Shooting Women
Intellect Books (Verlag)
978-1-78320-506-6 (ISBN)
Shooting Women takes readers around the world to explore the lives of camerawomen working in features, TV news, and documentaries. From pioneers like African American camerawoman Jessie Maple Patton who got her job only after suing the union – to China’s first camerawomen – who travelled with Mao – to rural India where women in poverty have learned camerawork as a means of empowerment, Shooting Women reveals a world of women working with courage and skill in what has long been seen as a male field.
Alexis Krasilovsky is the writer/director of the global feature Women Behind the Camera, winner of four 'Best Documentary' awards and based on her book of the same title. Her most recent global documentary is Let Them Eat Cake, about the pleasures and perils of pastry. Krasilovsky studied at Yale University and received an MFA in Film/ Video from CalArts. She is Professor of Screenwriting and Media Theory & Criticism at California State University, Northridge. Harriet Margolis has authored essays on film, literature, and feminism published in Poetics Today, Semiotica, Para*Doxa, Cinema Journal, and the Quarterly Review of Film and Video, as well as book chapters on responsibility and collaboration in representations of the Nazi era, self-directed stereotypes in African American cinema, and cultural capital and the Jane Austen adaptations. Author of The Cinema Ideal (1988; reprinted by Routledge, 2013), she is editor of Jane Campion’s 'The Piano' (2000; Cambridge UP), and co-editor of Studying the Event Film: 'The Lord of the Rings' (2006; Manchester UP). The winner of the 2011 Joe Hill Award for labor poetry, Julia Stein, as book editor, has published Walking Through a River of Fire: 100 Years of Triangle Poetry and Every Day is an Act of Resistance: Selected Poetry of Carol Tarlen. Her fifth and most recent book of poetry is titled What Were They Like?
Acknowledgements
Prefaces
From Alexis Karsilovsky
From Harriet Margolis
List of abbreviations
Job titles and some useful definitions
Chapter 1: How do women become camerawomen?
Learning on the job
Still Photography
Film School
Training Programs
Two Examples of Feminist Groups: Women in Film and Behind the Lens
Women-Supportive Workshops and Production Groups
Filming in the Service of Social Activism: Video SEWA and Aina
Collectives
Rental Houses
Chapter 2: How hard can it be?
Gender Discrimination
Unions and Guilds
When Cameras Were Heavy
Helpful Men
Ssh! (Secret Sexual Harassment)
Sabotage
Getting Paid Jobs
Breaking Out of Isolation
Rising through the Ranks
Budgets and Glass Ceiling
Chapter 3: Documentary: A good and satisfying career choice that is statistically friendlier to women that feature fiction filmmaking
Filming History Being Made in China
Documentary: Historical and Personal
Chapter 4: Hollywood, Bollywood, independents, and short forms
Hollywood
Indian Cinema
The Freedom of Independent Films
Music Videos
Commercials and Such
Experimental / Avant-Garde Films and Video
Art Films and Videos
Shooting Special Material: Birth
Chapter 5: Special skills and creativity
Handheld Camerawork
Cranes
Underwater
Helicopters
Special Effects
Lighting as a Cinematographer’s Dream Job
Digital Technology
Style
Chapter 6: Shooting around the world
Erika Addis on Beginning her Career
Arlene Burns on Filming in the Kuril Islands
Yong-Joo Byun on Filming Comfort Women in Korea
Nancy Durham on Filming the Balkan War
Jolanta Dylewska on Filming in Kazakhstan
Sabeena Gadihoke on Filming Three Women and a Camera
Rozette Ghadery on Filming in Kurdistan
Sue Gibson on Filming in Jordan
Joan Giummo on Filming Homeless Women in New York
Agnès Godard Pays Homage to Beauty
Marina Goldovaskaya on Filming History Being Made in Russia
Ellen Kuras on Pivotal Moments in Shooting
Heather Mackenzie on Filming Romanian Orphans
Sandi Sissel on Filming Salaam Bombay!
Agnès Varda on Filming the Human Body
Liz Ziegler on Filming Eyes Wide Shut (1999) for Stanley Kubrick
Chapter 7: Can camerawomen also be women?
Parents
Fathers
Mothers
Friends and Extended Family
Husbands
A Happy Marriage
Pregnancy
Children and Childcare
Daughters
Chapter 8: What’s it really like?
A Typical Day
Where Do Camerawomen Go?
What Do Camerawomen Wear?
Working with the Crew
Working with Directors and Procedures
Acting Like men to Fit In
The Advantages of Being Female
Chapter 9: Magic moments, worst moments
Satisfactions
Worst Moments, Dangers, and Risking One’s Life
Chapter 10: What do Camerawomen see?
Representation and Gender
Ethics
Camerawomen Teaching
“Just Do It”
Aspirations for the Future
List of camerawomen whose interviews are included in this book
Bibliography
Index
| Verlagsort | Bristol |
|---|---|
| Sprache | englisch |
| Maße | 178 x 229 mm |
| Gewicht | 585 g |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| Sozialwissenschaften ► Soziologie ► Gender Studies | |
| ISBN-10 | 1-78320-506-7 / 1783205067 |
| ISBN-13 | 978-1-78320-506-6 / 9781783205066 |
| Zustand | Neuware |
| Haben Sie eine Frage zum Produkt? |
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