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Feminism is a series of activities in various fields such as social, political, and ideological activities with the aim of achieving gender equality in all aspects of life such as social, political, and economic. Film is a mass communication tool that can be used as a medium in the feminist movement, the messages and ideologies contained in a film can influence the audience both in terms of cognitive, affective, and conative. Mulan is a film adapted from a Chinese folk tale. Mulan tells the story of a brave woman, a determined warrior named Hua Mulan. The character of Hua Mulan carries a message of feminism. A woman is described as an independent and responsible figure, in contrast to women usually only described as a weak figure, and always in need of protection from men. The research is a qualitative research with data analysis techniques using the semiotic method with an analytical knife using the theory of television codes by John Fiske. This study aims to find out how to represent feminism in the film Mulan, hence the semiotic code of feminism at the level of reality, level of representation, and level of ideology. The results of the research show that the Film Mulan shows the values of Feminism at the level of reality through the code of appearance, costume, makeup, environment, behavior, dialogue, movement, and expression. In the representation level, feminism is shown through camera codes, characters, actions, and dialogues. At the ideological level, feminism values are represented through liberal feminism, radical feminism, and Psychoanalysis and gender ideology.

Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas such as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women's stories in Africa and what governs the mechanics of making those films on the continent?The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors.

Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas such as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women's stories in Africa and what governs the mechanics of making those films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners. ; Katharina von Ruckteschell: Foreword Jyoti Mistry and Antje Schuhmann: Introduction: By Way of Context and Content Beti Ellerson: African Women in Cinema: An overview Ines Kappert: 'I am a feminist only in secret'. Interview with Taghreed Elsanhouri and Christina von Braun Christina von Braun: Staged Authenticity: Femininity in photography and film Jyoti Mistry and Antje Schuhmann: 'Power is in your own hands': Why Jihan El-Tahri does not like movements. Interview with Jihan El-Tahri Antje Schuhmann and Jyoti Mistry: Aftermath – A focus on collective trauma. Interview with Djo Tunda wa Munga and Rumbi Katedza Antje Schuhmann: Shooting Violence and Trauma: Traversing visual and social topographies in Zanele Muholi's work Antje Schuhmann and Jyoti Mistry: PUK NINI – A Filmic Instruction in Seduction: Exploring class and sexuality in gender relations Nobunye Levin: I am Saartjie Baartman Jyoti Mistry: Filmmaking at the Margins of a Community: On co-producing ELELWANI Jyoti Mistry: On Collective Practice and Collected Reflections. Interview with Shannon Walsh and Arya Lalloo Max Annas and Henriette Gunkel: 'Cinema of resistance'. Interview with Isabel Noronha Anita Khanna: Dark and Personal Antje Schuhmann and Jyoti Mistry: 'Change? This might mean to shove a few men out'. Interview with Anita Khanna Katarina Hedrén: Barakat! means Enough! Jyoti Mistry and Antje Schuhmann: 'Women, use the gaze to change reality'. Interview with Katarina Hedrén Dorothee Wenner: Post-colonial Film Collaboration and Festival Politics Jyoti Mistry and Antje Schuhmann: Tsitsi Dangarembga: A Manifesto. Interview with Tsitsi Dangarembga

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.

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.

In the following paper, I will expand upon these legislative and organizational actions to assert the role of Black women in reproductive politics. I will be using the term 'Black' to describe the women and the organizations to ensure that African American, African, or any other identifying women involved in the movement are included in my analysis. ; Black Feminism in the 1970s: Community Organization, Achievement, and Reproductive Rights Activism Greta VanOsdol HIS-300 Senior Thesis May 16, 2016 Thesis submitted in partial fulfillment of the requirements for the Bachelor of Arts in History from Gustavus Adolphus College. Gustavus Student Repository - Thesis 1 Table of Contents I. Introduction 2 II. Background 4 III. Historiography 14 IV. Legislation 15 V. Organizations' Efforts 19 VI. National Organization for Women 21 VII. National Black Feminist Organization 24 a. Combahee River Collective 26 VIII. Black Opinions of Abortion 27 IX. Conclusion 32 Gustavus Student Repository - Thesis 2 "We believe that sexual politics under patriarchy is as pervasive in Black women's lives as are the politics of class and race. We often find it difficult to separate race from class from sex oppression because in our lives they are most often experienced simultaneously."1 Black women in the 1970s built a community through feminist organizations, educating other women on the availabilities of reproductive resources such as contraception and abortion due to their shared experiences and hardships. Black women have a unique relationship with reproductive rights due to a long history of forced sterilization and an inability to choose the time of pregnancy. Because of the lack of access to contraception and abortion, family planning was difficult for many women in the 1970s. Consequently, Black feminist organizations of the 1970s approached reproductive rights tentatively, aware that abortive procedures could turn into unwanted sterilization procedures.2 The 1973 Supreme Court case, Roe v. Wade, was groundbreaking in terms of ...

Clara Yunita Afdiani. 2216500005. 2021. KONSTRUKSI FEMINISME DALAM FILM LITTLE WOMEN (Sebuah Studi Semiotika). SKRIPSI. Pembimbing I : Dra. Hj. Oemi Hartati, M.Si. Pembimbing II : Diryo Suparto, S.IP, M.Si. Program Studi Ilmu Komunikasi. Fakultas Ilmu Sosial Dan Ilmu Politik. Universitas Pancasakti Tegal. Film Little Women adalah film yang diadaptasi dari novel klasik bertema feminisme karya Louisa May Alcott. Sesuai versi novelnya, film ini mengangkat cerita kehidupan dan dilemma perempuan abad ke -18 tentang impian dan penikahan. Penelitian ini bertujuan untuk mengetahui konstruksi feminisme dalam film Little Women dan mengetahui tanda-tanda yang terdapat dalam film tersebut. Dalam penelitian ini, penulis menggunakan metode kualitatif deskriptif dengan teknik pengumpulan data berupa pengamatan terhadap objek penelitian dan studi pustaka. Untuk menganalisis data, penulis menggunakan analisis Semiotika Charles Sander Pierce melalui tiga tahap yaitu Sign, Object, dan Interpretant. Untuk mengelompokkan scene dan capture dalam film ini penulis menggunakan Pendekatan Interseksional antar kategoris Mc Call dan Klasifikasi feminisme oleh Insani Nur Citra S yang terdiri dari Occupation, Sexuality, Gender, dan Labelling. Penelitian ini menghasilkan beberapa kesimpulan tentang feminisme dalam film Little Women. Terdapat 19 scene dan 73 gambar yang mengandung feminisme dalam film ini. Dari 5 konsep klasifikasi kemiskinan yang peneliti pilih untuk mengkonstruksikan feminisme dalam film Little Women, konsep feminisme pertama yakni klasifikasi Stereotipe membentuk opini individu (Labelling) merupakan klasifikasi dengan sub terbanyak yaitu terdapat 7 sub klasifikasi. Ditunjukkan jika labelling yang dibentuk masyarakat untuk perempuan sangatlah banyak dan mencakup ke berbagai aspek kehidupan pada zaman itu, mulai dari sikap, kelakuan, kesopan santunan, penampilan, bahkan hak yang mereka dapatkan juga diatur dalam stereotipe yang tumbuh subur dimasyarakat, hal ini mencerminkan bahwa ketidakberdayaan dan ketidakadilan yang dirasakan berasal dari masyarakat itu sendiri. Kata Kunci : Film, Feminisme, Semiotika

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

This article assesses the impact and import of 1970s French feminist video collectives, focusing on the relationship between technology, subjectivity, and embodiment. It investigates how early portable video technology provided the tools for an exploration of subjectivity as collective and political, focusing in particular on the work of French activist video collectives Vidéo Out, les Muses s'amusent, and les Insoumuses. Arguing for protoqueer, nomadic, dissident, and performative modes of expression, it demonstrates that collective subjectivity never follows a clear, linear pattern but rather emerges, so to speak, through the lines, much like the video image itself.

Film merupakan alat dalam proses sosialisasi yang membuka pandangan baru masyarakat tanpa menggurui. Salah satu pandangan yang ada di masyarakat ialah kesenjangan antara laki-laki dan perempuan. Laki-laki lebih diutamakan, salah satunya dalam pendidikan dan kesempatan bekerja. Sedangkan kaum perempuan selalu di nomor dua kan. Film sebagai media mampu merefleksikan isu yang berkembang dalam masyarakat. Film Dangal diambil dari kisah nyata perempuan India yang berhasil di bidang olahraga Gulat yang biasanya di dominasi laki-laki. Penelitian ini bertujuan untuk mengenal lebih dalam mengenai makna autonomi perempuan. Dimana perempuan berhak menentukan pilihannya, baik dalam ranah publik maupun ranah privat. Dengan autonomi perempuan akan mampu membawa perubahan untuk dirinya dan memotivasi perempuan lain. Dalam bahasa yunani autonomi berasal dari kata autos dan nomos. Autos berarti sendiri dan namos aturan. Sehingga dapat diartikan autonomi adalah wewenang untuk mangatur diri sendiri. Feminisme adalah paham yang mendukung hak-hak sosial dan politik yang setara bagi perempuan. wollstonecraft menekankan bahwa pendidikan perempuan dan laki-laki harus setara agar perempuan mampu mengimbangi laki-laki. Jenis penelitian menggunakan deskriftif kualitatif. Teori feminisme liberal yang mengkategorikan perempuan dan lak-laki memiliki hak dan kesempata yang sama. Teknik analisis data menggunakan semiotika Roland Bartes dimana ia menganalisis berdasarkan makna denotasi, konotasi dan makna mitos yang mengarah ke makna kultural, simbol-simbol dan makna emosonal. Pertama peneliti memilih kata-kata dan kalimat yang mengadung autonomi perempuan dan tindakan yang mengandung gender. Kedua mengurai kalimat yang mengandung kemandirian perempuan. Terakhir peneliti menginterpretasikan dengan tanda-tanda tersebut dengan mitos yang berkembang di masyarakat. Hasil penelitian menunjukan bahwa perempuan mampu berprestasi di wilayah maskulin, dengan pendidikan atau pelatihan yang serius. Selain itu ditemukan juga perubahan terhadap pemberdayaan sosial, dimana perempuan memiliki kekuasaan, hak dan kemampuan untuk menunjukan hasil latihan dan usaha kepada masyarakat. Dengan semangat untuk mengambil resiko akan memunculkan inspirasi baru dan perubahan. Sosialisasi gender sejak dini akan menghilangkan stereotipe yang merugikan perempuan dan menghambat perempuan dalam berbagai partisipasi.

This dissertation deals with affect and its power to structure the current political landscape of migration, displacement and transnationalism into what I call a/effective landscapes. Borrowing the concept of affect from Gilles Deleuze and his followers such as Rosi Braidotti and Brian Massumi, who define affect as an impersonal pre-personal force, an immanent vitality and instrinsic to matter that is linked to the body's ability to experience affect and to affect, my premise is that affect affects emotionally (the protagonists of the work as well as the recipients of thereaders and viewers of artwork) and from which ensue political effects ensue.Utilizing a comparative methodology, this dissertation explores the work of four German-speaking female transnational filmmakers and writers, all of whom contribute to and intervene in contemporary discourses on transnationalism, transnational subjectivity, concepts of space and time, the discourse on Heimat and monolingualism through their use of affect in writing and filming.vSeen through a transnational, feminist lens, I try to identify affect in the works of Angelina Maccarone's Unveiled, Andrea taka's Das Fräulein, Herta Müller's Reisende auf einem Bein and Yoko Tawada's short story "Wolkenkarte," examining the political efficacy of their aesthetic of writing and filming affect. Unveiled in particular explores affect as a positive force, with the potential to overcome the various borders that have been created for the purpose of keeping out those regarded as aliens. Das Fräulein explores the affective state of three migrant women from the former Yugoslavia and their transversal becomings, which leads to a new definition for transnationalism beyond identification. "Wolkenkarte" and Reisende auf einem Bein are discussed as vibrant texts, which--inspired by the neutral aesthetics of Roland Barthes and the nomadic aesthetics of Rosi Braidotti--a/effectively engender modes of belonging that are not rooted in stable notions of monocultural and monolingual nation-state and Heimat/home.