Search results for [Women Make Movies (Firm),dst] at Tsuga Consortium

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Thriller. by Potter, Sally,film director.; Laffont, Colette,actor.; Women Make Movies (Firm),dst; Kanopy (Firm),dst;

Colette LaffontOriginally produced by Women Make Movies in 1979.Since its release in 1980, Sally Potter's rewriting of Puccini's opera, La Boheme, has become a classic in feminist film theory. A model for the deconstruction of the Hollywood film, THRILLER turns the conventional role of women as romantic victims in fiction on its head. Mimi, the seamstress heroine of the opera who must die before the curtain goes down, decides to investigate the reasons for her death. In doing so, she begins to explore the dichotomy which separates her from the opera's other female character, the "bad girl" Musetta. As rich in sounds and imagery as it is theoretically compelling, THRILLER provides the female spectator with a long-awaited recognition of her version of the story.Mode of access: World Wide Web.

Subjects: Feature films.; Motion pictures.; Drama.; Short films.; Motion pictures, British.; Detective and mystery films.; Motion pictures--Europe.;

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Behind the Rage. by Khan, Deeyah,film director.; Women Make Movies (Firm),dst; Kanopy (Firm),dst;

Originally produced by Women Make Movies in 2022.In the United States, most female homicide victims are killed by their current or former partner and one in 4 women experience domestic violence or abuse. In BEHIND THE RAGE: INSIDE AMERICA'S DOMESTIC VIOLENCE, Peabody, BAFTA, and Emmy award-winning filmmaker Deeyah Khan asks a simple question: is it possible to reduce these endemic levels of male violence? In search of an answer, she hears heartfelt testimonies from survivors and victims’ families, and gets vital insights from social workers and psychologists who work with violent men. And she speaks to those whose voices are rarely heard in conversations about domestic violence yet who may hold the key to stopping it: the perpetrators themselves.Mode of access: World Wide Web.

Subjects: Documentary films.; Criminal law.; Social sciences.; Psychology.; Gender identity.; Mental health.; Health.; Documentary films.; Women's studies.; Current affairs.; Violence.; Social service.; Abuse.;

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The Passion of Remembrance. by Julien, Isaac,film director.; Blackwood, Maureen,film director.; Women Make Movies (Firm),dst; Kanopy (Firm),dst;

Originally produced by Women Make Movies in 1986.THE PASSION OF REMEMBRANCE, the Sankofa collective's greatly influential first film and a landmark work in British avant-garde film and video, ambitiously explores themes of racism, homophobia, sexism, and generational tensions as embodied in the reality known by a Black British family over the years. The film interweaves two narrative threads—one in which a man and a woman discourse on their own experiences living in the UK, another in which events from three decades in the lives of the Baptiste family are staged—Maureen Blackwood and Isaac Julien tease the accumulated fragments into a spellbinding, heterogeneous mosaic that powerfully evokes the multiplicity of Black experience and identity and critiques the British state’s treatment of its marginalized residents.Mode of access: World Wide Web.

Subjects: Documentary films.; Enthnology.; Social sciences.; Balts (Indo-European people).; Foreign study.; Sociology.; Gender identity.; Documentary films.; Women's studies.; Current affairs.; Race.; Race relations.; British Isles.;

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The Passion of Remembrance. by Julien, Isaac,film director.; Blackwood, Maureen,film director.; Women Make Movies (Firm),dst; Kanopy (Firm),dst;

Originally produced by Women Make Movies in 1986.THE PASSION OF REMEMBRANCE, the Sankofa collective's greatly influential first film and a landmark work in British avant-garde film and video, ambitiously explores themes of racism, homophobia, sexism, and generational tensions as embodied in the reality known by a Black British family over the years. The film interweaves two narrative threads—one in which a man and a woman discourse on their own experiences living in the UK, another in which events from three decades in the lives of the Baptiste family are staged—Maureen Blackwood and Isaac Julien tease the accumulated fragments into a spellbinding, heterogeneous mosaic that powerfully evokes the multiplicity of Black experience and identity and critiques the British state’s treatment of its marginalized residents.Mode of access: World Wide Web.

Subjects: Documentary films.; Enthnology.; Social sciences.; Balts (Indo-European people).; Foreign study.; Sociology.; Gender identity.; Documentary films.; Women's studies.; Current affairs.; Race.; Race relations.; British Isles.;

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The Gold Diggers. by Potter, Sally,film director.; Laffont, Colette,actor.; Gale, David,actor.; Christie, Julie,actor.; Women Make Movies (Firm),dst; Kanopy (Firm),dst;

Colette Laffont, David Gale, Julie ChristieOriginally produced by Women Make Movies in 1983.THE GOLD DIGGERS is the ground-breaking, exquisitely photographed early feminist film by Sally Potter, director of Orlando and The Tango Lesson."Drawing from the same well of avant-garde anti-structure as enfant terrible Jean-Luc Godard and playwright Bertolt Brecht, Sally Potter’s whip-smart THE GOLD DIGGERS is brimming with cultural and political signifiers that combine to form a singular work in the feminist counter cinema space. Employing an all-female crew to shoot, compose, and design this proto-Lynchian world of romantic surrealism, the British filmmaker establishes herself as a trailblazer in this “search for the secret of [her] own transformation.” Babette Mangolte’s career-best cinematography elucidates a visual and thematic sendup of silent comedies, Depression-era musicals, and European arthouse cinema in an elegant, non-narrative ode to — and critique of — traditional Hollywood moviemaking."- UCLA Film & Television ArchiveMode of access: World Wide Web.

Subjects: Feature films.; Motion pictures.; Drama.; Musicals.;

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Storming Caesars Palace. by Gurland, Hazel,film director.; Women Make Movies (Firm),dst; Kanopy (Firm),dst;

Originally produced by Women Make Movies in 2022.Chronicles the extraordinary life of Ruby Duncan, an activist who fights the welfare system and becomes a White House advisor. Ruby, along with Mary Wesley, Alversa Beals, and low-income mothers across the country form the National Welfare Rights Organization to fight for an adequate income, dignity, and justice. Together, they introduce a Guaranteed Income campaign in 1969 which, with feminist Gloria Steinem at their side, becomes part of the Democratic platform in 1972.A real-life superhero, Ruby takes on both the Nevada political establishment and organized crime in a valiant and resolute act of civil disobedience. Based on a groundbreaking book and using lost archival material,STORMING CAESARS PALACE celebrates the visionary leadership of Ruby Duncan, whose courage, tenacity, and dreams could not be quashed against all odds. While the film focuses on a historical story, its message is current and relevant as it asks viewers to consider that a guaranteed universal income is a human rights issue.Mode of access: World Wide Web.

Subjects: Documentary films.; Enthnology.; Social sciences.; Economic development.; Business.; History, Modern.; Human rights.; Sociology.; Documentary films.; Ethnicity.; Current affairs.; History.; Poverty.; African Americans.; Political participation.; United States--History.; Biography.; Equality.; Social justice.; Feminism.; Political activists.;

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Muslim in America. by Khan, Deeyah,film director.; Women Make Movies (Firm),dst; Kanopy (Firm),dst;

Originally produced by Women Make Movies in 2020.Since 2015, anti-Muslim hate groups, conspiracy theories and hate crimes have risen in the United States. In this Peabody Award-winning exposé, Deeyah Khan explores the connections between this increase in hate-driven incidents and state-endorsed racism and investigates what it's like to be Muslim in a country where many people feel they don’t belong. Filmed before and during the coronavirus pandemic and while events following the death of George Floyd unfolded around her in America, Khan meets ordinary Muslims whose lives have been shattered by violence and intolerance, activists trying to combat a rising tide of hatred, armed militia who believe Islam is infiltrating the U.S., and lawmakers who have themselves been the target of vitriolic rhetoric, such as Minnesota congresswoman Ilhan Omar.Deploying her uniquely intimate filming style, Deeyah seeks to get to the heart of the Muslim experience - providing a vivid insight into the experiences of alienation, of rejection, and the daily struggles of keeping faith in both Islam and the American Dream.Mode of access: World Wide Web.

Subjects: Documentary films.; Political science.; Social sciences.; Enthnology.; History, Modern.; Americans.; Foreign study.; Sociology.; Documentary films.; Ethnicity.; Current affairs.; United States--Politics and government.; History.; Politicians.; Political participation.; Racism.; Social problems.; Discrimination.; Muslims.; Hate crimes.;

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Nu Shu. by Yang, Yue-Qing,film director.; Women Make Movies (Firm),dst; Kanopy (Firm),dst;

Originally produced by Women Make Movies in 1999.In feudal China, women, usually with bound feet, were denied educational opportunities and condemned to social isolation. But in Jian-yong county in Hunan province, peasant women miraculously developed a separate written language, called Nu Shu, meaning "female writing." Believing women to be inferior, men disregarded this new script, and it remained unknown for centuries. It wasn't until the 1960s that Nu Shu caught the attention of Chinese authorities, who suspected that this peculiar writing was a secret code for international espionage. Today, interest in this secret script continues to grow, as evidenced by the wide critical acclaim of Lisa See's novel, "Snow Flower and the Secret Fan", about Nu Shu.NU SHU: A HIDDEN LANGUAGE OF WOMEN IN CHINA is a thoroughly engrossing documentary that revolves around the filmmaker's discovery of eighty-six-year-old Huan-yi Yang, the only living resident of the Nu Shu area still able to read and write Nu Shu. Exploring Nu Shu customs and their role in women's lives, the film uncovers a women's subculture born of resistance to male dominance, finds a parallel struggle in the resistance of Yao minorities to Confucian Han Chinese culture, and traces Nu Shu's origins to some distinctly Yao customs that fostered women's creativity.Mode of access: World Wide Web.

Subjects: Documentary films.; Social sciences.; Anthropology.; Asians.; Foreign study.; Second language acquisition.; Sociology.; Gender identity.; Documentary films.; Women's studies.; Current affairs.; History.; China.; Language and languages.;

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Results 1 to 8 of 8