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Journal Articles
Feminist Media Histories. 2018; 4225–30 doi: https://doi.org/10.1525/fmh.2018.4.2.25
Published: 01 April 2018
... Birth of Mass Culture and the Motion Picture Industry (Chicago: University of Chicago Press, 1983); Robert Sklar, Movie-Made America: A Cultural History of American Movies (New York: Random House, 1975). This has been referred to as the embourgeoisement thesis. See Lee Grieveson, “Audiences: Surveys...
Journal Articles
Feminist Media Histories. 2020; 6216–42 doi: https://doi.org/10.1525/fmh.2020.6.2.16
Published: 01 April 2020
... regionalism and conservationism to film across a span of forty-three years that saw major revolutions in Hollywood filmmaking. The Hollywood studio system, I argue, appropriated her successful brand of regionalism and her audience of women's club members, while also augmenting her problematically genteel mode...
Journal Articles
Feminist Media Histories. 2019; 5421–55 doi: https://doi.org/10.1525/fmh.2019.5.4.21
Published: 01 October 2019
... not limited to the filmmakers, festival organizers and staff, and audiences. Their experiences shed light on the ways that identity-based film festivals have evolved through engagement with economic and political forces of globalization and neoliberalism even as they function as important, fluid sites...
Journal Articles
Feminist Media Histories. 2017; 3382–106 doi: https://doi.org/10.1525/fmh.2017.3.3.82
Published: 01 July 2017
...Shawn Shimpach Seeing people as audiences has a history. Our current ways of seeing people are especially indebted to the conjuncture of Progressive Era reform efforts, the early development of the social sciences, and the transformation of the cinema into a mass medium in the first decades of the...
Journal Articles
Feminist Media Histories. 2019; 53140–167 doi: https://doi.org/10.1525/fmh.2019.5.3.140
Published: 01 July 2019
... production of media content aimed at British diasporic audiences while at the same time negotiating their own Australian national identity and sense of belonging, within an imperial framework. A close study of institutional and private archives reveals that these professional responsibilities and tensions...
Journal Articles
Feminist Media Histories. 2017; 34162–194 doi: https://doi.org/10.1525/fmh.2017.3.4.162
Published: 01 October 2017
...Annie Fee In their quest for official and cultural recognition, French First Wave critics such as Louis Delluc discursively positioned the working-class female cinemagoer as emblematic of the sorry state of unsophisticated French film audiences. From this discourse came the stereotype of the starry...
Journal Articles
Feminist Media Histories. 2018; 42196–200 doi: https://doi.org/10.1525/fmh.2018.4.2.196
Published: 01 April 2018
...: Clarendon, 1997), 5. 3. Lynn Spigel, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago: University of Chicago Press, 1992), 43. 4. Ellen Seiter, Television and New Media Audiences (London: Clarendon, 1999), 6. 5. Beretta E. Smith-Shomade, Shaded Lives: African...
Journal Articles
Feminist Media Histories. 2015; 1290–124 doi: https://doi.org/10.1525/fmh.2015.1.2.090
Published: 01 April 2015
... choices, and exhibition strategies—and audiences' reception of the National Women's Film Circuit provides insight into how feminist media workers strove to change society through the ongoing learning process of relating to one another and to their audiences. It also offers an opportunity to return to the...
Journal Articles
Feminist Media Histories. 2018; 4158–83 doi: https://doi.org/10.1525/fmh.2018.4.1.58
Published: 01 January 2018
... broadcasters and sponsors could negotiate economic pressures and cultural concerns about women's paid work in the young medium. By embracing domesticity, the program negotiated the division then developing between prime-time and daytime programming, modeled modern consumer behavior for a mass female audience...
Journal Articles
Feminist Media Histories. 2017; 34195–203 doi: https://doi.org/10.1525/fmh.2017.3.4.195
Published: 01 October 2017
... possibilities, her interest in greater authenticity in films, and her desire to uplift films and to correct the misinformation surrounding what she called “the glamour and danger of motion picture work.” It typifies the many speeches she gave to audiences made up of women who shared her interest in raising the...
Journal Articles
Feminist Media Histories. 2020; 621–15 doi: https://doi.org/10.1525/fmh.2020.6.2.1
Published: 01 April 2020
... are consumed by largely female audiences. While such commodified mass cultural landscape images have been “seen as derivative, sensationalist, repetitive, and often linked implicitly or explicitly to women and the feminine,” Matthews and Simon show how they did important cultural work to shape...
Journal Articles
Feminist Media Histories. 2020; 6267–94 doi: https://doi.org/10.1525/fmh.2020.6.2.67
Published: 01 April 2020
...,” which transformed the nascent field of cinema studies. 50 At this point, it became the task of feminist film scholars and filmmakers to use methods derived from psychoanalysis and structuralist theory to call out and/or circumvent the phallocentric processes of audience identification that occur in...
Journal Articles
Feminist Media Histories. 2020; 62120–147 doi: https://doi.org/10.1525/fmh.2020.6.2.120
Published: 01 April 2020
...) won a number of awards at film festivals, including the Audience Award at the Africa World Diaspora Film Festival in 2009, but it is currently only available in DVD format, and there are only a few remaining copies (contact the filmmaker, vagabondmedia1@mac.com ). Attempts at digitizing it from the...
Journal Articles
Feminist Media Histories. 2020; 62148–175 doi: https://doi.org/10.1525/fmh.2020.6.2.148
Published: 01 April 2020
.... 72 A Cajun dance hall owner described the emotional power of Ardoin's singing: “His voice could go through you. He could play some music, every woman in the dance hall would cry. They'd stop dancing. Sat down and wiped the tears.” He recalls that Ardoin could seemingly command an audience like...
Journal Articles
Feminist Media Histories. 2017; 3257–77 doi: https://doi.org/10.1525/fmh.2017.3.2.57
Published: 01 April 2017
... Fields's comedic persona, which forced audiences to confront the realities of voices and bodies that did not conform to classical ideals, in the context of more recent theoretical work on the economy of charged humor (Rebecca Krefting) and the place of women's comedy within contemporary culture (Linda...
Journal Articles
Feminist Media Histories. 2020; 6137–65 doi: https://doi.org/10.1525/fmh.2020.6.1.37
Published: 01 January 2020
... a position where he was limited by market logic and needed to create, define, and defend the fantasy genre in order to keep writing LOTR for an adult audience. Paul E. Michelson, “The Development of J. R. R. Tolkien's Ideas on Fairy-Stories,” Inklings Forever 8 (2012): 3. 22. Young, Race...
Journal Articles
Feminist Media Histories. 2020; 6166–92 doi: https://doi.org/10.1525/fmh.2020.6.1.66
Published: 01 January 2020
... should be understood as such. At the time of Plundered Hearts 's release, interactive fiction was a major form of gaming, marketed in the same periodicals and to the same audiences as any other contemporary title. Plundered Hearts is notable for having the only significant playable female character in...
Journal Articles
Feminist Media Histories. 2017; 32141–165 doi: https://doi.org/10.1525/fmh.2017.3.2.141
Published: 01 April 2017
..., turned her anger outward in later years, challenging societal expectations about women's comedy. White's later comedy has frequently parodied the innocent, domestic characters she played in her youth while asking audiences to accept older women as sexual beings. Both women use their outsider status to...
Journal Articles
Feminist Media Histories. 2020; 6193–118 doi: https://doi.org/10.1525/fmh.2020.6.1.93
Published: 01 January 2020
Journal Articles
Feminist Media Histories. 2020; 6112–36 doi: https://doi.org/10.1525/fmh.2020.6.1.12
Published: 01 January 2020