The taboo-busting women of Chinese film

The untold stories of Japan and China’s extraordinary female filmmakers are finally coming to light. Harriet Constable finds out how – and why now.

To read the full article, go to BBC Culture


Director Crystal Kwok on Jackie Chan, sex talk and where Asians fitted into segregated US South

  • The former actress is investigating her family’s experience in the ‘binary’ American South in new documentary Not Black and White
  • Her habit of challenging the status quo earned her the nickname ‘Flip-lip’ as a child

Read the full article, please visit SCMP

Call for Papers ‘Comparative Cinema’ N15 (Fall 2020): Feminine desires in film. Theories, methods, case studies.

Call for Papers ‘Comparative Cinema’ N15 (Fall 2020): Feminine desires in film. Theories, methods, case studies. 

From the 1980s, with what is known as the “feminist conscience turn”, the essentialist ways to define female subjectivity entered a crisis, and so did the monolithic conception of feminine desire as an unchangeable entity. An open conception of the desiring female subject as a locus for a set of multiple, complex and potentially contradictory experiences began to be upheld. In this new paradigm, the oeuvre of Teresa de Lauretis, Judith Butler or, in another direction, Rosi Braidotti, have offered new philosophical roads to talk about subjects and their desires. Film theory has not been foreign to this metamorphosis, and it has generated works of reference from authors such as Tania Modleski, Jackie Stacey, Gaylyn Studlar or Linda Williams. This Call For Papers invites authors to present texts that, following these new directions, help to rethink the representation of feminine desires in film, both from a historical perspective as well as attending to the vitality of contemporary creation. The journal will take into account the articles that propose an in-depth study of the different theoretical and methodological basis related to this study field, and those that analyze, from a comparative perspective, gestures, gazes and images that are selected as analytical subjects for advancing research on the audiovisual representation of feminine desires in films. It is suggested, in the case studies, that authors begin their articles with a comparison between two images or sequences from different films as a starting point, before expanding upon their research.

Languages: ‘Comparative Cinema’ edits all its articles in English, but also accepts originals to be evaluated and published in Catalan or Spanish. If an article is accepted, its authors must assume the costs of translating it to English.

Length of the articles: from 5.000 to 6.000 words, including footnotes. The texts (in Word) and the accompanying images must be sent through the OJS platform of RACO.

See here other submission details and format guidelines:

Submission dates: from September 15th to December 15th, 2019.

Call for submissions: FEMINIST MEDIA STUDIES


Call for submissions


Commentary and Criticism


The broad expansion of the post-feminist media landscape of the past couple of decades brought about an increased visibility of spectacularised and idealised ideas of pregnancy – a romanticised “new momism” (Douglas and Michaels, 2004). Alongside these romanticised discourses, though, exist numerous examples of mediated pregnancies that sit outside of such glamorised and perfect representations of pregnancy. This context has also opened up new networked spaces for people to seek and offer support online in relation to pregnancy, as well as spaces to search for or share (self-)representations of pregnancy. The editors of Commentary and Criticism invite short essays that critically consider pregnancy and contemporary media. Possible topics might include, but are not limited to:

·         Media representations of pregnancy

·         Pregnancy in the media industries

·         Online users and communities’ uses of digital media related to pregnancy

·         Celebrity pregnancies

·         Mediated pregnancy in relation to diverse intersectionalities including: LGBTQ+, age, race, class, ability

·         Audiences’ consumption of mediated pregnancy

·         Pregnancy in the context of health communication or health policy in the media

·         Onscreen pregnancy and genre

·         Neoliberalism, pregnancy and media

The Commentary and Criticism section of Feminist Media Studies aims to publish brief (~1000 words), timely responses to current issues in feminist media culture, for an international readership. Submissions may pose a provocation, describe work in progress, or propose areas for future study. We will also consider book and event reviews, as well as contributions that depart from traditional academic formats. We encourage all submissions to strategically mobilise critique to also offer a productive contribution to both feminist politics and media studies. Submissions must go beyond mere description in order to be considered for publication in Commentary and Criticism.

Please submit contributions by 26 April 2019, via email to both Melanie Kennedy ( and Safiya Noble ( also welcome questions and expressions of interest in advance of the deadline.

Submissions for Commentary and Criticism will not be correctly processed if submitted through via the Feminist Media Studies site, and should be emailed directly to Drs Kennedy and Noble using the email addresses above.

Please be sure to follow the Feminist Media Studies style and referencing guides, which can be found here.

CFP: ViewFinder — Theme on Masculinity

ViewFinder, the British Universities and Colleges Film and Video Council magazine is currently seeking submissions for our Summer Term issue which is themed on Masculinity.

The next issue is based on Masculinity – Exploring representations of gender, masculinity, male and female behaviour on film, television, radio and in education. From old patriarchy in the industry, to new forms of masculinity in the millennium, this issue aims to spotlight one of the more pressing identity issues of today.

Deadline for final draft submissions is end of April 2019.

Please send proposals asap to Kit at Learning On Screen:

ViewFinder is the specialist online magazine for Learning On Screen: The British Universities and Colleges Film and Video Council, dedicated to exploring the moving image and education.

CFP: Millennial Masculinities: Queers, Pimp Daddies and Lumbersexuals

Millennial Masculinities: Queers, Pimp Daddies and Lumbersexuals

Massey University, Wellington New Zealand

December 10-11 2019
Keynote Speakers

Christopher Breward, National Galleries of Scotland

Pamela Church Gibson, London College of Fashion, University of the Arts

Shaun Cole, Winchester School of Art, University of Southhampton

Andrew Reilly, University of Hawaii


Vicki Karaminas, Massey University, New Zealand

In the age under the shadow of accused sexual predator Harvey Weinstein, Vladimir Putin’s hypermasculinity and conservative politician Donald Trump, the question of masculine identity looms as exigently as ever. While it is proper to identity construction of all kinds to question and deliberate upon what is constituted as desirable, it is now the sheer multiplicity of masculine identities, coupled with the reassertion of some of the less desirable, that makes this area of inquiry so rich, and so necessary.

Looking at the present inevitably involves combing the past: stylish types appeared in the West during the 19th century, such as the dandy or the restless bohemian, or postwar masculinities such as the beatnik hipster, the rebel, the hippie, or the playboy. The social and political upheavals of the 1960s (which includes Stonewall Riots in 1969) and beyond precipitated the so-called “crisis in masculinity” in which recourse to the age-old models of bold, straight, breadwinner was no longer the default model of what men ought to be. Gay and lesbian liberation, civil rights and the women’s movement placed normative masculinities on shaky ground. A confluence of a number of factors that had destabilised traditional, white middle-class, masculinity and gave rise to the men’s movement which contained branches that were masculine and pro-feminist. The emergence of the ‘New Man’ which was aided by the rise the retail sector and the style press, targeted affluent young male consumers and produced new kinds of images of men and their bodies in many cases reflective of by gay pornography.

By the 90s, this mediated ‘New Man’ had virtually disappeared and was replaced by the loutish New Lad. Labels come and go, and the beginning of the new millennium heralded the metrosexual, a consumer of luxury goods and cosmetics commensurate with any woman. In the new millennium, the effects of climate change and global warming, along with the sustainability and slow food movement, has produced new mediated masculinities, the repackaged urban hipster and his modern huntsman brother, the lumbersexual who has retreated back to nature. Masculinities are temporarily and spatially contingent and are embedded in culture, language and representation.

Yet the history of men’s fashion has tended to be the history of men’s fashion in the West. A history that prioritises European, rather than indigenous or non-western dress practices. Little attention has also been paid to the ways in which dress and appearance construct masculinities and connections with traditions in settler or colonised societies. This can be said of the Congo’s Sapeurs and the Death Metal Cowboys of Botswana where the dialectics between colonised/coloniser are complicated.

Millennial Masculinities is a two day interdisciplinary conference that explores the expression of masculinities through constructions of fashion, identity, style and appearance across the Arts and Humanities. Its areas of inquiry include cultural and gender theory, art history, fashion studies, film studies, literature, philosophy and sociology amongst others.

There will be the opportunity for papers to be published in a special issue of Critical Studies in Men’s Fashion, as well as the journals Film, Fashion and Consumption and the Journal of Asia Pacific Pop Culture.

Suggested topics include:

• Masculinities and cinema

• Representations of masculinity

• Masculinities and consumption

• Subcultural style

• Advertising men

• Queer film

• Men in uniforms

• Fashion film

• Celebrity men

• Indigenous male identities

• Fashion editorial

• Fetish men

• Hyper masculinities

• Reigning men in royalty

• Postcolonial masculinities

• Men in history

• Queer masculinities

• Minority/subaltern masculinities

• Drag kings/performativities of masculinities

• Technologies and masculinities

• Globalization and masculinities

• Contested masculinities

Submission Guidelines:

E-mail a 150-word abstract with title and a list of keywords, your name and contact details, institution/department, and a brief 3-5 sentence bio in one word doc.

Send paper abstracts with subject title Millennial Masculinities to Vicki Karaminas

Important Dates:

Deadline for Submission of proposals: August 30, 2019

Notification of Acceptance: 15 September, 2019.

Dialogue with Filmmakers 2019: Jewel Maranan 

Jewel Maranan 
Dialogue with Filmmakers 2019: Jewel Maranan 
Speaking for the silent from a small town near Manila
Jewel Maranan is an independent documentary filmmaker and producer from the Philippines. She started working for independent documentaries in 2008, tackling conflict situations in Manila. Throughout the years, she has developed a deep interest in the ways by which history inches through ordinary life. Jewel is an active participant in efforts to help develop Southeast Asian documentary through the SEA DocNet, a network of documentary professionals in Southeast Asia.
Her 2011 production TONDO, BELOVED: TO WHAT ARE THE POOR BORN? is a geopolitical exploration of life before birth in the smallest home in the seams of Manila’s premier international port. 6 years later, Jewel fixed her critical eye on the lives in the shadow of Tondo’s ever-engulfing port and finished her latest work IN THE CLAWS OF A CENTURY WANTING (official selection to 43rd Hong Kong International Film Festival). It is a filmic symphony of increasing everyday violence in the aspiration for a global city.
菲律賓獨立紀錄片導演及製作人珠慧瑪拉婻,2008年起從事獨立紀錄片工作,關注馬尼拉社會中所發生的衝突事件。多年來,她對歷史如何漸次地影響人們日常生活產生濃厚興趣。她亦致力發展東南亞紀錄片,積極參與由歌德學院所創立的SEA DocNet,透過此協助紀錄片工作者的網絡,鼓勵多元創作、挖掘被遺忘的當地文化。
Date: Thursday 21 March, 2019
Time: 7:30pm
Venue: Studio Room 303, Chong Yuet Ming Cultural Centre, The University of Hong Kong
Guest Speaker: Ms. Jewel Maranan
Moderator: Ms. Ruby Yang (Project Director of Hong Kong Documentary Initiative)
Language: Lecture in English
Dialogue with Filmmakers 2019: Programme Details

Call For Entries: 51st Directors’ Fortnight May 15-25, 2019 

51st Directors’ Fortnight May 15-25, 2019
The Directors’ Fortnight is organised by the French Directors’ Guild

Submissions 2019

Entry deadline for Feature films: March 29, 2019.
Entry deadline for Short and medium length films: March 15, 2019.

Feature films must be received no later than April 7, 2019.
Short and medium length films must be received no later than March 15, 2019.


Films must have been made during the 12 months preceding the 2019 Cannes film festival.
With the exception of foreign films in their country of origin, they should not have been presented at any international festival or film event (except in the context of a film market).
Films must not have been shown on the Internet or broadcasted on TV or commercially released in France.
Please visit the festival website for more details:

For any queries, please contact: or

Call For Entries: Hong Kong International Documentary Festival

Visible cover.jpg

Call For Entries(Deadline:May 10th, 2019)

Visible Record’s Hong Kong International Documentary Festival will be held in September 2019. The Chinese Documentary Competition is now open to any documentary with Chinese subject matter.

Founded in 2004, Visible Record is a non-profit arts organisation, which has dedicated itself to promoting documentaries.

Entry requirements
1. Documentary films produced between 1 January 2017 and 10 May 2019.

2. Such films should contain no less than 50 percent of dialogue in Chinese (including dialects) or issues on Chinese societies.

3. Feature film: 60 minutes or above; Short film: 59 minutes or below.

Please fill in the application form which is on the webpage ( before the deadline. Online screener of the film must be provided.

Names of the director(s), title and region(s) of the film should be stated on the webpage / file name of the screener.
It is preferred that films submitted via online screener be available for the jury to download.
i. Online screeners should include Chinese or English subtitles.

ii. Finalist films should include both Chinese and English subtitles.

Visible Record
Address: Flat B, 2/F, Wing Shun Building, 64-66 Bonham Strand West, Sheung Wan, Hong Kong
Tel: (852) 2540 7859
Fax: (852) 2547 7942






電話:(852) 2540 7859
傳真:(852) 2547 7942

Screening: Like an abortion, for the very first time (2018)

Like an abortion cover

March Screening
Like an abortion, for the very first time
Documentary|102’| Chinese & English subtitles|2018|Hong Kong

The 79 day long occupation by the 2014 Umbrella Movement was a process pregnant with hope to change the fate of Hong Kong and steer it towards democracy. This process had a bright side: most of it’s so called beautiful scenes occurred in the relatively upper class Admiralty district…
But the people in this film come from elsewhere: Mongkok, a place with a vigorous darkness. Sifu (the master), Tou-dai-zai (the boy), and their friends were humble participants in the movement. They were simultaneously volunteers, designers, labourers, and residents, who constructed shelters for the people at the Mongkok occupation site. This story is their portrait…

After screening talk with Bryan Chang (Film critics), Jojo Cheng (Documentary filmmaker) & Liu To (Director of the film)

15 March (Friday) 7:30PM
Film Culture Centre
Flat A2, 4/F, Acro Industrial Building, 19 Yuk Yat Street, To Kwa Wan, KLN, H.K.

*Pay what you want


三 月 放 映
扯旗﹑我要真普選和…… (又名:六點)
紀錄|102分鐘| 中英文字幕|2018| 香港


鄭藹如(紀錄片導演)、廖韜 (本片導演)

三月十五日 (星期五)