Leslie L. Marsh
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252037252
- eISBN:
- 9780252094378
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037252.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military ...
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This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.Less
This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.
Leslie L. Marsh
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252037252
- eISBN:
- 9780252094378
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037252.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter discusses the current shape of filmmaking and how women directors have positioned themselves in the new context of film production in which it is increasingly difficult to realize ...
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This chapter discusses the current shape of filmmaking and how women directors have positioned themselves in the new context of film production in which it is increasingly difficult to realize aesthetically and ideologically challenging works. The period starting in the mid-1990s have been termed the Retomada or “rebirth” of filmmaking. However, not everyone has boldly celebrated the increased film output, and some have commented that filmmakers are now more tied to the state than ever before. Indeed, the vast majority of feature length films released from 1995 to the mid-2000s relied on monies collected from fiscal incentive laws, creating what has been referred to as a system of “incentivized patronage.”Less
This chapter discusses the current shape of filmmaking and how women directors have positioned themselves in the new context of film production in which it is increasingly difficult to realize aesthetically and ideologically challenging works. The period starting in the mid-1990s have been termed the Retomada or “rebirth” of filmmaking. However, not everyone has boldly celebrated the increased film output, and some have commented that filmmakers are now more tied to the state than ever before. Indeed, the vast majority of feature length films released from 1995 to the mid-2000s relied on monies collected from fiscal incentive laws, creating what has been referred to as a system of “incentivized patronage.”
Julia Knight and Christine Gledhill (eds)
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039683
- eISBN:
- 9780252097775
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039683.001.0001
- Subject:
- Film, Television and Radio, Film
Research into and around women's participation in cinematic history is enjoying a period of dynamic growth. A broadening of scope and interests encompasses not only different kinds of filmmaking ...
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Research into and around women's participation in cinematic history is enjoying a period of dynamic growth. A broadening of scope and interests encompasses not only different kinds of filmmaking (mainstream fiction, experimental, and documentary) but also practices (publicity, journalism, distribution and exhibition) seldom explored in the past. Cutting-edge and inclusive, this book addresses women's filmmaking in Europe and the United States while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. The book grapples with historiographic questions that cover film history from the pioneering era to the present day. Yet it also addresses the very mission of practicing scholarship. Chapters explore essential issues like identifying women's participation in their cinema cultures, locating previously unconsidered sources of evidence, developing methodologies and analytical concepts to reveal the impact of gender on film production, distribution and reception, and reframing women's film history to accommodate new questions and approaches.Less
Research into and around women's participation in cinematic history is enjoying a period of dynamic growth. A broadening of scope and interests encompasses not only different kinds of filmmaking (mainstream fiction, experimental, and documentary) but also practices (publicity, journalism, distribution and exhibition) seldom explored in the past. Cutting-edge and inclusive, this book addresses women's filmmaking in Europe and the United States while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. The book grapples with historiographic questions that cover film history from the pioneering era to the present day. Yet it also addresses the very mission of practicing scholarship. Chapters explore essential issues like identifying women's participation in their cinema cultures, locating previously unconsidered sources of evidence, developing methodologies and analytical concepts to reveal the impact of gender on film production, distribution and reception, and reframing women's film history to accommodate new questions and approaches.
Linda Badley, Claire Perkins, Michele Schreiber, and Michele Schreiber (eds)
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474403924
- eISBN:
- 9781474426756
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403924.001.0001
- Subject:
- Film, Television and Radio, Film
With the consolidation of ‘indie’ culture in the twenty-first century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, ...
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With the consolidation of ‘indie’ culture in the twenty-first century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe ‘maverick’ white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream ‘chick flick’ and the ideological and experimental radicalism of feminist counter-cinema alike, women’s indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into any pre-existing categories. This collection – the first sustained examination of the work of female practitioners within American independent cinema – reclaims the ‘difference’ of female indie filmmaking. Through case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, the contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work – while embracing the ‘in-between’ space in which the complex narratives they represent and embody can be revealed. The volume is organised into an introduction and four parts: ‘Production and Distribution Contexts’ (chapters 1-5), ‘Genres and Modalities’ (chapters 6-9), ‘Identities’ (chapters 10-14) and ‘Collaborations’ (chapters 15-18).Less
With the consolidation of ‘indie’ culture in the twenty-first century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe ‘maverick’ white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream ‘chick flick’ and the ideological and experimental radicalism of feminist counter-cinema alike, women’s indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into any pre-existing categories. This collection – the first sustained examination of the work of female practitioners within American independent cinema – reclaims the ‘difference’ of female indie filmmaking. Through case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, the contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work – while embracing the ‘in-between’ space in which the complex narratives they represent and embody can be revealed. The volume is organised into an introduction and four parts: ‘Production and Distribution Contexts’ (chapters 1-5), ‘Genres and Modalities’ (chapters 6-9), ‘Identities’ (chapters 10-14) and ‘Collaborations’ (chapters 15-18).
Christine Gledhill and Julia Knight
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039683
- eISBN:
- 9780252097775
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039683.003.0001
- Subject:
- Film, Television and Radio, Film
This book examines film history with the goal of reframing it to accommodate new approaches to women's filmmaking. It brings together a wide range of case studies investigating women's work in cinema ...
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This book examines film history with the goal of reframing it to accommodate new approaches to women's filmmaking. It brings together a wide range of case studies investigating women's work in cinema across its histories as they play out in different parts of the world from the pioneering days of silent cinema through recent developments in HD transmissions of live opera. It also tackles a range of conceptual and methodological questions about how to research women's film history—how, for example, to reconceptualize film history in order to locate the impact of women in that history. Furthermore, the book looks at the debates over relations among gender, aesthetics, and feminism. In this introduction, a number of interrelated themes and issues that can be grouped into four broad problematics are discussed: evidence and interpretation; feminist expectations of both contemporary and past women's filmmaking; the impact of women's film history on existing historical narratives and theories; and factors that determine the visibility of women's films and build audiences for them.Less
This book examines film history with the goal of reframing it to accommodate new approaches to women's filmmaking. It brings together a wide range of case studies investigating women's work in cinema across its histories as they play out in different parts of the world from the pioneering days of silent cinema through recent developments in HD transmissions of live opera. It also tackles a range of conceptual and methodological questions about how to research women's film history—how, for example, to reconceptualize film history in order to locate the impact of women in that history. Furthermore, the book looks at the debates over relations among gender, aesthetics, and feminism. In this introduction, a number of interrelated themes and issues that can be grouped into four broad problematics are discussed: evidence and interpretation; feminist expectations of both contemporary and past women's filmmaking; the impact of women's film history on existing historical narratives and theories; and factors that determine the visibility of women's films and build audiences for them.
Katarzyna Paszkiewicz
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039683
- eISBN:
- 9780252097775
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039683.003.0013
- Subject:
- Film, Television and Radio, Film
This chapter examines the discursive circulation of Kathryn Bigelow's 2008 film The Hurt Locker and the debates that broke out about the suppression of gender in her 2010 Academy Award acceptance ...
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This chapter examines the discursive circulation of Kathryn Bigelow's 2008 film The Hurt Locker and the debates that broke out about the suppression of gender in her 2010 Academy Award acceptance speech. It considers how the success of The Hurt Locker and the varied responses provoked by Bigelow's receipt of the Best Director Oscar has renewed scholarly and critical interest in women's filmmaking and the position of women directors within the predominantly male Hollywood industry. In her piece titled “Kathryn Bigelow: The Absentee Feminist,” Susan G. Cole accused Bigelow of making no reference to the significance of her accomplishment for feminism. According to Christina Lane, Bigelow seems quite conscious of feminist politics and willing to engage with feminism, but she remains ambivalent about labeling her films in terms of gender politics. This chapter considers how Bigelow's work puts into tension the conjunction of women's filmmaking, gender, film genre, and feminism, something dramatized by her nomination for the Best Director Oscar for The Hurt Locker in 2010.Less
This chapter examines the discursive circulation of Kathryn Bigelow's 2008 film The Hurt Locker and the debates that broke out about the suppression of gender in her 2010 Academy Award acceptance speech. It considers how the success of The Hurt Locker and the varied responses provoked by Bigelow's receipt of the Best Director Oscar has renewed scholarly and critical interest in women's filmmaking and the position of women directors within the predominantly male Hollywood industry. In her piece titled “Kathryn Bigelow: The Absentee Feminist,” Susan G. Cole accused Bigelow of making no reference to the significance of her accomplishment for feminism. According to Christina Lane, Bigelow seems quite conscious of feminist politics and willing to engage with feminism, but she remains ambivalent about labeling her films in terms of gender politics. This chapter considers how Bigelow's work puts into tension the conjunction of women's filmmaking, gender, film genre, and feminism, something dramatized by her nomination for the Best Director Oscar for The Hurt Locker in 2010.
