The chapter Experiencing Male Dominance in Swedish Film Production” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Gender studies has maintained its status as a heavily researched field. However, women and their role in cinema is a vastly understudied topic that deals with various aspects of feminism and sexism. The function of women in the film industry has evolved over time and proven to be an interesting area of research regarding the transition from sexual icons to respected professionals. Feminism is a widely researched subject, yet its specific application within cinema is an area that has yet to be studied. International Perspectives on Feminism and Sexism in the Film Industry is an essential reference source that examines the representation of women in cinema and provides a feminist approach to various aspects of the film industry including labor, production, and the cultural impact of women in motion pictures. Featuring research on topics such as violence against women, feminist film theory, and psychoanalysis, this book is ideally designed for directors, industry professionals, writers, screenwriters, activists, professors, students, administrators, and researchers in fields that include film studies, gender studies, mass media, and communications.

Includes short entries for actresses, genres, studios and topics.

This book explores the challenges facing women from their mid-forties as they attempt to build/maintain careers in the screen industries. Essays are concerned with the intersection of gender and age on screen and behind the camera and how that can create a ‘double jeopardy’. Existing research in this area has been primarily directed to onscreen representation. Female actors, with notable exceptions, struggle to get screen time and expansive roles as they age. Behind the camera, women 45+ also face challenges and roadblocks; to date, less attention has been directed to this group. The cross-cultural research in this collection offers an analysis of representation, on and off screen, touching on film, television, streaming services and film festivals. It includes an exploration of gendered ageism, age bias and stereotyping. It also highlights the achievements of mature female practitioners who, in their work and working lives, embody a resistance to restrictive cultural discourses about ageing women.

Cross-sectional studies on communication have been widely conducted by researchers from various fields. Besides the pros, contras also downplay our propositions. Hence, the essence of communication in various fields should meet in-depth understanding. This later encourages researchers in social science to study and even to test the beliefs that have been assumed to become evidence. It is vital to configure our perspectives in examining the links between various fields of communication as communication plays roles on professional and personal successes of people, as numerous studies have shown. This book sheds lights on how communication research are conducted in different research areas such as digital communication and digital marketing, language and identity, communication on journalism, communication in news and mass media, pedagogical communication, political communication, ethics and communication, tourism and communication, and women and communication. It is expected that this book can provide insightful perspectives for its readers.

Gender studies has maintained its status as a heavily researched field. However, women and their role in cinema is a vastly understudied topic that deals with various aspects of feminism and sexism. The function of women in the film industry has evolved over time and proven to be an interesting area of research regarding the transition from sexual icons to respected professionals. Feminism is a widely researched subject, yet its specific application within cinema is an area that has yet to be studied. International Perspectives on Feminism and Sexism in the Film Industry is an essential reference source that examines the representation of women in cinema and provides a feminist approach to various aspects of the film industry including labor, production, and the cultural impact of women in motion pictures. Featuring research on topics such as violence against women, feminist film theory, and psychoanalysis, this book is ideally designed for directors, industry professionals, writers, screenwriters, activists, professors, students, administrators, and researchers in fields that include film studies, gender studies, mass media, and communications.

Including case studies of women as stars, filmmakers and female heroes, this guide provides an accessible introduction to the study of women in film and is useful for the study of genre and representation.

Essential handbook for women-identified filmmakers, in all their diversity, who want to find and connect with their audiences. And for everyone who loves those filmmakers and wants to watch their movies, in real life or virtually. Comprehensive, global list of women's film festivals: Africa, Asia, Canada & the United States, Central and South America, Europe, Oceania and specialist all-year streaming sites. Links to each festival and its social media, and notes its associated activities like educational programmes, conversations with filmmakers; and its publications. Supplies each festival's Covid status. Also lists databases that support and promote women and non-binary filmmakers. Contextualised in Introductions to each section and in Afterword. If you love the diverse female gaze, women's art and imaginations, community and women's lived experience, this is for you.

The purpose of this edited volume is to explore the contributions of women to European, Mexican, American and Indian film industries during the years 1900 to 1950, an important period that signified the rise and consolidation of media technologies. Their pioneering work as film stars, writers, directors, designers and producers as well as their endeavors to bridge the gap between the avant-garde and mass culture are significant aspects of this collection. This intersection will be carefully nuanced through their cinematographic production, performances and artistic creations. Other distinctive features pertain to the interconnection of gender roles and moral values with ways of looking, which paves the way for realigning social and aesthetic conventions of femininity. Based on this thematic and diverse sociocultural context, this study has an international scope, their main audiences being scholars and graduate students that pursue to advance interdisciplinary research in the field of feminist theory, film, gender, media and avant-garde studies. Likewise, historians, art and literature specialists will find the content appealing to the degree that intermedial and cross-cultural approaches are presented.

This book analyzes the changes in the representation of women in Iranian cinema since the 1960s, and investigates the reasons and motives for this. Iranian cinema, both before and after the Islamic Revolution, has been closely monitored by the ruling power, and has been utilized to relay messages and information that comply with the ruling ideology. However, it was only after the 1979 Revolution and the subsequent legitimization of cinema by the Islamic rule that cinema became widely accessible to the general public. Within this context, this book explores the changing roles of women in film production and their representation in films made between the 1960s and 2000s. Although some aspects of women’s lives became stricter after the revolution, it was in the late 1980s that women took a prominent role both behind and in front of the camera for the first time. It is demonstrated here that such shifts were due to several factors, including factionalism within the Islamic Republic, shifts in the Iranian film industry, and the emergence of a group of highly educated film production teams, in addition to the fuller integration of women into the film industry, which is analyzed in particular detail. This study explores a number of representative female-centric films, with a focus on their cultural, social and cinematic contexts. Discussing these films with respect to the representation of women, it uses textual analysis as its base methodology. Interviews conducted with filmmakers and people active in the industry also serve to place the films into their historical, social, and political context.