Doing women’s film and television history: the Women’s Film and Television History Network UK/Ireland

Screen ◽  
2019 ◽  
Vol 60 (3) ◽  
pp. 483-491 ◽  
Author(s):  
Christine Gledhill ◽  
Rona Murray ◽  
Emma Sandon
Keyword(s):  
Television History ◽  
Film And Television ◽  
Women's Film

scholarly journals Researching around our subjects

2021 ◽  
pp. 166-188
Author(s):  
Frances C. Galt
Keyword(s):  
Oral History ◽  
Methodological Approach ◽  
Television History ◽  
Archival Material ◽  
Film And Television ◽  
Concentric Circles ◽  
Women's Film ◽  
Oral History Interviews ◽  
Union Activism

This article explores the opportunities and obstacles of researching women’s trade union activism in the British film and television industries between 1933 and 2017. The surviving material on women’s union participation is incomplete and fragmented, and so my research has combined an examination of archival material—the union’s journal and the meeting minutes, correspondence and ephemera of three iterations of its equality committee—with new and existing oral history interviews. Sherry J. Katz has termed this methodological approach “researching around our subjects”, which involves “working outward in concentric circles of related sources” to reconstruct women’s experiences (90). While “researching around my subjects” was a challenging and time-consuming process, it was also a rewarding one, producing important insights into union activism as it relates to gender and breaking new ground in both women’s labour and women’s film and television history. This article concludes with a case study on the appointment of Sarah Benton as researcher for the ACTT’s Patterns report in 1973, revealing the benefits of this methodological approach in reconstructing events which have been effectively erased from the official record.

Introduction

2020 ◽  
pp. 1-26
Author(s):  
Frances C. Galt
Keyword(s):  
Gender Discrimination ◽  
Trade Unions ◽  
Methodological Approach ◽  
Industrial Relations ◽  
Television History ◽  
Trade Union Movement ◽  
Film And Television ◽  
Women's Film ◽  
And Gender ◽  
The Relationship

This chapter establishes the original contribution of the book by addressing why this research is necessary, where it sits within the existing literature and how this research has been conducted. Firstly, this chapter illustrates the timeliness of the book with reference to women’s renewed activism against sexual harassment and gender discrimination in the film and television industries and in the trade union movement. Secondly, this chapter explains the rationale for its focus and establishes the three central themes which underpin the book’s analysis of the relationship between women and trade unions in the British film and television industries: the operation of a gendered union structure, women’s union activism, and the relationship between class and gender in the labour movement. Thirdly, this chapter surveys existing literature in the fields of Women’s Labour History, Industrial Relations Scholarship and Women’s Film and Television History. Fourthly, this chapter details the methodological approach of this project, which combines archival research with oral history. Finally, this chapter outlines the structure of the book.

scholarly journals Doing women’s film & television history

2021 ◽  
pp. 3-11
Author(s):  
Sarah Arnold ◽  
Anne O'Brien
Keyword(s):  
Women's Work ◽  
Women's Images ◽  
Television History ◽  
The Public ◽  
Film And Television ◽  
Women’S Work ◽  
Sex And Sexuality ◽  
Women's Film ◽  
Irish Film ◽  
The Many

The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue that addresses a number of topics and themes related to the study of women in film and television, including, but not limited to, the production and use of archival collections for the study of women’s film and television histories; the foregrounding of women in Irish film and television histories; women’s productions and representation in films of the Middle East; representations of sex and sexuality in television drama; and women’s work and labour in film and television. The breadth of the themes covered here is indicative of the many ways in which scholars seek to produce, describe and uncover the histories and practices of women in these media. They suggest opportunities for drawing attention to women’s work, whether that is labouring in the film and television industries or the work that women’s images are put to do on screen. Collectively, the articles contained in this issue point to a multitude of opportunities for doing and producing women’s film and television histories, either as they occurred in the past or as they materialise in the present. They offer correctives to absences and marginalisation in production histories, in archiving or preservation, and in representation.

Out of the Margins of Feminist Filmmaking: Vibeke Løkkeberg, Norway, and the Film Cultures of 1970s West Berlin

2019 ◽  
pp. 85-93
Author(s):  
Ingrid S. Holtar
Keyword(s):  
Western Europe ◽  
Women Filmmakers ◽  
Film Festival ◽  
National Cinema ◽  
American Women ◽  
Film And Television ◽  
West Berlin ◽  
History Of ◽  
Women's Film

This chapter addresses how 1970s films by Norwegian women filmmakers form an unexplored history of cinematic and feminist “elsewheres,” through their many international connections. In particular, the films by Vibekke Løkkeberg were part of the international women’s film festival circuit at the time. Foregrounding her Women in media (1974), shot while the director was participating at the First International Women’s Film Seminar in West Berlin in 1973, the chapter emphasizes connections to women’s filmmaking in the New German Cinema movement. Women in media is comprised of interviews with French, Italian, British and American women working in film and television who discuss the difficulties of gaining access to production. As a case study, Løkkeberg’s film provides an interesting document about the fight for equality in media in Western Europe, and contextualizing connections between a peripheral feminist national cinema (such as that of Norway at the time), and an emerging international feminist network.

Catalysts for Change, 1960–75

2020 ◽  
pp. 63-102
Author(s):  
Frances C. Galt
Keyword(s):  
Gender Discrimination ◽  
Women Activists ◽  
New Left ◽  
Annual Conference ◽  
Labour Movement ◽  
Film And Television ◽  
Women's Film ◽  
The 1960S ◽  
The Relationship ◽  
Union Structure

This chapter analyses the relationship between women and the Association of Cinematograph, Television and Allied Technicians (ACTT) between 1960 and 1975 to identify the catalysts for the establishment of the Committee on Equality (COE) in 1973 and the demand for an investigation into gender discrimination in the film and television industries, which culminated in the publication of the Patterns of Discrimination Against Women in the Film and Television Industries report in 1975. Firstly, this chapter considers whether the ‘roots’ of women’s militancy evident in the labour movement during the 1960s (Boston, 2015) can be identified within the ACTT between 1960 and 1968. Secondly, this chapter argues that the emergence of the New Left and women’s liberation movement and industrial militancy in Britain between 1968 and 1973 encouraged women to challenge the gendered union structure of the ACTT. This section particularly highlights the significance of the London Women’s Film Group to women’s activity within the ACTT. Finally, this chapter investigates the activity of the COE between 1973 and 1975, considering: the demands advanced by women activists at the ACTT’s 1973 Annual Conference, the logistics of the investigation, the obstacles to women’s activity, and the function of women’s separate self-organisation.

scholarly journals The Evolution of Modern Zombie Comedies

2018 ◽  
Vol 5 ◽  
pp. 99-107
Author(s):  
Katie Garrett
Keyword(s):  
Film Industry ◽  
Horror Film ◽  
Television Show ◽  
Television History ◽  
Film And Television ◽  
The Past

Zombie comedies are a subgenre of a subgenre in the horror film industry, and their prevalence in recent film and television history is unprecedented. This essay explores the beginnings of zombie comedy movies, their evolution throughout the past decade, and the implications of this genre’s new relevance and its politics. Included is an examination of a more recent Netflix Original television show, Santa Clarita Diet.

Suicide and the Media

Crisis ◽  
2001 ◽  
Vol 22 (4) ◽  
pp. 163-169 ◽  
Author(s):  
R. Warwick Blood ◽  
Jane Pirkis
Keyword(s):  
Social Learning Theory ◽  
The Body ◽  
Media Content ◽  
Causal Association ◽  
Media Messages ◽  
Film And Television ◽  
Media Portrayal ◽  
The Media ◽  
Actual Suicide ◽  
Multiple Meanings

Summary: The body of evidence suggests that there is a causal association between nonfictional media reporting of suicide (in newspapers, on television, and in books) and actual suicide, and that there may be one between fictional media portrayal (in film and television, in music, and in plays) and actual suicide. This finding has been explained by social learning theory. The majority of studies upon which this finding is based fall into the media “effects tradition,” which has been criticized for its positivist-like approach that fails to take into account of media content or the capacity of audiences to make meaning out of messages. A cultural studies approach that relies on discourse and frame analyses to explore meanings, and that qualitatively examines the multiple meanings that audiences give to media messages, could complement the effects tradition. Together, these approaches have the potential to clarify the notion of what constitutes responsible reporting of suicide, and to broaden the framework for evaluating media performance.

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