Feminist Film Theorists

Chaudhuri, Shohini

doi:10.4324/9780203357026

Cited by 85 publications

(13 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…There is also the concept of feminist film theory among women professionals in the theatre and film industry. This group of feminists tends to dominate female character in the major roles and at the same time campaign against gender difference in characterization and other roles in film productions (Chaudhuri, 2006). Also from the historical perspective, feminists carved out another dimension of feminism that is referred to as feminist history, which tends to reread and reinterpret history from a feminist perspective.…”

Section: The Concept Of Feminismmentioning

confidence: 99%

Women and Heritage Preservation in Southeast Nigeria: Exploring New Approaches

Nwankwo

2018

Journal of Heritage Management

View full text Add to dashboard Cite

The current state of women in heritage studies and the response of culture and tradition to gender issues in the rural areas are the basis for this article. The article examined the role of women in heritage preservation and promotion in Southeast Nigeria and beyond. This study was able to identify that women have great roles to play in the preservation of heritage resources in their various localities through different dimensions, and relevant/critical studies on heritage. Culture demands, treachery, inconsiderate gender struggles and gender limitations have hindered the potentialities of women in heritage issues. At the end, the study suggested new dimensions to the study of heritage that accommodate the relevance of women in heritage preservation and studies. These include feminist heritage, which implies that women and heritage can be studied in two fronts; looking at the activities of women in heritage preservation and the activities of women in heritage studies. Also important is the WECS Heritage Model which tends to address likely issues that may arise. The implication of the study is that it will open a new direction in heritage studies that would not only accommodate the relevance of women in heritage preservation and studies but also ensure smooth women studies on heritage resources in Southeast Nigeria and beyond.

show abstract

Section: The Concept Of Feminismmentioning

confidence: 99%

Women and Heritage Preservation in Southeast Nigeria: Exploring New Approaches

Nwankwo

2018

Journal of Heritage Management

View full text Add to dashboard Cite

show abstract

“…"She argued that mainstream cinema is constructed for a male gaze, catering to male fantasies and pleasures. Uncovering the voyeuristic and fetishistic responses of male spectators to images of women," (Chaudhuri, 2006). The gaze could be briefly explained in three ways: how men look at women; how women look at themselves; and how women look at other women.…”

Section: Visual Pleasure and Cinema Narrativementioning

confidence: 99%

Women-Led Films: Different Female Representations in Popular Cinemas.

Kik¹

2019

IJoSS

View full text Add to dashboard Cite

This is a comparative study to look into cinematic feminism between English-speaking blockbuster and non-blockbuster films that screening from 2012 to 2015. This study will choose films that led by female character(s) and to explore, compare, and justify the feminism qualities that reflected through the female characters and storylines. In this study, six female-led films are selected: The Hunger Games, Mad Max: The Fury Road, Cinderella, Gone Girl, Brooklyn, and Carol. This study assumes that modern high budget productions are portraying feminism conventionally through unrealistic characters and masculine domination stories; while the non-blockbuster productions are portraying feminism progressively through reflective characters and self-determination stories. Blockbuster films' actresses are commonly created as recognisable female superheroes with strong masculine traits but living in a men-ruled world, or princesses that living in fairy tales. The cinematic feminism is superficial and ambiguous in blockbuster commercial films. Hence, non-blockbuster films' actresses are characterised with conservative and realistic images but given more chances to deal with alternatives, decisions, and progressions throughout the development of the story. Non-blockbuster films' characters and stories are less emphasizing on masculine feminism but more focusing on subtle yet significant feminism expressions. To achieve the objectives and hypotheses, this paper uses two methods -quantitative method with a designed coding sheet in content analysis; and a qualitative method with film reviews for textual analysis. These two methods are expected to test out and evaluate the cinematic feminism through on-screen characters' gender representations and the storyline's interpretations in selected films.By referring the conventional types of feminism such liberal feminism, which argues that "society has a false belief that women are by nature less intellectually and physically capable than men" (Tong, 2009), or feminism should work with the social structure without much physical and mental withdrawal from the mainstream community. Applying into films, the female characters are expected to have equal involvement in the roles and stories development. On the other side, cultural feminism commends the positive aspects of what is seen as the female character or feminine personality. Hence, cultural feminism is a theory praises the positive aspects of women; Also, in study 2, a textual analysis will be conducted to analyse the six selected films from the perspectives of characters and storylines through film reviews.

show abstract

“…These psychoanalytical and semiotic approaches in feminist film theory focus on filmic texts and neglect their creators. As underlined by Chaudhuri (2007: 58), feminist film theory and film studies participate in the general debate on the ‘death of author’ pronounced by Barthes (2002: 40). However, other works on gender issues in cinema (Kaplan, 2000 [1983]) criticize this semiological tendency of considering the text as merely ‘authorless’ for it obscures a crucial shortcoming of the film industry: the absence of women in this area of creativity.…”

Section: Introductionmentioning

confidence: 99%

Women as film directors in Turkish cinema

Tanriöver

2016

European Journal of Women's Studies

View full text Add to dashboard Cite

Representations of women, or more exactly of gender, and the presence and works of women filmmakers constitute an important area of analysis for gender studies and feminist film theories. In Turkey the presence and the participation of women in the public sphere have been one of the important objectives of the Kemalist modernization project since the founding of the modern nation-state in 1923. However, despite the modernizing efforts to empower women in different spheres of life there was no woman director in Turkish commercial feature cinema until the beginning of the 1950s. Since the beginning of the 2000s the number of women directors has increased significantly, reaching a number well above that of the entire period before. This article investigates the reasons behind this increase based on quantitative data gathered from secondary sources and in-depth interviews with women producers and directors. It also questions whether and to what extent the increase in the number of women film directors contributed to the production of ‘women’s films’, based on a qualitative analysis of films produced by women directors between the years 2004 and 2013. The results show that in addition to technological and aesthetic changes in the industry, the increase in the availability of international and national public funding for low-budget independent film productions and the enlargement of the women’s movement allowed more women directors to enter the film industry. While half of the films made by women directors in the 2000s could be qualified as ‘women films’, the other half remained, largely due to market forces, within the conventions of popular or art house cinema.

show abstract

Feminist Film Theorists

Cited by 85 publications

References 0 publications

Women and Heritage Preservation in Southeast Nigeria: Exploring New Approaches

Women and Heritage Preservation in Southeast Nigeria: Exploring New Approaches

Women-Led Films: Different Female Representations in Popular Cinemas.

Women as film directors in Turkish cinema

Contact Info

Product

Resources

About