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The Feminist Film Philosophy Reader

The captivating new retelling of the story of the legendary Egyptian queen. Meet the real woman behind the myth

Cleopatra

Rewrites the history of the development of film and TV industries and cultures through questions of gender during the critical decade of the 1970s Spain.

Leading Women in Spanish Cinema and Television, 1970-1980

Feminist Media Histories

Archiving the Past&nbsp;uncovers&nbsp;the story of the women in&nbsp;France who, from the 1920s to the 1970s, played critical roles in the production of global cinema's history: as&nbsp;archivists&nbsp;charged with collecting films and other materials, as&nbsp;witnesses&nbsp;tasked with remembering their own film careers, and as&nbsp;activists&nbsp;committed to recovering women's contributions to film history. Reflecting on how gender politics informs the production of film history, Aurore Spiers&nbsp;recasts the film archive as a site of women's agency, modeling strategies for inclusivity, recuperation, and liberation within feminist film historiography.

Women's Film History in France, 1927–1978

Archiving the Past

Women’s Film History in France, 1927–1978

Bloomsbury Philosophy Dictionaries

While his work speaks very powerfully to the contemporary age, the language of Emmanuel Levinas can seem difficult to approach. This dictionary gives you access to terms he used to build his overall argument, including those he employed idiosyncratically and invented. The dictionary also includes terms from phenomenology to which he gave new meanings, and which focused his critique of Western philosophy. The Levinas Dictionary also makes the work of this central figure in 20th-century philosophy more easily readable in translation by including the original French words he used. Each term explored belongs to one or more of three periods of the work he regarded as properly philosophical: 1) pre-1940; 2) 1940-1960, including the writing of his magnum opus Totality and Infinity and 3) 1960-1995, including his second great work, Otherwise than Being. Entries show how the terms appear, develop, or mutate over the course of his work in the phenomenology of radical ethics. Including an intellectual biography and a chronology of Levinas' life and work, a list of primary sources in French and English, as well as secondary sources and a glossary, The Levinas Dictionary will provide a broad and far-reaching introduction to a thinker whose work has only become more relevant to contemporary theory and practice.

The Levinas Dictionary

Women's freedom is a myth. Or so we're told. If there is one thing that right and left can agree on, it's that this is a very bad time to be female. Misogyny is everywhere and, as the right would have it, thanks to a big fat liberal lie known as the sexual revolution, it is worse than ever. The death of courtship, duty and marriage are nails in the coffin of female happiness. The left has its own muddled ideas about sex, duty and marriage, but it knows this: girls' and women's bodies are an inventory of pain and suffering that needs to be outed, from period pain to menopause to endometriosis. Indeed, the narrative of female bodily disadvantage is so extreme that experts are beginning to admit it is at least partially responsible for the 5,000 per cent rise in girls reporting to gender clinics claiming to be boys. Increasingly, in the schemes of both right and left, women's agency is vanishing. In both, they are fragile, eminently breakable, and constantly facing a risk of permanent damage. Fear is everywhere and yet we're at a moment and a place in which women have never ever had it so good. This book is a call for women - and society - to get back in touch with the joy, freedom and power that Zoe and her female peers, evidently born in a lucky window (post-feminism, pre-Internet), saw opening up before them and, to some degree, have realised.

How Money, Sex and Power Set Women Free

Good Slut

BFI Film Classics

Groundhog Day

Topics and Issues in National Cinema

The Settled Screen: Landscape and National Identity in New Zealand Cinema is the first title to explore the relationship between the representation of landscape and the development of both a national cinema and a national identity. Through the early years of New Zealand's cinema, prior to any formalized governmental support, those few feature length narrative films repeated wholesale the modes of representing the landscape and its inhabitants, while the developing documentary and travelogue industries would construct the fantasy of 'Maoriland' with New Zealand becoming internationally known as a green paradise, a Pacific idyll with an exotic, tamed, indigenous population. This precursor of the now contemporary 'Brand New Zealand' - itself a modern, politically-corrected version of these earlier narratives - would be adjusted and amended over time, especially with the formation of the New Zealand Film Commission in the late 1970s, but never entirely discarded. Beginning with a discussion on films in which landscape - and particularly the colonial or settler landscapes - have been represented in other Western cinemas, like The Searchers and Thelma &amp; Louise, Wilson compares in indigenous films like Whale Rider, To Love a Maori and The Piano to exemplify the simultaneous strands of New Zealand cinema: a way of marketing the country based on the success of such spectacular films as Peter Jackson's Tolkien epics, and the simultaneous attempts by Maori, immigrant and minority filmmakers to find a way to represent other stories in this land without recourse to the tropes of a by-now dominant national industry.

Landscape and National Identity in New Zealand Cinema

The Settled Screen

How 'Be Kind' Entrenches Sexism

(Un)kind

Women Without Men

The Margellos World Republic of Letters

The instant bestseller from Djamila Ribeiro that sparked a major Black feminist movement in Brazil &nbsp; “Part theory, part manifesto, part history. . . . [Where We Stand] has the makings of a truly modern feminist classic.”—Literary Hub, “Most Anticipated Books of 2024” &nbsp; In a society shaped by the legacies of enslavement, white supremacy, and sexism, who has the right to a voice? In this elegant essay, Djamila Ribeiro offers a compelling intervention into contemporary discussions of power and identity: the concept of “speaking place.” A crucial component of conversations on race and gender in Brazil, speaking place is the idea that everyone has a social position in the world and that what we are able to say, and how it is received by others, depends on it. Ribeiro traces the history of Black feminist thought through several centuries, examining the ways that Black women have been silenced, ignored, and punished for speaking. &nbsp; Building on feminist standpoint theory, and in conversation with the works of Sojourner Truth, bell hooks, Audre Lorde, and others, Ribeiro invites all of us to recognize where we stand, to imagine geographies&nbsp;different from those we’ve inherited, and to speak a more humane world into being.

Where We Stand

Alex Carter Series

A Novel of Suspense

Storm Warning

The Feminist Film Philosophy Reader

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