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The Women Behind the Camera: The Reclamation of Body, Pleasure, and Physical Space through Experimental Film and Video, 1965-1975
Title
The Women Behind the Camera: The Reclamation of Body, Pleasure, and Physical Space through Experimental Film and Video, 1965-1975.
Creator
Herbert, Erin M., Robé, Christopher, Florida Atlantic University, School of Communication & Multimedia Studies, Dorothy F. Schmidt College of Arts and Letters
Abstract/Description
This study investigates the use of film and video as political tools for women to promote collectivity, raise consciousness, and incite both social and political change. Through textual analysis of seven experimental films and videos, from the years 1965-1975, it is apparent that women used techniques of reclamation of three major aspects of identity formation—namely, body, pleasure, and physical space—to individually take steps toward liberation, while adding to the social phenomenon of...
Show moreThis study investigates the use of film and video as political tools for women to promote collectivity, raise consciousness, and incite both social and political change. Through textual analysis of seven experimental films and videos, from the years 1965-1975, it is apparent that women used techniques of reclamation of three major aspects of identity formation—namely, body, pleasure, and physical space—to individually take steps toward liberation, while adding to the social phenomenon of second-wave feminism. Through this analysis the following question is addressed: how, and why, did the female media makers of the women’s liberation movement and sexual revolution implement both film and video to challenge social constructions and ideas regarding femininity, domesticity, and sexuality? The textual analysis performed in relation to this research question is rooted in cultural materialism and takes historical, economic, and cultural factors into account.
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Date Issued
2019
PURL
http://purl.flvc.org/fau/fd/FA00013376
Subject Headings
Feminism, Experimental films, Experimental videos, Women motion picture producers and directors, Sexuality
Format
Document (PDF)
Cinematic Portrayals of Ancient Women: Cleopatra VII, Livia Augusta, Servilia Caepionis and the Three Waves of Feminism
Title
Cinematic Portrayals of Ancient Women: Cleopatra VII, Livia Augusta, Servilia Caepionis and the Three Waves of Feminism.
Creator
Schwab, Andrea, Buller, Jeffrey, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of History
Abstract/Description
This project examines the modern perception of ancient women, specifically through the creative (and often anachronistic) lens of film. All three women examined, Cleopatra VII, Livia Augusta, and Servilia Caepionis, all exemplify the modern influence on interpreting historical sources, resulting in all three becoming agents of feminism in their own times. Each woman did not culminate the probable influence they had in Roman society, but they are instead reflective of the patriarchal paradigms...
Show moreThis project examines the modern perception of ancient women, specifically through the creative (and often anachronistic) lens of film. All three women examined, Cleopatra VII, Livia Augusta, and Servilia Caepionis, all exemplify the modern influence on interpreting historical sources, resulting in all three becoming agents of feminism in their own times. Each woman did not culminate the probable influence they had in Roman society, but they are instead reflective of the patriarchal paradigms understood by 20th and 21st century audiences. The burgeoning feminist ideologies of the 20th century would influence the depictions of each character in an anachronistic fashion, distorting the actual control such figures had in history. While Elizabeth Taylor’s Cleopatra capitalized on youth and sexuality as tools of powers, Siân Phillips’ Livia emphasized age and experience to advance in patriarchal Rome. Servilia, however, was an older matron who had both the experience and the sexuality to control those around her. Whileeach figure approached it in very distinct methods, their common goal of changing Roman politics was reflective of the continued (and relatively unchanged) perception of ancient Roman women: as intelligent, yet dangerous, figures that served to derail patriarchal Roman politics.
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Date Issued
2016
PURL
http://purl.flvc.org/fau/fd/FA00004780, http://purl.flvc.org/fau/fd/FA00004780
Subject Headings
Feminist theory., Feminism and motion pictures., Third-wave feminism., Women--Rome--Historiography., Mistresses--Rome--Historiography.
Format
Document (PDF)
One yard shy of empowerment
Title
One yard shy of empowerment: cinematic portrayals of female athletes.
Creator
Lieberman, Vividiana., Dorothy F. Schmidt College of Arts and Letters, Center for Women, Gender and Sexuality Studies
Abstract/Description
Sports are a primary zone of masculinity and sports films are a popular genre. One is hard pressed to find many leading female roles as athletes in male-dominated sports storylines. The cinematic portrayal of women athletes represents social attitudes and values and whether or not the women's movement has been able to influence representations and, concomitantly, social understandings of women and athleticism. My discussion of films featuring female athletes begins with National Velvet (1944)...
Show moreSports are a primary zone of masculinity and sports films are a popular genre. One is hard pressed to find many leading female roles as athletes in male-dominated sports storylines. The cinematic portrayal of women athletes represents social attitudes and values and whether or not the women's movement has been able to influence representations and, concomitantly, social understandings of women and athleticism. My discussion of films featuring female athletes begins with National Velvet (1944) and ends with Whip It (2008). By examining select sports films centered on all female teams, co-ed teams and individual female athletes, I show how their storylines and resolutions do or do not capitulate to patriarchal ideology. I find a general capitulation, with some concessions to women's equality. I conclude with a call for a degendering of sports and a redefinition of strength, competitiveness and aggression as human, not masculine.
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Date Issued
2012
PURL
http://purl.flvc.org/FAU/3342205
Subject Headings
Women athletes, Feminism and sports, Competition (Psychology), Minorities in motion pictures, Sex discrimination against women
Format
Document (PDF)
Women, film, and oceans a/part
Title
Women, film, and oceans a/part: the critical humor of Tracey Moffatt, Monica Pellizzari, and Clara Law.
Creator
Senzani, Alessandra., Dorothy F. Schmidt College of Arts and Letters, School of Communication and Multimedia Studies
Abstract/Description
The politicized use of humor in accented cinema is a tool for negotiating particular formations of identity, such as sexuality, gender, ethnicity, and class. The body of work produced by contemporary women filmmakers working in Australia, specifically Tracey Moffatt, Monica Pellizzari, and Clara Law, illustrates how these directors have employed critical humor as a response to their multiple marginalization as women, Australian, and accented filmmakers. In their works, humor functions as a...
Show moreThe politicized use of humor in accented cinema is a tool for negotiating particular formations of identity, such as sexuality, gender, ethnicity, and class. The body of work produced by contemporary women filmmakers working in Australia, specifically Tracey Moffatt, Monica Pellizzari, and Clara Law, illustrates how these directors have employed critical humor as a response to their multiple marginalization as women, Australian, and accented filmmakers. In their works, humor functions as a critical tool to deconstruct the contradictions in dominant discourses as they relate to (neo)colonial, racist, globalized, patriarchal, and displaced pasts and presents. Produced within Australian national cinema, but emerging from experiences of geographical displacements that defy territorial borders, their films illuminate how critical humor can inflect such accepted categories as the national constitution of a cinema, film genre, and questions of exile and diaspora. Critical humor thus consti tutes a cinematic signifying practice able, following Luigi Pirandello's description of umorismo, to decompose the filmic text, and as a tool for an ideological critique of cinema and its role in (re)producing discourses of the nation predicated on the dominant categories of whiteness and masculinity. The study offers a theoretical framework for decoding humor in a film text, focusing on the manipulation of cinematic language, and it provides a model for a criticism that wishes to heighten the counter-hegemonic potential of cinematic texts, by picking up on the humorous, contradictory openings of the text and widening them through a parallel dissociating process., Finally, critical humor in the accented cinema of women filmmakers like Moffatt, Pellizzari, and Law is shown to constitute a form of translation and negotiation performed between the national, monologic constraints of film production and cinematic language, the heteroglossia of the global imaginaries that have traveled since the beginning with film technology, and the local and diasporic accents informing a filmmaker's unique style and perspective.
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Date Issued
2008
PURL
http://purl.flvc.org/FAU/186293
Subject Headings
Women motion picture producers and directors, Feminism and motion pictures, Criticism and interpretation, Local color in motion pictures, Intercultural communication in motion pictures
Format
Document (PDF)