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Keywords: women
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Journal Articles
Journal:
Feminist Media Histories
Feminist Media Histories (2019) 5 (4): 59–60.
Published: 01 October 2019
...://www.ucpress.edu/journals.php?p=reprints . 2019 domestic violence female aging poetry video women FIGURE 1. Pharaoh “Pharah” Diaz in Two Women (dir. Juanita Mohammed and Pharaoh “Pharah” Diaz), 2019, https://vimeo.com/340243804/230a094b5b . FIGURE 1. Pharaoh “Pharah” Diaz in Two Women (dir...
Journal Articles
Journal:
Feminist Media Histories
Feminist Media Histories (2019) 5 (3): 114–139.
Published: 01 July 2019
...Kate Murphy Between 1926 and 1938, the Foreign Department of the British Broadcasting Corporation (BBC) played a central role in transnational broadcasting. Initially headed by a man, Major C. F. Atkinson, it would grow to become largely the domain of women. Starting in 1933, at the helm was Isa...
Abstract
Between 1926 and 1938, the Foreign Department of the British Broadcasting Corporation (BBC) played a central role in transnational broadcasting. Initially headed by a man, Major C. F. Atkinson, it would grow to become largely the domain of women. Starting in 1933, at the helm was Isa Benzie, an Oxford graduate who had joined the BBC in 1927 as Atkinson's secretary. Realizing her potential, he trained and encouraged her to deputize for him, and she was his natural successor when he resigned his post. In 1930, on Benzie's recommendation, her great friend Janet Quigley was recruited to the department. Together they oversaw international relays—the exchange of programs between different countries of the world. Benzie oversaw Europe, and Quigley, the United States. The two women operated in an area that was overwhelmingly peopled by men, and this article considers the significance of their work at a time when the gendering of broadcasting roles was the norm.
Journal Articles
Journal:
Feminist Media Histories
Feminist Media Histories (2019) 5 (3): 60–84.
Published: 01 July 2019
... US Office of Inter-American Affairs (OIAA) and disseminated throughout the region. One dimension of that campaign involved radio propaganda aimed specifically at women, who were regaled with stories of heroic Latin American women and carefully curated female perspectives on life in the United States...
Abstract
During World War II, US–Latin American relations were shaped by the noninterventionist Good Neighbor policy and the projection of soft power via US government-orchestrated public relations and propaganda campaigns. This included extensive film and radio propaganda overseen by the US Office of Inter-American Affairs (OIAA) and disseminated throughout the region. One dimension of that campaign involved radio propaganda aimed specifically at women, who were regaled with stories of heroic Latin American women and carefully curated female perspectives on life in the United States during wartime. In much of this material, the United States was presented as a dominant yet gentlemanly hemispheric partner, offering Latin America protection and material abundance in exchange for loyalty and deference. As the war wound down, such propaganda took a sharp turn toward the Cold War, when Good Neighbor chivalry gave way to more strident rhetoric, prefiguring a return to US interventionist politics of the prewar era.
Journal Articles
Journal:
Feminist Media Histories
Feminist Media Histories (2019) 5 (3): 85–113.
Published: 01 July 2019
...Yves Rees This article examines how women's broadcasting promoted consciousness and appreciation of the United States during the 1930s and 1940s. These were decades in which Australians had limited access to US news and culture, and Hollywood dominated local imaginings of US society. In this...
Abstract
This article examines how women's broadcasting promoted consciousness and appreciation of the United States during the 1930s and 1940s. These were decades in which Australians had limited access to US news and culture, and Hollywood dominated local imaginings of US society. In this climate, Australians who had lived Stateside were hailed as authorities on the nation and its people, and they often spoke on radio. Among these “America educators” were significant numbers of women. Armed with firsthand knowledge of the wider world, these female travelers could claim space in a broadcasting landscape otherwise dominated by men. Through their radio broadcasts, they aspired to foster transpacific understanding and friendship. Women's broadcasting was therefore a cultural force at the vanguard of Australia's “turn to America.” More than a manifestation of US popular culture, radio depicted the United States as an ally of and model for Australia during an era of entrenched British allegiance.
Journal Articles
Journal:
Feminist Media Histories
Feminist Media Histories (2019) 5 (1): 11–38.
Published: 01 January 2019
...Jasmine Nadua Trice This essay analyzes three experimental short films made by Southeast Asian women filmmakers: Jai ( Love , 2008), directed by Anocha Suwichakornpong of Thailand; Shotgun Tuding (2014), directed by Shireen Seno of the Philippines; and Eleven Men (2016), directed by Nguyễn Trinh...
Abstract
This essay analyzes three experimental short films made by Southeast Asian women filmmakers: Jai ( Love , 2008), directed by Anocha Suwichakornpong of Thailand; Shotgun Tuding (2014), directed by Shireen Seno of the Philippines; and Eleven Men (2016), directed by Nguyễn Trinh Thi of Vietnam. Each deploys a critique of national historiography through specific formal strategies: constructing a recursive temporality ( Jai ), using anachronistic media ( Shotgun Tuding ), or privileging image over event ( Eleven Men ). These formal strategies create a gendered, reflexive view of the historiographic process through their frictions with official, national histories. At the same time the films nod to, and at times engage with, the transnational networks that brought them into being. The essay considers how the films and the filmmakers who made them negotiate local arts activism, transnational funding structures, and commitments to national histories. It argues that their textual and institutional parallels sketch the possibility of a regional, Southeast Asian imaginary for women's filmmaking.
Journal Articles
Journal:
Feminist Media Histories
Feminist Media Histories (2018) 4 (4): 8–32.
Published: 01 October 2018
...Emma Sandon The experiences of women engineers working in the BBC Television Service at Alexandra Palace, London, during the 1940s and 1950s, give insights into gender discrimination in broadcasting. These women first joined as radio engineers when the BBC was recruiting women during World War II...
Abstract
The experiences of women engineers working in the BBC Television Service at Alexandra Palace, London, during the 1940s and 1950s, give insights into gender discrimination in broadcasting. These women first joined as radio engineers when the BBC was recruiting women during World War II, then transferred to television between 1946 and 1947. In interviews recorded in the 1990s, they talk about incidents of bullying and exclusion by men on crews who were hostile to women doing engineering jobs. Other memories are about being demoted from positions on camera and sound to vision mixing when the BBC Staff Association negotiated new grading for cameramen with BBC management at the expense of its female members. As the Television Service became established, women were eased out of skilled and responsible jobs when men returning from the war regained their positions in broadcast engineering.
Journal Articles
Journal:
Feminist Media Histories
Feminist Media Histories (2017) 3 (1): 50–80.
Published: 01 January 2017
...K. Soraya Batmanghelichi; Leila Mouri The June 2009 uprising following Iran's presidential election sparked the immediate scattering of its women's rights leaders across the globe. Activists living in exile took their activities online to pursue on-the-ground projects, initiating online campaigns...
Abstract
The June 2009 uprising following Iran's presidential election sparked the immediate scattering of its women's rights leaders across the globe. Activists living in exile took their activities online to pursue on-the-ground projects, initiating online campaigns and raising feminist awareness. Seven years later, this transition to cyberspace has had innumerable consequences for Iran's feminist movement. This article examines five Iranian rights-based platforms—Bidarzani, Women's Watch, Feminism Everyday, My Stealthy Freedom, and ZananTV—and their use of social media to vocalize and extend women's rights advocacy. Given the flourishing of cyberfeminist projects, it is worth investigating both the methodologies employed and the unforeseen constraints and costs that have emerged. For instance, do these undertakings challenge women's political and economic status in Iran? Is their activism a new and unique form of feminism? This paper explores their move online, tracing the shifts in Iran's women's rights movement, its current challenges, and its potential vulnerabilities.