An article written by Gina Marchetti on documentaries by women filmmakers.
To read the full article, please visit Asia Dialogue
An article written by Gina Marchetti on documentaries by women filmmakers.
To read the full article, please visit Asia Dialogue
Ann Hu is a Chinese-born writer, producer, and director who is known for her work on films such as her award-winning debut, Shadow Magic, and her upcoming feature film, Confetti. She is the founder and president of Media Assets Inc., a media investment company that specializes in financing media projects, film productions, the arts, and other ventures. Hu is also the co-founder of Media Alive, a film distribution company that is dedicated to bringing international films to the Chinese market.
Hu will be a participant on the consumer and retail panel at SupChina’s third annual Women’s Conference, which will take place on Monday, May 20, at the Harmonie Club of New York. Before the event, she spoke with us about how she became a filmmaker and foreign film distribution in China.
For the full article, please visit SUPChina
To read the full article, please visit Indiewire
Three unmarried career women struggle with outdated social mores in China
In China, career-focused women who haven’t married by their late-twenties are often referred to as “sheng nu” or “leftover women”, a derogatory term to begin with, and especially so when one considers that many have achieved tremendous professional success in highly competitive sectors. Returning to China after making an impact with their internet addiction treatment documentary Web Junkie (2013), Shosh Shlam and Hilla Medalia follow three “leftover women” who are trying to reconcile the outmoded yet still firmly held expectations of their parents with more individualistic goals. The result is an emotionally complex piece of personal portraiture that intimately reveals the extent to which traditional attitudes still dominate Chinese society regardless of its globalised surface.
For the full review, please visit Screen Daily
The Los Angeles-based director and producer recalls how being pushed into the family’s toymaking business in Hong Kong put her moviemaking dreams on hold – but not for too long
For full article, please visit SCMP
UCLA’s College of Social Sciences has released its latest Diversity Report. Once again, the study reveals women and people of color are making strides on both sides of the camera, but overall, remain dramatically underrepresented. In other words, progress has been steady but far too slow.
Written by Dr. Darnell Hunt, Dr. Ana-Christina Ramón, and Michael Tran, the 2019 Diversity Report analyzed gender and racial representation in the top-grossing 200 films of 2017 and the 1,316 broadcast, cable, and digital platform television series from the 2016-17 season.The study considered film and TV leads, directors, writers, creators, and other key Hollywood roles.
Overall, women made gains in seven of the 12 key positions considered, including films leads and film directors. Women held steady as digital scripted leads and broadcast scripted creators, but lost ground as films writers, cable scripted leads, and digital reality/other leads. While they comprise slightly more than half the population, women made up only 32.9 percent of film leads, 12.6 percent of film directors, and 12.6 percent of film writers. Only 22.2 percent of broadcast scripted creators in the 2016-17 season were women, and 22.7 percent of cable scripted and 34.8 percent of digital scripted creators. On the small screen, women represented 39.7 percent of broadcast scripted leads, 43.1 percent of cable scripted leads, 42.8 percent of digital scripted leads, 23 percent of broadcast reality/other leads, 28 percent cable reality/other leads, and 29 percent digital reality/other leads.
For the details of the report, please visit Women and Hollywood
Representations: Queering the Production of Movement”
Special Issue of Synoptique: An Online Journal of Film and Moving Image Studies
At the heart of animation is movement, and the expression of movement is negotiated differently across media. How then do LGBTQ+ communities reappropriate the specificities of animation, comics, videogames, and other forms of visual representations that rely on putting bodies into motion? How does animation support the emergence of social and political movements from within, between, and outside media production spaces? Since 2010, studies of LGBTQ+ representation in animation have steadily increased in number. From queer readings (Halberstram 2011), to media histories (McLelland, Nagaike, Suganuma, Welker 2015), to queer media makers (such as bisexual, non-binary creator Rebecca Sugar and other queer animators like Noelle Stevenson and Chris Nee), animation production has become a vital site for the study, performance, and persistence of queer media practices. Although much conversation has been devoted to queer readings of texts in transmedia movements, the people, circuits, and institutions of queer animated media production have attracted significantly less attention.
By focusing on the “politics of movement,” we intend to grasp the convergence of 1) common techniques of animation in and across multiple media platforms, 2) means of mobile image production both amateur and industrial, and 3) social agendas in queer communities using the motion of images to negotiate their representation and place in society. While this issue will brush up against the various transmedia (narrative-based, Jenkins, 2008), media mix (image-based, Steinberg, 2012) and cross-media (toy-based, Nogami, 2015) models and their cultural geographies across the globe, our central aim here is to expand the knowledge and visibility of LGBTQ+ sociopolitical projects evolving conjointly with the creation and circulation of animated images. Producing movement in, across, and outside of media extends the synchronization of images to networks of commodities, territories, and peoples. Although an important amount of scholarship tends to address this question as the “queering of texts,” we seek another point of view coming directly from the creation of moving images itself. Such production practices are also imbricated in and respond to geo-political and cultural contexts. How then does the movement in between frames, vignettes, illustrations, and memes (to name a few examples) initiate social action (be it just to produce pornography for marginalized communities or to create conventions for amateur artists and publics to meet)?
This issue of Synoptique: An Online Journal of Film and Moving Image Studies will focus on queer media practices and the politics of movement. When animating LGBTQ+ images, media creators are also mobilizing queer practices, communities, and identities. Therefore, we are particularly interested in analyses and testimonies that examine sites of queer media production and their animation techniques, strategies, and practices. We encourage contributions that examine the interactions of animation within media related to animation, such as comics and videogames, as forms of queer movement often overflow and interact throughout multiple media platforms (Hemmann, 2015). We also invite submissions of artwork either from queer-identifying artists and practitioners, or pieces that explore queer movement, embodiment, and existence. Interviews, manifestos, essays, and other forms of writing on animated movement in queer media making are warmly welcome, as are multimedia contributions.
Suggested topics include, but are not limited to:
– The industrial or amateur structures of LGBTQ+ images production
– Movement in LGBTQ+ pornography and erotika
– Queer movement in comics, visual novels, videogames, etc.
– The strategies and places of queered images (“Queer” Media mix, Marketing, Festivals, and Conventions)
– Animated media production of the Global South (such as Brazilian Netflix show Super Drags)
– Distribution networks for LGBTQ+ animated series (TV, platforms, VOD)
– LGBTQ+ representations in animated media emerging from manga including both more mainstream (Boy’s Love, Yuri) and subcultural (so-called Bara or Gachimuchi) productions
– Local LGBTQ+ communities and their struggles expressed through moving images
– Queer movement across comics and animation
– Decolonizing sexualities
– Cosplay as queer (re)animation
We use a broad interpretation of LGBTQ+ identity, including Lesbian, Bisexual, Gay, Trans*, Queer/Questioning, Two-Spirit, Intersex, Agender, Asexual, Pansexual, Genderqueer, Genderfluid, Non-binary, X-gender, Genderfuck, etc.
Essays submitted for peer review should be approximately 5,500-7,500 words and must conform to the Chicago author-date style (17th ed.). All images must be accompanied by photo credits and captions.
We also warmly invite submissions to the review section, including conference or exhibition reports, film festival reports, and interviews related to the aforementioned topics. All non-peer review articles should be a maximum of 2,500 words and include a bibliography following Chicago author-date style (17th ed.).
Multimedia works such as digital video, gifs, still images, or more (surprise us!) are also welcome. Works under 8MB may by hosted directly on the Synoptique site; anything larger must be uploaded to an external site (Youtube, Vimeo, etc). Please contact the Synoptique Board for more information on the procedures to submit artworks.
All submissions may be written in either French or English.
Please submit completed essays or reports to the Editorial Collective (email@example.com) issue guest editors, Kevin J. Cooley (firstname.lastname@example.org), Edmond (Edo) Ernest dit Alban (email@example.com), and Jacqueline Ristola (firstname.lastname@example.org), by April 30st. We will send notifications of acceptance by June 30st.
Synoptique: An Online Journal of Film and Moving Image Studies
CFP: Screening #TimesUp: Exploring Rape Culture in Hollywood Film
Editors: Dr. Lisa Funnell (University of Oklahoma) and Dr. Ralph Beliveau (University of Oklahoma)
Beginning in 2017, the #MeToo movement drew attention to the sexual assault, coercion, and harassment experienced by many individuals and especially women working in Hollywood. Over the last two years, actors have come forward to speak about their experiences, condemning the industry for silencing victims while safeguarding predators. This conversation about sexual conduct and safe working spaces has extended into other fields/industries via the #TimesUp movement as greater awareness is being raised about abuse of power and the victimization of employees. While Hollywood is serving as a microcosm for broader social discussions about sexual assault, coercion, and harassment in the workplace, less attention is being directed towards film content—i.e. the products being produced by said industry. As a global cinema, Hollywood creates some of the most profitable films that are widely screened not only in the United States but also across the world. Culture binds individuals and institutions together, shapes public consciousness, and sends powerful messages about what is to be considered appropriate conduct. Over the last 100 years, Hollywood has played a key role shaping social ideas associated with gender, sex, and power.
A consideration of sexual violence in Hollywood film—be it real, threatened, or suggested—is the focus of this anthology. Sexual assault, coercion, and harassment are so pervasive in Hollywood narratives that they often go unnoticed. For instance, rape revenge is not only an exploitation subgenre but also a storyline featured in horror, thriller, road, and criminalist films. The threat of sexual assault is used as a trope to convey the vulnerability of even the strongest and most muscular female heroes in action films while the depiction of sexual harassment and aggression in relation to class differences and workplaces is a frequent narrative element. Moreover, sexual harassment is often depicted as romantic when a rejected “suitor” continues to pursue/stalk their target. Sexual coercion plays a central role in spy films as agents manipulate, intoxicate, and/or force their informants/targets to have sex with them sometimes secretly filming the encounter. And in some cases, filmmakers with a known history of sexual violence continue to work in the industry and produce films that relay troubling messages about appropriate sexual conduct. These films, tropes, and practices work to normalize and naturalize aspects of rape culture oftentimes at the expense of marginal/minority groups.
We are calling for papers exploring any facet of sexual assault, coercion, and harassment in Hollywood film. Some topics include but are not limited to:
* tropes of sexual violence in specific genres (e.g. rape revenge, action, rom-coms, etc.)
* historical considerations of sexuality and rape (e.g. classical Hollywood, new Hollywood, etc.)
* filmmakers who employ excessive/frequent images of sexual violence
* shifting representations of sexual harassment
* affirmative consent in film
* narratives in which rape is justified (e.g. prisoner on prisoner)
* romanticizing of inappropriate sexual contact (e.g. with minors)
* myth of the artistic genius
* rape jokes/gags in film
* sexual violence against marginal/minority groups (based on race, sexual orientation, class, ability, gender expression, etc.)
Please submit a 250 word abstract along with a brief author bio to Lisa Funnell (email@example.com) by April 30. Please direct any questions to this email as well.
Film is first mainstream Indian movie to show family coming to terms with daughter being gay