Suchergebnisse

"Am Zentralinstitut für Jugendforschung sind seit 1967 in zahlreichen empirischen Untersuchungen Daten über das Verhältnis Jugendlicher und anderer Altersgruppen zum Film im Kino und im Fernsehen erhoben worden. So liegen bisher Angaben von 65.000 Jugendlichen und Erwachsenen zu ca. 1.200 Filmfragen vor. Mit dieser Studie sollen einige ausgewählte Ergebnisse vorgestellt werden, die wesentliche Entwicklungen in diesem Zeitraum abbilden." Folgende Schwerpunkte werden thematisiert: (1) Zur Entwicklung des Interesses bzw. der Beliebtheit ausgewählter Filmgattungen in den letzten Jahren; (2) Zur Nutzung ausgewählter Spiel- und Dokumentarfilme durch Jugendliche; (3) Zur Bedeutung ausgewählter Erwartungen für die Spielfilmrezeption Jugendlicher; (4) Ergebnisse zur Rezeption ausgewählter Spielfilme; (5) Zum Verhältnis von Spielfilmrezeption im Fernsehen und Kino. Die Ergebnisse zeigen u.a., "daß es der DEFA offensichtlich gelungen ist, den Mitte der siebziger Jahre erlittenen Prestigeverlust wieder etwas abzubauen". (psz)

"The 1970s has often been hailed as a great moment for American film, as a generation of "New Hollywood" directors like Scorsese, Coppola, and Altman offered idiosyncratic visions of what movies could be. Yet the auteurist discourse hailing these directors as the sole authors of their films has obscured the important creative roles women played in the 1970s American film industry. Women in New Hollywood revises our understanding of this important era in American film by examining the contributions that women made not only as directors, but also as screenwriters, editors, actors, producers, and critics. Including essays on film history, film texts, and the decade's film theory and criticism, this collection showcases the rich and varied cinematic products of women's creative labor, as well as the considerable barriers they faced. It considers both women working within and beyond the Hollywood film industry, reconceptualizing New Hollywood by bringing it into dialogue with other American cinemas of the 1970s. By valuing the many forms of creative labor involved in film production, this collection offers exciting alternatives to the auteurist model and new ways of appreciating the themes and aesthetics of 1970s American film"--

This work is based on a theoretical research study on Southern Feminisms and Social Intervention developed at the National University of Mar del Plata, Argentina. The South is understood as a metaphor for human suffering systematically caused by the oppression and domination of an imperialist, capitalist, colonial and patriarchal North. It is a very powerful geo-corporate-political and epistemological metaphor because it reveals and problematises the devices used for oppression and domination. This article uses cartography as a methodology to make explicit the analytical and interpretative matrices present in decolonial feminisms and community feminisms. It also makes explicit the criticisms that these feminisms make of hegemonic-academic-Western feminism. Contributions from feminist experiences in Australia and New Zealand are included and the specific contributions of Southern Feminisms to the theory and practice of social work are made explicit.

Focuses on the cooperation between Hong Kong and Japanese cinema from the Sino-Japanese War, which broke out in the 1930s, up until the early 1970s, to re-evaluate the significance of this event in the context of Asian film history.

This thesis provides the first major Australian history of lesbian feminism between the 1970s and 1990s. Lesbian feminism emerged from within Women's Liberation, Campaign Against Moral Persecution and Gay Liberation, three social movements that wanted to challenge sex roles, the nuclear family and other oppressive systems of patriarchy. Homophobia and sexism within these movements, reflecting broader social and cultural prejudices, caused lesbian activists to explore their dual oppression and differing political futures compared to gay men and heterosexual feminists. The lesbian feminism which emerged was political, cultural and experimental, as the women in it explored radically new ways of relating to one's self, to other women and to society more broadly. Lesbian feminism was thus compelling, erotic and transformative, as well as highly contested. As I trace, by the 1980s, lesbian feminism intersected with other social movements beyond Women's Liberation, CAMP and Gay Liberation, including anti-nuclear and anti-violence activism during the 1980s which further dovetailed with a flourishing of 'women's culture' in Australia that in many ways was lesbian-identified. By the 1990s, lesbian feminism was both less cohesive and more diverse, manifesting in one form via proto-queer sex radical communities in which lesbians could further explore their sexual and political subjectivities. As such, this thesis redefines lesbian feminism as it extended into queer and sex radical activism. Drawing from a diverse archive of feminist, gay and queer historiography, ephemera and personal memoirs, as well as thirty oral history interviews and off-the -record conversations with lesbian activists, gay men, and one trans man, I offer an episodic yet immersive account of lesbian feminism's diverse origins and transformations in an Australian context.

Gender in Film and Video tracks changes in gender on screen by documenting trends of the internet age. The jargon-free book focuses on six instances of media in transition and their histories, including the rise of feminism on television, in sports events, and in comedy-drama series; the growth of DIY production by underrepresented groups through crowdfunding and YouTube channels; and struggles between fans and producers over control of casting and storytelling. This volume focuses on the breakdown of the categories (content, production, reception) that top-down production/distribution in TV and cinema tended to keep distinct. This text is for students in sociology, media studies, and women's and gender studies.