This article, however, argues that when a dynamic reading is performed, Rubber can be seen to question Hollywood’s dominant system of gender representation and should therefore be considered a feminist film. In dialogue with feminist theory, it will be claimed that by drawing attention to the artifice of cinema, Dupieux has delivered a feminine text that highlights and calls for change to inherently misogynistic codes and conventions present in traditional dominant cinema and society in general.

A Feminist Film Analysis of the Representation of Woman in Chinese Film Noir: Based on the Bold, the Corrupt, and the Beautiful

The cinema industry has always presented female figures from a patriarchal perspective, propagandizing the men’s authority over women. The typical character “female fatale” with fatal sexual attraction in the genre film noir has already been the focus of many feminist scholars. The essay focuses on the issue of the representation of women in Chinese film noir through examining the female figures in The Bold, the Corrupt, and the Beautiful (2017) by close textual analysis. Three heroines, the mom Madame Tang, the daughters Tang Ning and Tang Zhen, as the embodiment of “female fatale” drive the film’s plot and articulate their agency of resisting the masculine power. However, the study will prove that the Chinese female fatale conventionally cannot escape from the fatal tragedy and pessimism in their unsolvable dilemma.

Semiotics Theory Analysis in the Movie “Ave Maryam” (2018)

A movie must have a purpose and a message according to the directors’ vision and plans. There are many ways to convey the message to viewers around the world, explicitly or implicitly. Yet, every individual has their own perspective, ideology, opinion, and culture background, and this diffence results in different interpretation of a movie. Nevertheless, viewers can still analyze a movie with theories that has been studied for generations, for instance semiotics theory, feminist film theory, psychoanalysis, etc. We will analyze how Robby Ertanto, as the director, the writer, and the producer of Ave Maryam, conveys messages through symbols, or as we call it the semiotics theory.

Superheroines and Sexism: Female Representation in the Marvel Cinematic Universe

The Marvel Cinematic Universe (MCU) is the highest-grossing film franchise of all time and since the premiere of Iron Man in 2008, it has risen to fame as a source of science-fiction entertainment. Sexism in the film industry often goes brushed aside but the widespread success of Marvel Studios calls attention to their treatment of gender roles. This paper explores the progression of six female superheroes in the MCU and what effect feminist movements have had on their roles as well as upcoming productions in the franchise. This paper used an interdisciplinary, mixed-methods design that studied movie scripts and screen time graphs. 14 MCU movies were analyzed through a feminist film theory lens and whenever a female character of interest was chosen, notes were taken on aspects including, but not limited to, dialogue, costume design, and character relationships. My findings showed that females in the MCU are heavily sexualized by directors, costume designers, and even their male co-stars. As powerful as some of these women were found to be, it was concluded that Marvel lacks in female inclusivity. Marvel’s upcoming productions, many of which are female-focused, still marginalize the roles of their superheroines which is a concern for the future of the film industry. Marvel is just one franchise but this study shows how their treatment of female characters uphold patriarchal structures and perpetuate harmful stereotypes that need to be corrected in the film industry as a whole.

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

""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.