Sentences with phrase «feminist film»

These works represent and illustrate the key stages of the feminist discourse and feminist film theory since the 1970s.

A Quiet Passion has drawn praise as a solidly feminist film.

We certainly think so: Our ranked list of the 100 best feminist films of all time is already making waves.

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.

A central tenet of feminist film theory holds that the havoc wreaked on the bodies of women propels narrative storytelling.

In classical Hollywood cinema, as feminist film theorist, Laura Mulvey defined it; women are almost always represented in a sexualized way in order to appeal to a male audience.

This article seeks to apply insights coming from feminist film criticism, where the «gendered gaze ensures a hierarchical positioning of male and female encoded in terms such as active / passive and subjective / objective.»

For over three decades Rich has been one of the most important voices in feminist film criticism.

The Post is also, surprisingly, the most feminist film Spielberg has made since 1985's The Color Purple.

Lately, there have been some terrific feminist films about life under patriarchal law.

Other notable speakers of the season are British feminist film theorist and seminal voice on film and media studies, Laura Mulvey; writer and professor of psychology and gender studies, Lynne Segal; and Catherine Wood, Senior Curator of Performing Art at Tate, writer of Yvonne Rainer: The Mind is a Muscle (2007) and curator of Yvonne Rainer: Dance Works 1961 — 72 at Raven Row in London in 2014.

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.

Director Lizzie Borden discusses women's stories, grassroots efforts, and how she captured the «spirit of revolution» in her 1983 feminist film Born in Flames.

A Sundance Film Festival that was colored, gripped and sometimes overshadowed by the early days of the Donald Trump administration saw a slew of feminist films win big at the gathering's awards.

Eastwood - helmed films, to me at least, are coarse, broad, and sometimes offensive; it took him seven decades to come up with a reductivist feminist film (one that portrays good women as dead or male analogs), marking Million Dollar Baby as something along the lines of Eastwood's apology for Play Misty for Me the way that Unforgiven was his apology for the violence of the Sergio Leone cycle.

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.

Anchored by Alicia Vikander as the robotic Ava, Ex Machina doesn't pass the Bechdel Test but it is a deeply feminist film.

Yes, it's a rousing historical drama; yes, it's a strongly feminist film; yes, it's a killer ensemble piece loaded with some of the best actors in the business.

A story of four powerful women (two best friends from the 1920s and two unlikely friends from the»80s), this is one of the most badass feminist films of all time.

Selina is currently doing a film PhD at Birkbeck researching London's 1980s - 1990s queer and feminist film curatorial histories.

In 2007, she co-founded Club des Femmes, a queer feminist film curating collective with Sarah Wood.

For her presentation at Studio Voltaire, Hopf will create a new film work drawing upon references to silent cinema and feminist film material from the suffragette era.

All works are defined by a visual form that innovatively incorporates and reflects on a wide array of influences from silent and American experimental filmto feminist film theory.

Belgian director Chantal Akerman, known for her introspective feminist films, died at the age of 65.

It's also easy to chart this as a highly feminist story, probably Spielberg's most feminist film since THE COLOR PURPLE, about a woman finding her voice.

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.

Furthermore, she never does the irritating «feisty» or «sassy» or «uppity» shtick that endeared the all - female Ghostbusters reboot of 2016 to feminist film critics but to no one else.

It'd be as much of a stretch as some of its loonier plot contrivances to call «Unsane» a feminist film, but it's knowing trash with some abrasive social texture — some of it written in, some of it lent by the world into which it's being released.

The story of Joy Mangano and the creation of the Miracle Mop could become a feminist film if Russell's script is sound.

Iranian - Canadian filmmaker Sadaf Foroughi discusses her Discovery Peogramme FIPRESCI winner Ava and making a feminist film.

Most interesting is that for all the self - congratulation with regards to the trio having made a feminist film, none of the female stars are interviewed.

He also strongly defends the movie as a feminist film against some of the criticisms, taking to task some specific Siskel and Ebert remarks.

Despite accusations of misogyny, Sam Peckinpah's domestic thriller is a feminist film in disguise.

What good is a feminist film when it speaks to only to a narrow set of experiences?

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).

But * Mudbound * is also a feminist film in that its two central female characters, Carey Mulligan and Mary J. Blige's wives and mothers — again, one white and one black — push back against the role of dutiful, obedient helpmeet to their husbands to assert themselves and demand that their own needs and desires be met, not just for themselves but to improve life for their children.

«When people ask me if I am a feminist film maker, I reply I am a woman and I also make films.»

What defines a feminist film?

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.

It's not a feminist film.

Three Suns tries to be a sweeping historical epic (and feminist film to boot) but fails for the most part.

Joyce at 34, the half - hour personal film accompanying I.F. Stone's Weekly at the Movie House, is touted as a feminist film.

Mostly interested in feminist film and visual art theory.

The lecture was be followed by a talk with Lizzie BORDEN, the director of the sci - fi feminist film Born in Flames and Ula STÖCKL, the director of Germany's first feminist film, The Cat Has Nine Lives.

SIWFF presented a special lecture «Something Different: How feminist filmmakers changed cinema - and the world» by Dr. Sophie Mayer, a British feminist film activist and the author of Political Animals: The New Feminist Cinema and The Cinema of Sally Potter: A Politics of Love to help the audience learn about the feminist film movement starting in UK in the early 1970s as well as understand the history which cinema has been intersected with feminism.