Over 20 pages we celebrate a selection of remarkable works by female filmmakers that have unjustly slipped from public view, in the hope we can correct their place in film history and help them find a wider audience.
Introduction by Isabel Stevens. For years typecast in horror films as victims and scream queens, women are moving behind the camera in ever-increasing numbers. A Death in the Family. Another Place Another Time.
Seven years after her last film, The Headless Woman, Lucrecia Martel is back at work on another chronicle of existential uncertainty with an adaptation of Zama , a classic Argentinian novel about a civil servant waiting for his life to change in late 18th-century Paraguay. Diego Lerer visits the set. Even in the digital age, the business card clings on — often less a proof of identity than a hint that something needs proving.
With Pasolini, Abel Ferrara joins a burgeoning tradition of directors celebrating the lives and work of fellow filmmakers. Huge variety is always on offer at the LFF but this year looks potentially more bountiful and audience-friendly than ever. Yes, women get pushed to the margins of the film business — but there are great women filmmakers out there, and always have been. Famous for discovering new talent, the Swiss resort this year became an advert for the joys of rediscovery.
German Films: German Films Quarterly
The producers of a true-life epic about the deadly ice storm of had some miniature mountains of their own to climb. Our Wide Angle section. As scriptwriter, director, star, Marguerite Duras created a unique, poetic body of film. Why, then, do we see her work so rarely? Whether adding colour or whitewashing scandal, the feminine touch was essential to early Hollywood.
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Year of the Woman — and archives full of women! Film of the week: The Digital Edition and Archive quick link. Log in here to your digital edition and archive subscription, take a look at the packages on offer and buy a subscription. Access the digital edition. Back to the top. Teaching film, TV and media studies.
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Main navigation for mobiles. Features The Female Gaze: Racquel Gates and Kristen J. Warner are colleagues and soul twins who enjoy applying their expertise in race and media to popular culture debates. To many men and women of color, as well as many white women, meaningful diversity occurs when the actual presence of different-looking bodies appear on screen.
For them, this diversity serves as an indicator of progress as well as an aspirational frame for younger generations who are told that the visual signifiers they can identify with carry a great amount of symbolic weight. This special dossier for Film Quarterly comprises a selection of essays that share the central idea that the work ahead for scholars in the current moment must be to appreciate what has been an ever-increasing complication of the idea of black film and media over the last ten years.
This dossier considers significant trends, film and media objects, and clusters of work related to Film Quarterly has been interested for some time in establishing a critical approach to works made in Virtual Reality VR. Homay King had begun conducting interviews with Shari Frilot to that same end.