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The article "From Self-Promotion to Demystification: Self-Reflexivity and Realism in Chinese Cinema" explores the history of Chinese cinema, focusing on self-reflexivity as a device that reveals the constructed nature of art's representations of reality. It discusses how self-reflexivity has evolved in Chinese films from the 1920s to the 1980s, highlighting the interplay between ideological heteronomy, artistic autonomy, and market heteronomy. The text also delves into the shift from self-promotion in early Chinese cinema to a more critical approach in socialist cinema, culminating in films like "The Alley" that challenge the illusionist mode of melodramatic realism. The article concludes by examining the coexistence and interaction of self-reflexivity and realism in Chinese cinema, showcasing the dynamic nature of these aesthetic modes throughout different historical periods. [Extracted from the article]

The #MeToo Movement has empowered women who have been victimized by powerful men in society. This movement, related to sexual violence, sexual offenses, and sexual crimes experienced by women, can also be seen in movies. This research examines the #MeToo Movement depicted in the movie She Said (2022) directed by Maria Schrader. The movie tells the story of a female journalist who investigates a group of women working in the film industry. These women are victims of sexual harassment, abuse, and rape from their producer, a man who holds a high position in society. By applying the concept of Women and Agency proposed by Saba Mahmood, this research analyzes how women's agency and the #MeToo Movement are portrayed in the film She Said. Both narrative and non-narrative approaches were used to analyze the data from the film. The research found that the struggles of female journalists and victims demonstrate women's power or agency in resisting constraints related to their position as workers from the lower class. In addition, their success against male domination or film producer shows how successful the #MeToo Movement is in society, especially for women who have experienced rape. [ABSTRACT FROM AUTHOR]

This article discusses the history and representation of gender in the James Bond film franchise. It highlights the contributions of women working behind the scenes, such as producers, casting directors, and wardrobe mistresses, and examines their impact on the making and presentation of the Bond films. The article also acknowledges the need for further research on women in below-the-line roles and women of color in the industry. Overall, the article aims to provide a more inclusive and diverse perspective on the women behind James Bond. [Extracted from the article]

Gender inequality in the film industry and the barriers women encounter are referred to as the "celluloid ceiling." To fully understand the structural and social causes of this phenomenon, comprehensive data collection and analysis are required. The current research aims to explore women's representation in student projects to examine how women studying in film schools encounter the celluloid ceiling before graduating and entering the workforce. For this purpose, 266 short films submitted over three years to a student film competition in Türkiye were investigated. The gender distribution in leadership positions, such as producing, directing, and screenwriting, as well as technical and acting roles, were examined. The study also looked at how having a woman in a leadership position in a film affected recruiting more women for positions behind the camera. The findings revealed that women are underrepresented behind the camera compared to men, and the proportion of women working behind the camera was higher when a female director or producer was present. A female director's or screenwriter's presence in a film also significantly affected passing the Bechdel-Wallace Test, an indicator of on-screen representation. [ABSTRACT FROM AUTHOR]

This article provides a historical overview of the concept of animation in Japan, focusing on the 1950s and 1960s. It discusses the terminology used during this period and the debates surrounding the definition of animation. The article also explores the influence of experimental works and the challenges in categorizing different styles of animation. It concludes by emphasizing the evolving nature of animation and the importance of understanding its historical context. [Extracted from the article]

"A Queer Way of Feeling: Girl Fans and Personal Archives of Early Hollywood" by Diana W. Anselmo is a scholarly book that examines the personal materials of moviegoing adolescent girls in the 1910s, including scrapbooks, fan mail, diaries, and photographs. The book explores the role of adolescent female queerness, gender nonconformity, intimacies, and solidarities in Hollywood's star system and early film history. Anselmo acknowledges the limitations of her research, noting the lack of representation of girls of color, the very poor, foreign-born, or illiterate. The book highlights the creative practices and agency of these queer girl fans, who played a vital role in shaping media fandom. [Extracted from the article]

The article titled "Editors' Introduction: Why We Curate Feminist Film Archives" explores the significance of feminist film curating in uncovering forgotten women and marginalized filmmakers in film history. It emphasizes that everyone can contribute to this collective project and that feminist futures can be found in what is absent and present in the archive. The article provides examples of feminist film curating, such as digital networks, archival film festivals, and gallery exhibitions. It also discusses the challenges and complexities of restoring and curating films by overlooked female filmmakers, as well as the role of feminist film curation in addressing societal issues. The text encourages readers to join the movement of transforming and reimagining film history through the liberation of marginalized and counterfactual moving image archives. [Extracted from the article]

This review article discusses a special journal issue on Asta Nielsen, a Danish actress known for her work in German films. The issue contains eight contributions that focus on Nielsen and related themes, such as the advent of the star system and the introduction of long feature films. The articles make extensive use of digitized newspapers and film trade journals as sources, providing valuable information on Nielsen's films and their marketing. The review also highlights the neglect of other early film stars and the presence of women in the silent cinema, suggesting that future research should take a more statistical and vernacular approach to provide a comprehensive understanding of the early film industry. [Extracted from the article]

Throughout this article, we analyze the stereotypes established in Western cinematographic discourse at the beginning of cinema, and their evolution in films that portray women from minority ethnic groups. The presence of racialized women in the film industry and the recognition granted by cultural agents is also examined. The demands, the raising of social awareness, the valorization of the differences shown in film works have stimulated the integration -not without setbacks-of minority groups in film productions and in the dominant culture. [ABSTRACT FROM AUTHOR]

This article explores the role of women in revolutions, particularly in China, and examines whether women benefited from these revolutionary movements. It reviews three books that delve into the topic of women's agency in Chinese revolutions, discussing how women supported themselves and participated in revolutionary changes. The article also highlights the contributions of state feminists in China, who challenged gender norms and created images of strong women in the film industry. However, their achievements were limited by the masculinist regime and suppressed during the Cultural Revolution. The text suggests that more attention should be given to the intersectionality of religion and gender, and a more nuanced analysis of sources is needed to understand the multifaceted historical embeddedness of Chinese women. [Extracted from the article]

Like two sides of the same coin, Betty is what Diane wants to be, and Rita is what Diane wants to have. Betty may be Diane's ideal ego, but Rita also signifies Diane's desire while she contends with rejections in her real life by Camilla Rhodes as well as by the film industry. Keywords: ambiguity; dream narrative; identity fluctuation EN ambiguity dream narrative identity fluctuation 391 397 7 09/26/23 20230901 NES 230901 I Mulholland Drive i (2001) is often considered David Lynch's greatest masterpiece. It is this reductive process of removing Camilla's identity that forms the basis of "Rita" in Diane's unconscious, because Rita - Camilla's doppelgänger in Diane's dream - does not have an identity. [Extracted from the article]

It is well established both that women are underrepresented in the field of artificial intelligence (AI) and that media representations of professions have impact on career choices and prospects. We therefore hypothesised that women are underrepresented in portrayals of AI researchers in influential films. We tested this by analysing a corpus of the 142 most influential films featuring AI from 1920 to 2020, of which 86 showed one or more AI researchers, totalling 116 individuals. We found that nine AI professionals in film were women (8%). We further found that none of the 142 AI films was solely directed by a woman. We discuss a number of explanations for the paucity of women AI scientists in the media, including parallels between film and real-life gender inequality, the construction of the AI scientist as male through gendered narrative tropes, and the lack of female directors. [ABSTRACT FROM AUTHOR]

Chapters Two and Three, where Duckett discusses Réjane and Mistinguett, respectively, are valuable additions to emerging scholarship on gender and comedy. This time, Duckett gives a detailed account of Bernhardt's success in England and the United States, where the French actress-manager had performed on stage since 1879 and 1880, respectively. That Mistinguett, Bernhardt and Réjane were able to do so proves that the contributions of the French actress in the development of early cinema from attraction to legitimate mode of expression were great and many. [Extracted from the article]

Copyright of Imagofagia is the property of Imagofagia - AsAECA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The film and publishing industries are fraught with gender disparities, with men overpowering nearly every sector of these domains. For instance, men are not only paid more than women in the film industry, but they also outnumber women in positions such as director, screenwriter, and lead acting roles. Similarly, women often resort to assuming gender-neutral or male pseudonyms to increase their prospects in the publishing industry. This widespread gender inequality in the film and publishing industries raises the question of how writers' gender relates to gendered language and narrative receptions. Two archival studies examined whether gender-linked language relates to film (N = 521) and novel (N = 150) ratings, and whether those associations differ as a function of writer gender or the expertise of the rater (professional critics and lay audience members). Results demonstrated that female screenwriters and novelists used a more feminine style of writing, whereas male screenwriters and novelists used a more masculine style of writing. Lay audiences gave more positive ratings to films and novels by writers who used a more gender-congruent writing style, in contrast with professional critics, who gave more positive reviews to films by writers who used a more gender-incongruent writing style. Our findings substantiate past research regarding the differing tastes of lay audiences and professional critics in addition to lending insight into subtle social dynamics that may sustain gender biases in the film and publishing industries. [ABSTRACT FROM AUTHOR]

Copyright of Imagofagia is the property of Imagofagia - AsAECA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores an obscure category of documentaries made by Swedish women in the 1970s and 80s, about women's situation in the so-called "Third World". The films were supported by the Swedish International Development Authority (SIDA), through an allocated budget for information aimed at raising the Swedish population's awareness about and sympathies for the "Third World" and Swedish development assistance. Distributed at a strikingly gender equal rate, SIDA's film support implied rare opportunities for Swedish women filmmakers in a film industry otherwise heavily marked by inequalities and restrictions. Examining this unique case of women's film history from the perspectives of feminist and postcolonial film studies, employing archival research, film historical contextualization and critical film analysis, the article seeks to understand the complex interplay between the feminist film movement and Swedish solidarity politics at this time. How did the production context that opened up through the SIDA support overlap with women's film culture? What kinds of films did the support result in? What kinds of gender and racial politics and national imaginary did they articulate? How can the legacy of these unrecognized but problematic films be approached and included in women's film history? By unravelling and contextualizing the layered meanings and intricate politics of this small film culture, the aim is to add original insights into the operations of Swedish exceptionalism in women's cultural production, as well as to address key issues in feminist film historiography. Looking closer at a sample of films, the article critically discusses their mobilization of a colonialist imaginary that evokes Chandra Talpade Mohanty's (1984) pivotal critique of Western feminist discourse and explores their role in the context of Swedish solidarity politics and constructions of notions of Swedish moral superiority. [ABSTRACT FROM AUTHOR]

In the film industry, as in all other sectors, Algerian women face double censorship: first that of the regime in situ and then that of men and society. In any case, from Assia Djebar's first female feature film to Yasmine Chouikh, Algerian filmmakers have known how to free themselves from these limits by turning the cinematographic space into a space for female revolution. This article aims to shed light on the relationship of women with the film industry. [ABSTRACT FROM AUTHOR]

This article traces the origins of Maria Elena Velasco's comic character 'la India Maria' through what Fatimah Tobing Rony has labeled ethnographic film. It explores how Velasco's first film, Tonta, tonta, pero no tanto (dir. Fernando Cortes, Mexico, 1972), borrows conventional linguistic and performative representations from the so-called Indigenista films of Emilio 'Indio' Fernandez and Benito Alazraki. The essay also studies how popular discourses regarding Indigenous intelligence and the trope of illiterate Natives as 'burros' coincide with the state ideologies behind comic representations of Indigenous characters. Este ensayo traza los origenes del personaje comico de Maria Elena Velasco, la 'India' Maria, a traves de lo que Fatimah Tobing Rony denomina cine etnografico. Explora las maneras en que la primera obra filmica de Velasco, Tonta, tonta, pero no tanto (1972), adopta las convenciones linguisticas y performativas de representaciones del cine indigenista de Emilio 'Indio' Fernandez y Benito Alazraki. Tambien se estudian los efectos de discursos populares sobre la incapacidad intelectual y el lugar comun del nativo como 'burro', y sus coincidencias con las ideologias estatales detras de las representaciones comicas de personajes indigenas., In every part of the city are found the 'Marias' with their children, installed on the corners with the greatest volume of traffic, selling chewing gum and trinkets or begging [...]

In this essay, I focus on Reddy's protest and the responses that it generated to shed light on marginal and fringe voices in the MeToo movement in India. - [18] On April 7, 2018, Sri Reddy, a lesser-known actress in the Telugu Film Industry (hereafter referred to as TFI), protested semi-naked in front of the Film Chamber of Commerce office, which houses the Movie Artists Association (MAA) in the Southern Indian city of Hyderabad. Reddy's protest is not only an important reminder that feminist politics should continually engage with and dismantle the public/private binary, but also of the need to pivot towards a politics of dignity for MeToo to be relevant to multiple marginalized groups. [Extracted from the article]

Watterson Rothacker (1885–1960) probably is best known as both the pioneering maker of industrial and advertising films in the early 1910s and the producer of The Lost World (1925). Between 1917 and 1924, however, with large factories in Chicago and Los Angeles, he also was a major industry leader in developing negatives and manufacturing positive film stock for many Hollywood features. By analyzing the little-known output of Rothacker Manufacturing, especially for First National, this essay seeks to explain how Rothacker's company became the "largest and best laboratory in America" and to argue for the significance of the film laboratory as a long-ignored, essential component of the industry's infrastructure. [ABSTRACT FROM AUTHOR]

In their article named, "On the basis of risk: Screen directors and gender inequality", they use the intersectional risk theory to understand how gender inequality is related to risk management practices in the screen industry. It has become obvious that gender inequality pervades all screen industries, large and small, and that women screen workers in different national screen contexts share similar experiences. WOMEN'S PRESENCE AND CONDITIONS IN SCREEN WORK Studies of women's presence in the film industry have mapped the number of women behind the camera, sometimes also including an intersectional analysis and identified gendered budget-gaps and other impediments to gender equality (Cobb, 2020; Lauzen, 2019; Liddy, 2020; Smith et al., 2013). Keywords: screening industries; women; work life experiences EN screening industries women work life experiences 1991 1996 6 10/19/21 20211101 NES 211101 INTRODUCTION Similar to many creative (and other) industries, the film and television industries have for long been permeated by male norms, and by the male worker as the norm. [Extracted from the article]