| Description |
1 online resource |
| Series |
Palgrave pivot
|
| Contents |
Digital Platforms and Feminist Film Discourse; Acknowledgements; Contents; About the Author; Acronyms; List of Figures; 1 New Technologies of Gender: Women and Film in the Digital Era; The Geopolitics of Women's Cinema 2.0; Women's Cinema on the Web as Minor Cinema; Feminist Film Discourse in the Digital Sphere; Feminist Grass-Roots Practices, Post-Feminism, and Neo-Liberal Economy; Digital Platforms and Feminist Film Discourse: An Overview; Notes; References; 2 Women Make Movies on the Web: Digital Platforms as Alternative Circuits; The Internet as a New Resource for Women Filmmakers |
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Digital Networking: The Women in Film and Television InternationalWomen in Crowdfunding Production: Emily Best's Seed Sally Potter: Making Films in the Age of Digital Reproduction; Ava DuVernay and the Digital Promotion of African-American Cinema; Notes; References; 3 Engendering the Global Market: Women's Cinema as a Creative Industry; Women's Film Culture on the Web: Contexts and Debates; Promoting Women's Cinema Today: Film Festivals as Market Makers; Mobilizing Women+'s Cinema: bildwechsel's Digital Archive; Notes; References |
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4 Women and Online Porn in North America: New Media, Old DebatesFeminism and Pornography; Feminist Porn 2.0: New Practices, New Ethics; Anita Sarkeesian and the Pro-/Anti-Porn Feminist Debate; Notes; References; 5 Conclusions: Women Film Scholars Online; Feminist Film Scholarship and Digital Networks; Notes; References; Index |
| Summary |
This project offers a critical overview of how online activities and platforms are becoming an important source for the production and promotion of women’s films. Inspired by a transnational feminist framework, Maule examines blogs, websites, online services and projects related to women’s filmmaking in an interrogation of the very meaning of women’s cinema at the complex intersection with digital technology and globalization. It discusses women’s cinema 2.0 as a resistant type of cinematic expression and brings attention to the difficulties inherent in raising and expanding visibility for women’s filmic expression within a global sphere dominated by neo-liberalism and post-feminism. The author pays close attention to the challenges and contradictions involved in bringing a niche area of filmmaking and feminist discourse to the broad and diverse communities of the Internet and global media market, while also highlighting the changing forms of media and feminism. Rosanna Maule is professor of Film Studies in the Mel Hoppenheim School of Cinema at Concordia University, Montreal. She specializes in contemporary film authorship, European contemporary cinema, and feminist approaches to film and media studies. She is the author of Beyond Auteurism (2008), main editor of In the Dark Room (2009) and has edited several book chapters and film journal articles on topics related to her areas of expertise. She is part of the research team GRAFICS at Université de Montréal, on the Board of Directors of the Women’s Film History International and an active member of the Doing Women’s Film History Network and the Global Women's Cinema Project. With her colleague Guylaine Dionne, she is completing a feature documentary on the role and visibility of female film directors working in fiction filmmaking around the world |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Online resource; title from PDF title page (EBSCO, viewed May 31, 2017) |
| Subject |
Feminism and motion pictures
|
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Digital media
|
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Motion pictures and television
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Communication
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Social media
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| Form |
Electronic book
|
| ISBN |
9783319480428 |
|
3319480421 |
|
