Lights Camera Feminism

Celebrities in the United States have drawn significant attention and resources to the complex issue of human trafficking--a subject of feminist concern--and they are often criticized for promoting sensationalized and simplistic understandings of the issue. In this comprehensive analysis of celebrities' anti-trafficking activism, however, Samantha Majic finds that this phenomenon is more nuanced: even as some celebrities promote regressive issue narratives and carceral solutions, others use their platforms to elevate more diverse representations of human trafficking and feminist analyses of gender inequality. Lights, Camera, Feminism? thus argues that we should understand celebrities as multilevel political actors whose activism is shaped and mediated by a range of personal and contextual factors, with implications for feminist and democratic politics more broadly.

Meet Alice Guy-Blaché. She made movies—some of the very first movies, and some of the most exciting! Blow up a pirate ship? Why not? Crawl into a tiger's cage? Of course! Leap off a bridge onto a real speeding train? It will be easy! Driven by her passion for storytelling, Alice saw a potential for film that others had not seen before, allowing her to develop new narratives, new camera angles, new techniques, and to surprise her audiences again and again. With daring and vision, Alice Guy-Blaché introduced the world to a thrilling frontier of imagination and adventure, and became one of filmmaking's first and greatest innovators. Mara Rockliff tells the story of a girl who grew up loving stories and became an acclaimed storyteller and an inspiration in her own right.

This feminist retelling of the history of photography puts women in the picture—and, more importantly, behind the camera! In ten thematic, chronological sections, Tate Modern curator Emma Lewis explores the vital role women artists have played in shaping the ever-evolving medium of photography. Lewis has compiled work from more than 200 different women and nonbinary photographers along with short essays on 75 different artists, many informed by her interviews with the subjects. From the studio portraiture of the late nineteenth century to the photojournalism of Dorothea Lange and Lee Miller in the early twentieth—and from second-wave feminist critiques of gender roles to contemporary selfies and social media personae—this volume examines different genres, styles, and approaches to photography from the 1800s to the present. UNPARALLELED IN SCOPE: International, inclusive, and intersectional, this comprehensive volume tells the story of a versatile and innovative medium. From early-twentieth-century self-portraits responding to modernity and changing notions of womanhood, to photojournalistic images documenting the climate crisis, the photographs in this book demonstrate the varied ways that women respond to and shape the global cultural landscape. The artists profiled here include: • Sheila Pree Bright • Imogen Cunningham • Paz Errázuriz • Nan Goldin • Kati Horna • Mari Katayama • Dora Maar • Lee Miller • Tina Modotti • Zanele Muholi • Shirin Neshat • Cindy Sherman • Lieko Shiga • Lorna Simpson • Amalia Ulman • And more! INSIGHTFULLY ORGANIZED: The thematic chapters of this project showcase photography's changing role in society and art. They allow the author to explore and contextualize how this role has (or hasn't) made space for women and people of marginalized genders, and how the work done on the margins of the medium pushes the boundaries of technology and creative expression. This is not simply a collection of "women photographers"—it's a book about how and why women and nonbinary artists have used photography to respond to and shape their own realities. Perfect for: • Photographers, artists, and students, and art lovers • Anyone interested in the history of photography • Intersectional feminists • Trailblazing women—and the people who love and support them!

Analyzes the treatment of women in American movies and examines the themes of a variety of contemporary movies made by women.

Women are bombarded with images dictating how we must look, how we should act and even defining who we are. When women present images of themselves, the boundaries fall away giving fascinating leaps of the imagination. From abstract expression to straightforward snapshots, women can use the camera differently. We can go beyond conventional photographic preoccupations with surface and lighting and see the camera as a flexible tool to record, discover and invent."--Publisher's description.

First published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.

In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.

Book analyses how women are represented in the cinema.