Women in Film and TV productions

SSRN Electronic Journal, 2000

Gerakan pembebasan wanita gelombang kedua pada tahun 1960-an telah memberi pengaruh terhadap para aktivis perempuan dalam mengampanyekan perlawanan terhadap budaya patriarkat hampir di semua bidang. Salah satu area yang diyakini membuat perempuan rentan adalah isu perempuan dalam layar lebar. Artikel ini menganalisis perubahan representasi perempuan dalam layar lebar melalui pembandingan empat film, yaitu Stepford Wives (1975), Orlando (1992), When Night Is Falling (1995), and Stepford Wives (2004. Penelitian ini dilakukan dengan menggunakan metode modern hermeneutics. Dari hasil analisis yang telah dilakukan, film-film ini menunjukkan tiga aspek perubahan pada perempuan, seperti kesetaraan dalam pekerjaan, ekspresi identitas seksual, dan imej 'wanita pendidikan tinggi'. Film-film tersebut juga menunjukkan beberapa aspek yang tidak berubah terkait representasi perempuan, yaitu aspek keibuan, mitos seksualitas, dan posisi perempuan sebagai korban.

Feminist Discourse in Animated Films, 2020

Animation in cinema, which appeals not only to children but also adults, is one of the most important film genres that has existed since the birth of cinema. As in the other genres of cinema, feminist discourse formed through female characters is remarkable in animated cinema. This study aimed to present the feminist narratives in animated films, one of the most popular film genres today. In this context, computer-animated fantasy film Brave, regarded as one of the feminist films in animation cinema, was included in the scope of the study and was investigated in line with feminist film theory. The study revealed, as opposed to the powerless and passive woman image imposed by the patriarchal structure in society, the female characters in this film were represented as strong, brave, and free as designed by feminist ideology.

The proposed study is an attempt to examine the representation of women in realistic cinema. The study will focus on how women were presented and misrepresented in cinema. Based on feminist film theoretician, Claire Johnston, further analysis is developed on the idea of how feminist theories like counter cinema can be related to realistic films. This study will explore on how with changing times, women-centric movies started gaining popularity. Realistic films helped portray women to play strong and challenging roles and in addition to this, they have been able to make a mark in the mainstream cinema. This study will also briefly discuss how realistic cinema is different from popular cinema or popular cinema.

Part of the project: "Cinema and sexual and gender identities" Part 1 and Part 2 are also available at Academia.edu and at https://www.cinemafocus.eu Since the early days of cinema, gender roles have been portrayed in films according to the prevailing traditional and patriarchal stereotypes that have for a long time assigned more or less fixed social and psychological attributes to women and men. However, cinema's history has also inevitably reflected major political, economic and sociocultural changes, which have affected the roles of women and men within their societies and their cultures. This series of Dossiers explores how female and male gender roles have evolved and how films continue to reflect, but also consolidate or challenge, the representations of women and men on the screen.

Part 1 and Part 3 are also available at Academia.edu and at https://www.cinemafocus.eu Since the early days of cinema, gender roles have been portrayed in films according to the prevailing traditional and patriarchal stereotypes that have for a long time assigned more or less fixed social and psychological attributes to women and men. However, cinema's history has also inevitably reflected major political, economic and sociocultural changes, which have affected the roles of women and men within their societies and their cultures. This series of Dossiers explores how female and male gender roles have evolved and how films continue to reflect, but also consolidate or challenge, the representations of women and men on the screen.

The following reflections are an attempt to outline the current situation in film, feminism and Film Studies from a German perspective. The question being raised is twofold, as film reflected within the context of institutionalized research forms the perspective from which the question concerning the significance of film in today's world is perceived and dealt with. As my intent is not so much to determine a specific position but rather to outline the general situation, I would like to discuss the following problems: what is the present situation in Film Studies; which relationships exist between Film Studies and feminist film theory on the one hand and between Film Studies and Media Studies on the other? What can be said about the relationship between film and media, and also about what has become of the special relationship between women and film? An outline of the present situation does not project a picture of the future situation so that, consequently, I will not offer solutions for the problems raised here nor draw any conclusions. This paper must, on the contrary, be considered solely as a contribution to the discussion on these subjects, the moment of a self-reflection of film studies being the central issue.

The German Cinema Book , 2020

In 2001, the feminist director Jutta Brückner wrote that films by women were the product of an often arduous "quest for traces. " 1 Her comment echoed an interview three decades earlier, when Brückner had spoken of film as a means to "reconstruct symbolically" the "disrupted physical integrity" of women in history. 2 The reference in both instances was not only to her own work but in general to filmmaking by women who seek new forms of articulation for feminine subjectivity and experience. Brückner's observations have resonance too for a different cultural practice of retrieval, that of history-writing in respect of women's film. This chapter attempts a reconstruction of key moments in German women's filmmaking, which we explore in particular, but not solely, in its relation to feminism. Like Brückner's film narratives, our history-which for reasons of space is necessarily partial-starts from an assumption of "disrupted integrity, " though not, as for Brückner, in the physical or symbolic body of woman, but in the similarly fractured cinematic body of work by women over twelve decades of German film. It is, moreover, not only Brückner's understanding of film as a medium capable of lending tangible presence to an otherwise invisible or fragmented gendered experience that is useful for this chapter. Her filmmaking method offers further helpful insights for approaches to women's cinema history. Early in her filmmaking career, in films including the experimental documentary Tue recht und scheue niemand (Do right and fear nobody, 1975) and the semi-autobiographical Hungerjahre (Years of Hunger, 1979), Brückner used newsreel inserts, still photographs, voice-over, and found sound to "suggest the complexity of a whole period": in Tue recht, five decades of one woman's mid-twentieth-century petit bourgeois existence; in Hungerjahre, the 1950s as viewed from the perspective of a bulimic adolescent. Brückner's juxtapositions of archive image and sound with memory fragments and fictional narrative revealed female subjectivities in a state of emergence, developing as "the result of a long cultural process" that is "constituted by … history. " 3 Analogously, the history of women's filmmaking-of the moments, then, in which women become the active subjects of cinematic perception as well as social actors in film production and circulation-demands an approach that registers traces of feminine subjectivity and agency as the products of specific conditions of historical emergence: conditions that may at one moment facilitate women's filmmaking and at others suppress female participation in the film industry or cinematic practice. Examples from early film history should serve to illustrate the point. Three women who would later move into production and directing-Henny Porten, Asta Nielsen (see Chapter 5), and Leontine Sagan-began careers in acting at a historical moment in which film performance and stardom belonged to, indeed were significantly shaping an early twentieth-century culture of public visibility for women. In Emilie Altenloh's pioneering sociological study of early cinema audiences, Asta Nielsen in particular figures not merely as an audience magnet for a cross-class community of female fans. 4 Feminist historians including Miriam Hansen, Heide Schlüpmann, and Andrea Haller have also shown how the mass presence of women in the film audience may be understood as part of a broader early twentieth-century challenge to the "dominant organization of public experience" around masculine norms. 5 That challenge was rooted in socio-historical developments including the expansion of women's education, the advance of 31 FEMINISM AND WOMEN'S CINEMA

CenRaPS Journal of Social Sciences

Bangladesh is developing as a role model in the world by the great contribution of half of its population- the womenfolk. But recognition of their contribution in every sector including media are very negligible. Deliberately or unintentionally, the Bangladeshi media presents women as virago, petulant, subversive, subordinate, house maker, servant, etc. (Sharmeen,2011). Audio-visual media tends to use women's beauty as a symbol of sexuality in televisions and movies, as society views women in the same way. Though, audio-visual media have a vast potential to create awareness, educate people against gender discrimination and recognize women’s contribution to society. But we observed that, in Bangladeshi films, female characters usually revolve around a limited number of images; the lascivious beautiful heroine, the loving mother, the vamp, or the woman of crooked character (Haq, 2006). This article aims to understand the trend of the use of content in powerful audio-visual media l...

The concept of social gender is an interdisciplinary matter of debate and is still questioned today. Making sense of this concept is understood by the ongoing codes in the social order. However, the fact that men are still positioned as dominating women in the contrast of the public sphere / private sphere prevents the making sense of the concept of gender. This study questions the concept of social gender through the female characters and male characters presented in the film Tersine Dünya (1993) within the framework of Judith Butler's thoughts regarding the notion of the subject. The thoughts of feminist film theorists also bring the strategies of representation of female characters up for discussion. Butler's thoughts and the discourses of feminist film theorists will enable both making sense of social gender and a more concrete understanding of the concept of the subject. The possibility of deconstruction of patriarchal codes by using classical narrative cinema conventions is also brought up for discussion in the examined film. INTRODUCTION Cinema is one of the strongest among the media tools. Everything presented in the cinema has the power to change the world of spectators. The worldwide spectator prefers to watch mainstream movies. The number of spectators of art films is less than the number of spectators of mainstream films because art films put their audience in an intense process of thinking and do not approve the existing codes. Although the film Tersine Dünya is a mainstream film in Turkish Cinema, it raises many questions that the spectator will query because the film is important in terms of discussing the concept of social gender in Turkish Cinema. For centuries, feminist theorists have discussed the position of women and men in the differentiation of the public sphere and private sphere, and they offer strategies for the change of the male-dominated order. The public space without equality of opportunity also causes inequality of social order. In the public sphere where the discourse of men is considered more important, women are secondary. That is why they are the subordinate ones. These realities are presented to spectators through films. However, the presentation of realities reinforces the continuation of existing rules. It is also necessary to present a world where female characters and male characters are equal in terms of representation strategies in the films and understanding of gender codes in the social order. The spectators are trying to understand life through the films they watch continuously. However, if the films that provide the unknown facts about social gender are produced and if the possibility of a world, where there is equality of opportunity between women and men, is shown then the points of view of individuals on the codes in life will change.

2020

In the art of cinema, which fulfills the function of a “dream factory” with its male-dominated narrative structure, men are represented in active roles with their actions, while women in passive roles that do not or cannot interfere with the flow of events with their inactions. This perception, which dominates the cinema, showed a change with the reflection of intellectual context of the Second Wave Feminism to the films. In this sense, in the study, Fried Green Tomatoes, regarded as a feminist film example by movie critics and directed by Jon Avnet in 1991, was chosen as a sample. In the study, structuralist narrative codes that construct meaning in the film are analyzed in the context of feminist thought and film theory paradigms. In the film, the “strong female character representations,” which are placed in the center of narrative and positioned to advance the story, are subjected in the foreground; these characters also stand against the known stereotyped roles imposed on women...