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"As film stars, actresses have throughout film history contributed to the film industry's glamorous surface, providing audiences with visual attraction and different representations of femininity. To talk about women in film as "invisible" may thus seem odd or even wrong. This book, however, is concerned with the paradox that on the other side of the camera, women are clearly underrepresented. This is true of contemporary film culture, and has been true historically, despite significant variations between countries/geographical areas, historical time periods and different roles/professions in film production, distribution and exhibition. This anthology recovers forgotten aspects of women's work and memory, tracing women's film work through the lens of Swedish film history, with a few forays into international film ventures. Using a variety of methods and approaches, including careful study of previously neglected archival material, lived experiences, interviews, and theoretical reflections on feminist historiography, the book explores themes of women's agency and (lack of) visibility in a cultural context very different to Hollywood, thus providing readers with a healthy counterweight to the dominance of Anglo-American material in film scholarship published in English. The articles deal with women's agency in a wide range of roles, in film production, exhibition and criticism, but also with new perspectives on stars/actresses and their agency, and including LGBT and queer identities.
The research presents material evidence of women's involvement in film culture being obscured and ignored because of its status as "women's work", and/or of marginal rather than mainstream interest. The book is divided into two parts, where the first part collects chapters that cover neglected dimensions of silent film culture and the use of archival film as cultural memory in documentary work from various time periods, whereas the second part of the book is focussed mainly on films and filmmaking in the 1970s and 1980s."

This book includes the unknown stories of six important women, including political operatives and journalists, who laid the foundation for improving women's equality during the 1960s and 1970s. While they largely worked behind the scenes, they made a significant impact.

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.

Abstract: The article analyzes the political and theoretical potentialof cinematographic language to express and rebuild the relationship between sexual and gender differences. As cultural products, the three films analyzed - A Casa Assassinada (1972), Sunday, bloody Sunday (1971) and Les Amities Particulières (1964) - allude to feminist issues of the time, as well as instigating a reading of gender beyond the narratives, by historicizing the visibility of the female body, heteronormativity, and the subversiveness of forbidden loves as represented through the films' structure. The text argues, from a queer perspective, that the aesthetic nature of twist cinema, within the limits of each style and period, was precisely the boldness to run risks in its visual grammar, not making political concessions in challenging the moral canons of current society.

The article analyzes the political and theoretical potential of cinematographic language to express and rebuild the relationship between sexual and gender differences. As cultural products, the three films analyzed - A Casa Assassinada (1972), Sunday, bloody Sunday (1971) and Les Amities Particulières (1964) - allude to feminist issues of the time, as well as instigating a reading of gender beyond the narratives, by historicizing the visibility of the female body, heteronormativity, and the subversiveness of forbidden loves as represented through the films' structure. The text argues, from a queer perspective, that the aesthetic nature of twist cinema, within the limits of each style and period, was precisely the boldness to run risks in its visual grammar, not making political concessions in challenging the moral canons of current society.

The chapter summarizes the complexities of categorizing postcolonial feminist filmmaking in either a chronological or a consistent geographical pattern. They demonstrate that the postcolonial as an optic can be applied to the dialogue between the political and the aesthetic in different ways. It is an approach that does not just privilege the issue of women behind the camera, or their representation on screen, but interrogates the visual language used, and the innovations introduced, that can also be used to reflect on productions of the past and how they speak to the present through a postcolonial awareness and deconstructive gaze. Identifying new visual registers that are not colonizing is important in order to account for how race, ethnicity, class, religion, and sexual desires can be articulated from new vantage points without losing the connection to different filmic traditions and political realities. Yet postcolonial approaches to film and feminism also signal the need to widen the palette by stretching the postcolonial optic to films that are made across a wider spectrum than the strictly postcolonial temporalities but that corroborate the understanding of patterns of domination and resistance linked to colonial and neocolonial dynamics, reading against the grain, and offering space for feminist interventions.

To walk through Islington, Camden and Hackney in the early 1970s was to walk along street after street of soot-blackened, late Georgian and Victorian terraces and villas, boarded up and left semi-derelict. In 1971 Greater London contained 23,100 empty dwellings awaiting demolition; 29% of this housing stock was built before 1875 and 67% between 1875 and 1919. By the middle of the decade, thousands of these houses had been reclaimed and repaired by squatters, a movement which re-emerged in the late 1960s and which, by 1976,was estimated at between 20-30,000 people throughout Greater London. This historic spatial configuration of the city allowed the social and political movements of the 1970s to flourish, as groups of like-minded people began to live and work in close proximity. For women, it enabled radical experiments in collective living and shared childcare and for some feminists, active in the women's liberation movement, it provided the framework for an extensive network of women-only housing, together with social and political spaces. This paper examines the origins of a community of women who moved in and squatted the streets surrounding Broadway Market and London Fields in Hackney during the 1970s . Through oral testimony, it uncovers the historical importance of this community to wider feminist politics in London, and the significance for women of taking control over their immediate built environment.

This interview arose out of a shared desire to document some of the unwritten, anecdotal history of film studies and the cultures of cinema more broadly. In a conversation with Karola Gramann and Heide Schlüpmann, film and media scholars Julia Leyda and Chris Tedjasukmana encouraged them to narrate some of their individual and intertwined personal, political, and professional experiences surrounding the development of the discipline in Europe, knowing that this was enmeshed with other fertile intellectual movements like critical theory and feminism. ; publishedVersion