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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.
Inhaltsverzeichnis
1:Chapter One - New technologies of gender: Women and film in the digital era.- 2: Chapter 2 - Women make movies on the Web: digital platforms as alternative circuits.- 3. En-gendering the global market: Women's cinema as a creative industry.- 4. Women and Online Porn in Canada: New Media, Old Debates.- Conclusions: Women Film Scholars Online.
Über den Autor / die Autorin
Rosanna Maule is Associate Professor of Film Studies in the Mel Hoppenheim School of Cinema at Concordia University, Canada. She is the author of
Beyond Auteurism (2008), the main editor of
In the Dark Room (2009), and with Guylaine Dionne she co-directed the feature documentary
Women Filmmakers: The State of Things(2017). 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 Global Women's Cinema Project.
Zusammenfassung
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.
