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"On Not Narrating the History of Feminism and Film" poses two questions: What happened to women in the early silent film industries, and why don't we know about them? While the author and others have addressed the first question elsewhere at recent international conferences and in publication, the second remains largely unanswered and is taken up here. It is specific to the field of feminism and film and media studies, where in the 1970s moment of feminist film theory, the powerful paradigm of "no women" or woman as "absent" could be taken as either theoretical or empirical. The question arises as to how to write a narrative account given earlier prohibitions against narrative and empirical work, even when that very kind of work has discovered evidence of women working in significant roles in early film industries worldwide.

In my dissertation I analyze how politics and film interact in Lusophone (i.e., Portuguese- speaking) countries in Europe (Portugal), South America (Brazil) and Africa (Mozambique and Angola) between the 1950s and the 1980s. During this period the countries in question were undergoing significant political changes, and film was an important medium used in the process of transformation. Portugal went from a fascist dictatorship to a democracy in 1974, Angola and Mozambique became independent in 1975, and Brazil became a military dictatorship in 1964. One of the purposes of my study is to explore and contrast the film-related policies in effect under different governments. In the case of Portugal, fascist colonialism used film as a form of propaganda to support its occupation of Mozambique, Angola, Cabo Verde and Guinea-Bissau. With the 1974 April revolution that ended the dictatorship, film was used to advance the democratic values of the revolution. The previously mentioned African countries, especially Angola and Mozambique, used Third Cinema as a counter-discourse to Portuguese propaganda, showing in a series of documentaries how their struggle for independence was legitimate. In the case of Brazil, directors of Cinema Novo criticized neocolonialism in Brazil; the movement began in the late fifties, but underwent through significant changes when a military coup established a dictatorship that would last until 1985. In spite of the extensive common ground among the diverse Lusophone countries, very few studies have thus far used a transatlantic approach. I start from Gilroy's conception of the Atlantic Ocean as a space of cultural exchange, and from Shu Mei Shih and Fran?oise Lionnet's notion of minor transnationalism to explore such issues.

Cooking: Suzanne Lacy's Learn Where the Meat Comes From -- Serving: The Waitresses' Ready to Order -- Nursing: Womanhouse and The Nurturant Kitchen -- Feeding: Feminist Art Workers' Heaven or Hell? -- Eating: Martha Rosler's Losing: A Conversation with the Parents -- Being Eaten: Barbara T. Smith's Ritual Meal.

This book works to complicate and push against common arguments that the Western from its inception is an anti-feminist genre. By focusing on representations of women professionals in Westerns, it shows that women in cinematic and televisual Westerns sometimes do acquire agency and empowerment in the private and public realms, despite our culture's tendency to gender the former as feminine and the latter as solely masculine. The study reviews the relationship of these progressive Westerns to both explicit and latent feminist ideologies relevant to their times, as the films evolved from the 1930s to the twenty-first century.

This book works to complicate and push against common arguments that the Western from its inception is an anti-feminist genre. By focusing on representations of women professionals in Westerns, it shows that women in cinematic and televisual Westerns sometimes do acquire agency and empowerment in the private and public realms, despite our culture's tendency to gender the former as feminine and the latter as solely masculine. The study reviews the relationship of these progressive Westerns to both explicit and latent feminist ideologies relevant to their times, as the films evolved from the 1930s to the twenty-first century

Suicide Squad merupakan film yang menceritakan tentang kisah sekelompok penjahat yang direkrut oleh agen rahasia pemerintah untuk melakukan misi penyelamatan dunia dari ancaman berbahaya. Ada dua tokoh perempuan yang menarik dalam film yang memenangkan penghargaan Oscar sebagai Best Makeup and Hairstyling ini. Tokoh Amanda Waller merupakan seorang perempuan berkulit hitam yang menjadi penggagas terbentuknya Suicide Squad. Sementara ada juga Harley Quinn, seorang kriminal wanita yang menjadi pasangan Joker. Penelitian ini dilakukan untuk mengetahui representasi posfeminisme dalam film Suicide Squad. Penelitian menggunakan metode semiotika dengan kode-kode televisi John Fiske. Melalui subtema yang peneliti pilih yaitu identitas perempuan, kesetaraan tokoh perempuan dengan laki- laki dalam pembagian tugas dan kerja sama tim, upaya perempuan dalam mendapatkan kenyamanan dan menentukan pilihan, dan karakter feminin masing-masing tokoh. Kesimpulan akhir, perempuan dalam film ini digambarkan sebagai perempuan berkulit putih, bertubuh langsing dan berambut panjang berwarna pirang. Ia digambarkan sebagai seorang perempuan yang berani, kuat untuk berkompetisi dan penuh percaya diri. Sementara tokoh kedua digambarkan sebagai politisi wanita kulit hitam dari kelompok kelas menengah atas yang berpakaian rapi formal, yang mendominasi dan kerap kali melakukan penindasan.

This book includes the relatively unknown stories of six important women who laid the foundation for improving women's equality in the U.S. While they largely worked behind the scenes, they made a significant impact. In the group are two female political operatives who worked behind the scenes along with four female journalists who also occasionally worked within government to advance women's rights during the 1950s through the 1970s. Much of it centers on Washington, D.C., as well as the more unlikely cities of Madison, Wisconsin and Miami, Florida. It includes the story of a women's page journalist who published an official government report in her newspaper section when the White House refused to release it. This book documents the stories of women who organized to help gain employment for other women and also worked to raise the stature of homemakers. Numerous other issues for women were also addressed. The fight for equality became more visible in the 1960s although the foundation had been laid as early as the 1950s, fueled by the post-World War II era. Change was initiated by a mix of women in government and women in the news media -- at times going back and forth in those positions. These particular women were chosen because of their interactions with each other as they rallied around a common cause and because their names were overshadowed by other women's liberation leaders. It is not meant to be an exhaustive story of the fight for women's rights but rather an addition to the great memoirs and scholarship that already exist