Sentences with phrase «by feminist film»

We're also heavily influenced by feminist film and video artists such as Maya Deren, Lynda Benglis, Yoko Ono, Valie Export, Ulrike Ottinger, Carolee Schneemann, Barbara Hammer, and many others.

Referencing the «male gaze» — a term coined by feminist film critic Laura Mulvey to describe the way in which women become framed and understood from a male perspective — this exhibition reverses stereotypical gender roles to treat the male body as the subject of our collective viewing.

Not exact matches

For instance, feminists disagree on the interpretation of Swept Away, a Lina Wertmuller film that portrays an upper - class woman who is sexually dominated by her servant and who eventually begins to enjoy the domination.

It has been hailed as a subversive feminist take on this form — although it is open to question whether the film would look all that different if it were directed by a man.

Refn has described the film as «beyond feminist», yet this is a movie in which things are done to women's bodies (there's a scene in which Fanning's character is deep throated with a knife) and which parades naked women around to be defined by their beauty.

Suggesting a period piece version of a film noir saga as envisioned by Stanley Kubrick, this twisted feminist drama is rooted in contentious racial - and gender - warfare issues, employing a meticulous formalism to recount its cutthroat story about Katherine's at - any - cost attempts to attain liberation.

TALKING: Aside from some curious statements by Theron's Raveena that might stir up a Slate.com feminist breakdown or two, dialogue is highly superfluous to this story; it's got such obvious visuals it could probably play out as a silent film.

Directed by Jane Campion — known for powerful»90s film «The Piano» — this isn't your typical police procedural; it's a seriously smart mystery, with top drawer acting (it also stars Peter Mullan and Holly Hunter) and an unexpected feminist undercurrent.

In her review of the film for the BFI, my good friend and collaborator Sophie Mayer astutely links Stories We Tell to the feminist classic Daughter Rite (1978) by Michelle Citron, and what I love about this connection is the fact that it perfectly crystallizes how experimental and powerful Polley's examination of female identity — both hers and that of her elusive mother — is.

Wonder Woman was the film that defied all the predictions: a big - budget superhero movie directed by a woman which managed to please not only the feminists and their daughters but also the boys who love DC and Marvel.

Based on the graphic novel by Coco Moodysson, and directed by her husband, Lukas, the entertaining film puts a refreshing feminist spin on a usually male - centric genre.

Eighty - one - year - old Jacob, who has attended every festival since 1964 and became its chief selector in 1978, added: «The job of feminists and of people like me who like the work of female film - makers is to say to him: «Are you sure there isn't somewhere a film by a woman that deserves to be competing?»

Writer and director Joss Whedon has always described himself as a feminist, which is fair enough considering he created Buffy the Vampire Slayer, but in May he was forced to deactivate his Twitter account after being deluged by complaints about Black Widow's role in his film.

In this refreshingly rowdy, distinctly feminist film from debut writer - director Maggie Carey an inexperienced, tirelessly sensible teenage girl prepares herself for college life by taking charge of her own sexual awakening.

Hollywood, beset by scandal in 2017, wouldn't mind backing a movie about the power of the free press as a sideswipe at an unpopular president, much less a movie about the power of the free press that might be the most feminist film Spielberg has ever made.

The decade did, of course, produce two enduring feminist stars: Julie Christie, who speaks in the film with the radiant sincerity that has always been hers, and Jane Fonda, who does not appear but is ably represented by her best director, Sydney Pollack.

This plays as oddly as it sounds and it would feel chauvinist and exploitative (breasts are liberally bared) if not directed by a woman otherwise most known for a feminist film (Gas Food Lodging, also starring Skye).

Feig's film may be a feminist milestone: a big ol' popcorn movie taken over by women, (something that should have happened long ago and engendered far less vitriol).

With all its buzz about being a «feminist film» and the ridiculous drama brought about by a wannabe men's activist espousing the film's brain - washing agenda, sounds like some of those music - loving Pitch Perfect fans may just mosy over to Mad Max next weekend for another dose of kick - ass women.

As an activist group supporting feminist progress in the film industry, the Alliance of Women Film Journalists (AWFJ.org), a nonprofit professional association of women who write about film and the movie industry, keeps tabs on films made by and about women throughout each year, conducting what might be considered a very informal study of feminist film production.

The movie's definitely a grrl - power film without being explicitly feminist; that's not a bad thing, mind you, but the grace by which Fury Road lets its female heroes simply be themselves is infinitely admirable and refreshing in a world that's still arguing over whether or not Black Widow thinks she's a monster for not being able to make babies.

The film — which focuses on three women exploring their sexuality and experiencing gender inequality in New York City — was made by an all - female crew and co-directed by Kate Millett, a prominent feminist activist and writer who is best known for her 1970 book Sexual Politics.

The film is also embedded with a feminist psychology — EXPORT's longstanding interests in confronting misogyny reaches delirious heights as Anna is psychically tortured by a patriarchal society, whose connection to Nazism is only thinly veiled.

On Sunday, Schnitger further explores feminist speech by inviting filmmaker Kerri Koch to share her work, Don't Need You: A Herstory of Riot Grrrl; followed by a screening of Inez Milholland: Forward Into Light, a short film by Martha Wheelock on the preeminent suffragette; and a talk on contemporary witchcraft and closing ceremony by Amanda Yates Garcia, the Oracle of Los Angeles.

Within, a rich range of feminist texts and rare archive material accompany a trippily hedonistic film shot by Linder (who is probably best known for her Buzzcocks album covers) in the grounds of Chatsworth, where she pays homage to former occupants Mary Queen of Scots and Bess of Hardwick.

By painting these juvenile faces of Rainer Werner Fassbinder, Pier Paolo Pasolini — paternal figures of 20th century cinema that maintained a deep relationship with their mothers, as they even appeared in some of their films — and Frida Khalo — painter and feminist figure — Giulia addresses the issue of childhood.

For TRACTION, Isaac Julien will be joined in conversation by feminist writer, film critic, LGBT activist, and UC Santa Cruz professor of film and digital media B. Ruby Rich.

Zanny Begg's The City of Ladies: Resistance, revisionism and reclamation For Nina Miall, the Australian artist's film (inspired by Franco - Italian writer and «proto - feminist» Christine de Pizan's 1405 novel) spotlights the many facets of feminism and the role collectives play in protest

Carolee Schneemann's experimental film, Fuses, explicitly addresses feminist attempts to differentiate erotica from porn by avoiding the sole glorification of the female body.

Strongly influenced by the origins of activist, feminist and socially engaged art, Pilgrim works in a wide range of media including live performance, film, text, workshops and musical composition.

The film and related archive provide first - person histories of the pioneering individuals and key founding members of the feminist art movement in the United States, along with younger generation of artists influenced by them.

The godmother of feminist art, Kelly is known for her provocative films and large - scale narrative installations that explore notions of sexuality, work, power, and politics by tapping into the more visceral aspects of daily life... «Kelly is one of the most important female Conceptual artists of our time,» says L.A. gallerist Susanne Vielmetter, who represents the artist along with New York — based Mitchell - Innes & Nash, and Pippy Houldsworth Gallery of London.

1 Featuring new collaborative commissions and existing work by Vancouver - based artist Tiziana La Melia and Montreal - based artist Maryse Larivière, the exhibition brings together feminist and ecological concerns articulated through tableaus, film, painting, sculpture and rot.

She is featured in two 2010 films on feminist art - The Heretics, directed by Joan Braderman which focuses on the founders of the magazines Heresies: A Feminist Publication of Art and Politics in 1976; and!

Meshes of the Afternoon (1943) was the first experiment in film by feminist artist and director Maya Deren.

Video and film by feminist artists and filmmakers, from the 1970s to today, selected by Carmen Hermo, assistant curator, Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.

We are not doing a study of the monster genre of films nor are we connecting or distinguishing the terms «monsters» and «madwomen» as they have been understood by feminists and others over time.