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The chapter Experiencing Male Dominance in Swedish Film Production” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
Analyzes the treatment of women in American movies and examines the themes of a variety of contemporary movies made by women.
Women have fulfilled film roles that exhibit their historically subservient or sexualised positions in society, among others. Over the decades, the gender identity of women has fluctuated to include powerful women, emotionally strong women, lesbian women, and even neurologically atypical women. These identities reflect the change in societal norms and what is now acknowledged as more likely and more mainstream. The evolution of society’s views of women can be mapped through these roles; from 1950’s America where women were depicted as the counterpart to male characters and their masculinity either as a threat or support to the patriarchal norms; to more recent times, where these norms have been questioned, challenged, deconstructed and reconstructed to include women in a more equitable balance. The fight for equal access, equal pay and equal standing still exists in all walks of life and different cultures requiring continued scrutiny of the norms that made that fight necessary. The essays offer a unique vantage of the changing culture and conversations that allowed, encouraged, and praised an evolution of women’s roles. They strive to represent the issues faced by women, from the early heyday of Hollywood through to films as recent as 2007; examining depictions of the masculine gaze, mental and physical oppression, the mother figure, as well as how these roles may develop in the future. The book contains valuable material for film students at an undergraduate or post-graduate level, as well as scholars from a range of disciplines including cultural studies, media studies, film studies and women’s and gender studies.
"[The Woman at the Keyhole is one] of the most significant contributions to feminist film theory sin ce the 1970s." -- SubStance "... this intelligent, eminently readable volume puts women's filmmaking on the main stage.... serves at once as introduction and original contribution to the debates structuring the field. Erudite but never obscure, effectively argued but not polemical, The Woman at the Keyhole should prove to be a valuable text for courses on women and cinema." -- The Independent When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative.
Winner of the 2018 Richard Wall Memorial Award​ from the Theater Library Association Liberating Hollywood examines the professional experiences and creative output of women filmmakers during a unique moment in history when the social justice movements that defined the 1960s and 1970s challenged the enduring culture of sexism and racism in the U.S. film industry. Throughout the 1970s feminist reform efforts resulted in a noticeable rise in the number of women directors, yet at the same time the institutionalized sexism of Hollywood continued to create obstacles to closing the gender gap. Maya Montañez Smukler reveals that during this era there were an estimated sixteen women making independent and studio films: Penny Allen, Karen Arthur, Anne Bancroft, Joan Darling, Lee Grant, Barbara Loden, Elaine May, Barbara Peeters, Joan Rivers, Stephanie Rothman, Beverly Sebastian, Joan Micklin Silver, Joan Tewkesbury, Jane Wagner, Nancy Walker, and Claudia Weill. Drawing on interviews conducted by the author, Liberating Hollywood is the first study of women directors within the intersection of second wave feminism, civil rights legislation, and Hollywood to investigate the remarkable careers of these filmmakers during one of the most mythologized periods in American film history.
"This anthology makes it abundantly clear that feminist film criticism is flourishing and has developed dramatically since its inception in the early 1970s." —Journal of Aesthetics and Art Criticism Erens brings together a wide variety of writings and methodologies by U.S. and British feminist film scholars. The twenty-seven essays represent some of the most influential work on Hollywood film, women's cinema, and documentary filmmaking to appear during the past decade and beyond. Contributors include Lucie Arbuthnot, Linda Artel, Pam Cook, Teresa de Lauretis, Mary Ann Doane, Elizabeth Ellsworth, Lucy Fischer, Jane Gaines, Mary C. Gentile, Bette Gordon, Florence Jacobowitz, Claire Johnston, E. Ann Kaplan, Annette Kuhn, Julia Lesage, Judith Mayne, Sonya Michel, Tania Modleski, Laura Mulvey, B. Ruby Rich, Gail Seneca, Kaja Silverman, Lori Spring, Jackie Stacey, Maureen Turim, Diane Waldman, Susan Wengraf, Linda Williams, and Robin Wood.
Women held more positions of power in the silent film era than at any other time in American motion picture history. Marion Leonard broke from acting to cofound a feature film company. Gene Gauntier, the face of Kalem Films, also wrote the first script of Ben-Hur. Helen Holmes choreographed her own breathtaking on-camera stunt work. Yet they and the other pioneering filmmaking women vanished from memory. Using individual careers as a point of departure, Jane M. Gaines charts how women first fell out of the limelight and then out of the film history itself. A more perplexing event cemented their obscurity: the failure of 1970s feminist historiography to rediscover them. Gaines examines how it happened against a backdrop of feminist theory and her own meditation on the limits that historiography imposes on scholars. Pondering how silent era women have become absent in the abstract while present in reality, Gaines sees a need for a theory of these artists' pasts that relates their aspirations to those of contemporary women. A bold journey through history and memory, Pink-Slipped pursues the still-elusive fate of the influential women in the early years of film.
Histories of women in Hollywood usually recount the contributions of female directors, screenwriters, designers, actresses, and other creative personnel whose names loom large in the credits. Yet, from its inception, the American film industry relied on the labor of thousands more women, workers whose vital contributions often went unrecognized. Never Done introduces generations of women who worked behind the scenes in the film industry—from the employees’ wives who hand-colored the Edison Company’s films frame-by-frame, to the female immigrants who toiled in MGM’s backrooms to produce beautifully beaded and embroidered costumes. Challenging the dismissive characterization of these women as merely menial workers, media historian Erin Hill shows how their labor was essential to the industry and required considerable technical and interpersonal skills. Sketching a history of how Hollywood came to define certain occupations as lower-paid “women’s work,” or “feminized labor,” Hill also reveals how enterprising women eventually gained a foothold in more prestigious divisions like casting and publicity. Poring through rare archives and integrating the firsthand accounts of women employed in the film industry, the book gives a voice to women whose work was indispensable yet largely invisible. As it traces this long history of women in Hollywood, Never Done reveals the persistence of sexist assumptions that, even today, leave women in the media industry underpraised and underpaid. For more information: http://erinhill.squarespace.com
In Hollywood's youth, women pioneered in screenwriting for silent films, often networking between friends: Jeannie Macpherson, Frances Marion, and Adela Rogers St. Johns, among many others, were billed alongside the top directors. With the advent of talkies and into the 1930s and 1940s, famous writers Dorothy Parker and Anita Loos wrote scripts for box-office hits such as A Star Is Born and Jean Harlow's Red-Headed Woman. And Catherine Turney wrote the searing Mildred Pierce - uncredited until now. After World War II, women writers began to drop out of sight, with notable exceptions such as Ida Lupino, Betty Comden, and Dorothy Kingsley. And in the 1960s and early 1970s innovative scripts were written by Elaine May and Penelope Gilliatt, followed by screenplays from contemporary writers like Nora Ephron and Leslie Dixon. McCreadie's extensive research details the fascinating careers of all the important contributors so far, from Elinor Glyn, herself a noted actress, who wrote It, starring Clara Bow, which redefined the title word and made the "It Girl" an international sensation; up to Ruth Prawer Jhabvala, whose beautifully detailed and literate films win accolades everywhere; to Callie Khouri, whose script for Thelma and Louise broke new ground in portraying the battle of the sexes. You will find here not only a treasury of new information about women screenwriters, but examples of the scripts themselves and plenty of photographs of the women who write the movies.