Tuesday, February 28, 2017

I Am Not Your Negro (France/USA: Raoul Peck, 2016)




I Am Not Your Negro (France/USA: Raoul Peck, 2016: 95 mins)

Als, Hilton. "Capturing James Baldwin's Legacy Onscreen." The New Yorker (February 13, 2017)

Baldwin, James. "A Talk to Teachers." (PDF: 1963)

---. "The Creative Process." (PDF: 1962)

---. "Going to Meet the Man." (PDF: 1965)

---. "Go the Way Your Blood Beats." (PDF: 1984)

---. "The New Lost Generation." (PDF: 1961)

---. "Notes of a Native Son." (PDF: 1955)

---. "On Being White ... and Other Lies." (1984)  Black on White: Black Writers on What It Means to Be White. ed. David Roediger. Schocken Press, 1998: 177-180.

---. "Sonny's Blues." (PDF: 1957)

Casmier, Stephen. "Did I Get James Baldwin Wrong?" Codeswitch (February 5, 2017)

Clark, Ashley, Violet Lucca and Amy Taubin. "Identity." Film Comment (January 17, 2017) ["Ideology and aesthetics have somehow come to be positioned opposite one another—in film criticism, should one be privileged over the other? This episode of The Film Comment Podcast discusses how race, ethnicity, and other markers of identity factor into film criticism and cinema generally. FC Digital Editor Violet Lucca unpacks the topic with Amy Taubin, Contributing Editor to FC and Artforum, and Ashley Clark, FC contributor and programmer, in a conversation that spans multiple decades of film history—from Taxi Driver to OJ: Made in America to Notting Hill to I Am Not Your Negro, to the canceled Michael Jackson episode of Urban Myths starring Joseph Fiennes."]

Crump, Andy. "You Can't Keep Up: Raoul Peck and I Am Not Your Negro's Call To Action." Paste (February 1, 2017)

Dixon, Osato. "I Am Not Your Negro: Baldwin Doc Affirms Troubling Truths of Race in America." NBC News (February 3, 2017)

Erickson, Steven. "'There Cannot Be a Dream If It's Based On a Lie': I Am Not a Negro director Raoul Peck on James Baldwin, active citizenship, and America." Keyframe (February 2, 2017)

Hedges, Chris. "James Baldwin and the Meaning of Whiteness." Truthdig (February 19, 2017)
Orr, Niela. "The Defiant I Am Not Your Negro." The Baffler (February 10, 2017)

Peck, Raoul. "I Am Not Your Negro." Film Comment Podcast (January 31, 2017)

Peck, Raoul, et al. "Beyonce to Baldwin and Back Again." Still Processing #24 (April 16, 2017)

Peck, Raoul, et al. "I Am Not Your Negro / Film Comment @ Sundance." The Close-Up #120 (January 24, 2017)

Pinckney, Darryl. "Under the Spell of James Baldwin." The New York Review of Books (March 23, 2017)

Rainer, Peter. "I Am Not Your Negro Shows That the World Today is Poorer for Not Having James Baldwin's Views." The Christian Science Monitor (February 24, 2017)

"Raoul Peck." WTF #789 (February 27, 2017) ["Filmmaker Raoul Peck spent more than a decade putting together the documentary I Am Not Your Negro, a powerful film illuminating the words and life of writer and social critic James Baldwin. But as Marc learns in this conversation, Raoul’s own backstory of living under dictatorships, studying across four continents, and learning how to engage activism through art is just as important in understanding how to respond to the world today."]

Rosenberg, Alyssa. "If You Love Cultural Criticism, You Have to See I Am Not Your Negro." The Washington Post (February 2, 2017)

Scott, A.O. "I Am Not Your Negro Will Make You Rethink Race." The New York Times (February 2, 2017)

Woubshet, Dagmawi. "The Imperfect Power of I Am Not Your Negro." The Atlantic (February 8, 2017) ["Raoul Peck’s documentary brings to life James Baldwin’s urgent ideas about race in America, even if it leaves out a key aspect of the writer’s life and work: his sexuality."]
































Resources for February 28, 2017

Barton-Fumo, Margaret, Molly Haskell and Violet Lucca. "Women in New Hollywood." Film Comment (February 7, 2017) ["Road-tripping crises of masculinity soundtracked by classic rock, Harvey Keitel making up for his sins in the streets—a laundry list of 1970s New Hollywood highlights can tend to lack a nuanced female presence. But the ’70s also gave us Wanda, Puzzle of a Downfall Child, Girlfriends, A Woman Under the Influence, and even Five Easy Pieces, all of which explore female identity in the era of second-wave feminism. This episode of the Film Comment podcast spirals outwards from From Reverence to Rape author Molly Haskell’s essay on Mike Mills’s 20th Century Women and accompanying interview with Annette Bening, in the January/February issue, taking a closer look at depictions of women in New Hollywood. Some of these were “neo-women’s films,” dealing with disillusioned housewives fleeing the domestic sphere; others took on female friendship without turning a blind eye to its messiness, a line that runs through Thelma and Louise, Frances Ha, and Broad City. In addition to Haskell, FC Deep Cuts columnist Margaret Barton-Fumo stops by to join the conversation, and as always, Digital Editor Violet Lucca moderates."]

Costs of War  [Website: "The Costs of War Project is a team of 35 scholars, legal experts, human rights practitioners, and physicians, which began its work in 2011. We use research and a public website to facilitate debate about the costs of the post-9/11 wars in Iraq and Afghanistan, and the related violence in Pakistan and Syria. There are many hidden or unacknowledged costs of the United States’ decision to respond to the 9/11 attacks with military force. We aim to foster democratic discussion of these wars by providing the fullest possible account of their human, economic, and political costs, and to foster better informed public policies. Project Goals: To account for and illustrate the wars’ costs in human lives among all categories of person affected by them, both in the US and in Iraq, Afghanistan, and Pakistan; To tell as accessible as possible a story of the wars’ costs in US federal and local dollars, including the long-term financial legacy of the wars in the US; To assess the public health consequences of the wars, including for the countries of Iraq and Afghanistan and for US veterans living with war injuries and illnesses; To describe how these wars have changed the political landscape of the US and the countries where the wars have been waged, including the status of women in the war zones, the degree to which Iraq and Afghanistan’s fledgling democracies are inclusive and transparent, and the state of civil liberties and human rights in the US;
To identify less costly and more effective ways to prevent further terror attacks."]

Crawford, Neta. "As Trump Pushes for Historic $54B Military Spending Hike, Which Programs Will He Cut to Pay for War?" Democracy Now (February 28, 2017)

Hancock, James and Kyle Reardon. "Dissecting the Great Takashi Miike." Wrong Reel #237 (February 2017)

Hedges, Chris. "War is a Force That Gives Us Meaning." Approaches to Peace: A Reader in Peace Studies. 2nd edition. ed. David P. Barash. NY: Oxford UP, 2010: 24-26.

Judah, Tara. "The Fits: Gender, Sports, and Stereotypes - Standing Out and Fitting In." BFI (February 27, 2017) ["An 11-year-old girl toys with swapping rounds in the ring for synchronised dancing in Anna Rose Holmer’s debut film, which explores how our ideas of our gender are formed as we grow up."]

Krishna, Swapna. "Science vs. The Expanse: Is It Possible to Colonize Our Solar System." Tor (February 27, 2017)

O'Mara, Shane. Why Torture Doesn't Work: The Neuroscience of Interrogation. Harvard University Press, 2015.

Parijs, Philippe Van and Yannick Vanderborght. Basic Income: A Radical Proposal for a Free Society and a Sane Economy. Harvard University Press, 2017.

Project Censored [Website: "Project Censored educates students and the public about the importance of a truly free press for democratic self-government. We expose and oppose news censorship and we promote independent investigative journalism, media literacy, and critical thinking. An informed public is crucial to democracy in at least two basic ways. First, without access to relevant news and opinion, people cannot fully participate in government. Second, without media literacy, people cannot evaluate for themselves the quality or significance of the news they receive. Censorship undermines democracy. Project Censored’s work—including our annual book, weekly radio broadcasts, campus affiliates program, and additional community events—highlights the important links among a free press, media literacy and democratic self-government."]

"The Top 25 Censored News Stories of 2015 - 2016." Project Censored (2016) [Earlier annual archives of Top 25 Censored News Stories listed here.]

Zimring, Franklin M. When Police Kill. Harvard University Press, 2017.


Emma Stone, people! from Fandor on Vimeo.


Monday, February 27, 2017

20th Century Women (USA: Mike Mills, 2016)




20th Century Women (USA: Mike Mills, 2016: 118 mins)


20th Century Women Critics Round Up (Ongoing Archive)

Adams, Amy, et al. "Watch Isabelle Huppert, Emma Stone, Amy Adams & More Discuss Acting in 50-Minute Roundtable."  Film Stage (January 30, 2017) [" Isabelle Huppert (Elle), Emma Stone (La La Land), Amy Adams (Arrival), Natalie Portman (Jackie), Naomie Harris (Moonlight), Annette Bening (20th Century Women), and Taraji P. Henson (Hidden Figures)."]

"Annette Bening." WTF #769 (December 18, 2016) ["Annette Bening attributes her longevity in acting to stopping when she wanted. She talks with Marc about being able to put the brakes on her career when dealing with the responsibilities of parenting. They also talk about privacy, winning (or not winning) awards, Warren Beatty, and the many influential people Annette worked with who are no longer with us, including Garry Shandling, Mike Nichols, John Candy, and Robin Williams."]

Barton-Fumo, Margaret, Molly Haskell and Violet Lucca. "Women in New Hollywood." Film Comment Podcast (February 7, 2017) ["Road-tripping crises of masculinity soundtracked by classic rock, Harvey Keitel making up for his sins in the streets—a laundry list of 1970s New Hollywood highlights can tend to lack a nuanced female presence. But the ’70s also gave us Wanda, Puzzle of a Downfall Child, Girlfriends, A Woman Under the Influence, and even Five Easy Pieces, all of which explore female identity in the era of second-wave feminism. This episode of the Film Comment podcast spirals outwards from From Reverence to Rape author Molly Haskell’s essay on Mike Mills’s 20th Century Women and accompanying interview with Annette Bening, in the January/February issue, taking a closer look at depictions of women in New Hollywood. Some of these were “neo-women’s films,” dealing with disillusioned housewives fleeing the domestic sphere; others took on female friendship without turning a blind eye to its messiness, a line that runs through Thelma and Louise, Frances Ha, and Broad City."]

Bloom, Julie. "A Boy Raised by a Few 20th Century Women." The New York Times (November 4, 2016)

Chang, Justin. "Annette Bening is the Pitch-Perfect Centerpiece of 20th Century Women." The Los Angeles Times (December 27, 2016)

Chocano, Carina. "'I Got Beat Up For Wearing This Shirt': Filmmaker Mike Mills shares seven objects that inspired 20th Century Women." The Cut (January 4, 2017)

Ehrlich, David. "20th Century Women Review: Annette Bening, Greta Gerwig, and Elle Fanning Star In Mike Mills’ Best Film." IndieWire (October 7, 2016)

Formo, Brian. "20th Century Women: Mike Mills on the Story’s Response to Beginners, the Necessity of DIY Spaces." Collider (December 27, 2016)

Fujishima, Kenji. "20th Century Women." Paste (October 11, 2016)

Garcia, Mandie. "20th Century Women: 'Can't Things Just Be Pretty.'" Letterboxd (March 5, 2017)

Gilbert, Sophie. "20th Century Women is an Ode to Female Resilience." The Atlantic (January 13, 2017)

Hoffman, Jordan. "20th Century Women: Mike Mills New Film is Poignant and Delicious." The Guardian (October 7, 2016)

Loofbourow, Lili. "20th Century Women, and the Movie as Mixtape." The Week (December 26, 2016)

Mills, Mike. "On Filmmaking." The Close-Up (December 29, 2016)

O'Malley, Sheila. "20th Century Women." Roger Ebert (December 23, 2016)

Rooney, David. "20th Century Women: NYFF 2016." The Hollywood Reporter

Warne, Jude. "Authenticity in Many Forms: 20th Century Women." Film International (January 4, 2017)



























































Caleb Kincaid: Rick and Morty on Personal Identity (ENG 102)




Rick and Morty is, in my opinion, one of the best shows on television today. In its most
basic sense the show is about a young, slightly below average, foolishly good-hearted boy named
Morty and his callous, genius, and alcoholic grandfather Rick as they go on adventures through
space, time and dimensions. Though from the offset this seems like a fairly straightforward and
normal cartoon, it has proven itself capable of asking some serious and occasionally unsettling
questions about reality, morality, and personal identity in a way that can keep one thinking long
after the credits roll. What Rick and Morty says about personal identity and memory is
fascinating in that Rick and Morty seems to go against what many would think, and in that way
makes you think. In this in this paper, I will argue that the show illustrates that one's identity
doesn't come from memory or life experience, but rather from physical form.

To continue down the show’s line of reasoning to this conclusion, we must first discuss
the branch of philosophy that deals with the subject of identity, the Philosophy of Personal
Identity. This philosophy seeks to answer a seemingly simple but deceptively difficult question:
What is “you”? What does being the person that “you” are, from one day to the next, necessarily
consist of? ( Olson) Two of the most prevalent ways to answer this question are the psychological
and physiological. In the psychological approach, a person’s identity is based on their memories
and mind. The physiological approach, in contrast, states a person's identity is tied directly to
their physical form. “Rick and Morty” concurs with the physiological approach by illustrating
the fallibility of memories and reliability of one's physical form.

The show challenges one’s trust in memory in the form of thought experiments. One
small, seemingly inconsequential example occurs in the episode “Mortynight Run”. In the show,
Rick had just sold a gun to an assassin. He does this so that he and Morty could spend an entire
afternoon at “Blips and Chitz”, an inter-dimensional Dave and Busters. In this scene, Rick forces
Morty to play a game called “Roy.” Morty, knowing nothing about the game, agrees to play. To
start the game, Morty puts on a helmet. The helmet takes over the mind and senses to convince
the wearer that they are within the life of a young boy named Roy, living his entire life until he
dies. The game speeds up time however, so what feels like a lifetime to the player is, in reality,
only a few minutes.. When Morty puts on the helmet, he wakes up in Roy’s bed complaining of a
nightmare he had about Morty’s own life, which Roy’s virtual mother assures him was only a
nightmare. He wakes up, goes to school, becomes a star athlete and marries his college
sweetheart. He then falls into financial trouble, forcing him to work for his wife’s father at a
carpet store. His luck takes another turn for the worse when he gets cancer. Fortunately, he beats
cancer only to die by falling off a ladder. At this point Morty wakes up from the game, and out of
his life as Roy, visibly confused about where and who he is. Even after he’s recovered and Rick
explains what happened, he mutters about memories and experiences Morty felt he had
experienced in Roy’s life for the rest of the episode.

Now the question the scene raises to the inquisitive mind is, was Morty still Morty
throughout the entire game playing as Roy, even though he thought he was Roy? Or was he Roy?
And in either case how can one be sure? One philosopher, John Locke, would argue that the
answer to these questions lies in the psychological approach and in psychological continuity.
Locke defines the concept of psychological continuity in "An Essay Concerning Human
Understanding":

...and as far as this consciousness can be extended backwards to any past
action or thought, so far reaches the identity of that person; it is the same self now
that it was then; and this present self that now reflects on it is the one by which
that action was performed.(Locke)

In somewhat simpler terms, this states a past person and a future person are one if they
have continuous memories that connect them. But Morty stops having memories of his life for
the length of the game, instead having memories as the fictional Roy. As a consequence, Morty
ceases to exist, because his memories as Morty cease to exist, while the game is played. His
identity picks back up when those memories continue after the game is over. This begs the
question, what happened while he played the game? Was he Roy? This seems implausible or at
the very least problematic because he is a fictional character within the confines of a game. Roy
cannot truly be a person or have his own identity in the same way Morty can. Multiple people
cannot share the same ‘identity’ of Roy because then that identity could no longer represent one
person, thus not truly an identity at all. Locke supports this assertion by stating:

We never find—and can’t even conceive of—two things of the same kind
existing in the same place at the same time, so we rightly conclude that whatever
exists in a certain place at a certain time excludes all of the same kind, and is there
itself alone.

Since he does not exist outside of any player and is only a part of a repeatable process controlled
by a game many people partake in, Roy cannot be an acceptable stand-in for the identity of
Morty. But Morty also cannot exist during the time of the game because of the break in his
memories as ‘Morty.’ Locke’s psychological approach indicates that since Morty’s memories
disappeared for the duration of the game, and since Roy cannot be an acceptable identity, then
during the time the game was played Morty became nothing.

In the situation proposed by the show, a psychological approach to defining one’s identity
is flawed. It is unreasonable to assume Morty became nothing when he played the game because
when viewed from the perspective of Rick, Morty clearly still exists because Morty is sitting in
front of Rick playing the game. To resolve this issue, one should look to the physiological
perspective. From this approach, even though Morty has no memories during the duration of the
game, he continues to exist because his body continues to exist. It does not matter what he
remembers while in his life as Morty or in the game playing as Roy, because since he still
inhabits his physical body in a sort of physical continuity, as proposed by A.J. Ayers, his identity
endures. Ayers describes this physical continuity in Language Truth and Logic:

And, accordingly, if we ask what is the nature of the self, we are asking
what is the relationship that must obtain between sense-experiences for them to
belong to the sense-history of the same self. And the answer to this question is
that for any two sense-experiences to belong to the sense-history of the same self
it is necessary and sufficient that they should contain organic sense-contents
which are elements of the same body. (Ayer 81-82)
In other words, Ayers says that a body in the past and a body in the future belongs to one “self”
if they have physical experiences connecting them. Morty’s physical continuity preserved his
identity throughout the game of Roy. As stated earlier, Rick could always look over and see
Morty as Morty, even while Morty was convinced he was Roy, illustrating that Morty never
stopped existing in a physical way. From this, it is reasonable to conclude the show believes the
physical body is the only reliable way to discern an identity when memories are easily
susceptible to manipulation, failure, and breaks. But, as long as you're alive and thus capable of
having an identity, the body and the physical form will always be there to preserve it.

The idea of the fragility of memories and the psychological approach to identity comes
up again in another episode called “Total Rickall”. In this episode, Rick and Morty’s family is
infested with space parasites that have the ability to give you false memories of fictional family
and friends and take the place of them in real life, convincing you that you have know these
non-existent people, aka parasites, you're entire life. They’re eventually able to get rid of them,
thanks to the fact that they can only make happy memories, but not before the parasites
multiplied until they filled their house and had the entire family believing in a life they never
had. Once again, Rick and Morty toys with the idea of even the possibility of a psychological
continuity. In this case, the characters believe these memories to be there own, even though
many of them are false, with no way to distinguish between the real and the falsified. The Morty
before the parasites came and the Morty after the parasites came are, in the sense of memory,
two completely different people with few of the same experiences and a completely different
psychological continuity. Yet when the episode is over and all the parasites are dead, the
characters are still the same person they were at the begin of the episode, with the show making a
point to make it seem as though nothing had happened between the beginning of the episode and
the end. The characters sit down and eat at the same table exactly like they were at the beginning
of the episode. Though the show is explicitly preaching nihilism in this scene, it also raises
interesting questions about identity. Rick and Morty is clearly telling you that everything is the
same, regardless of the events of the episode, and that this extends to even the personal identities
of the characters. In this way, the viability of using psychological continuity to derive personal
identity is questioned. For although the scenario portrayed in the show is comically over the top,
the premise of false memories are all too real in human existence. People constantly
misremember, make up, and lie to themselves about the past. They constantly rewrite their own
memories and thus constantly changing their psychological continuities. And if you agree with
Locke and use this continuity to derive identity, then whenever continuity changes so does
identity. Meaning that most people would have nearly constantly changing identities, which is
the equivalent of having no identity at all. This applies to the characters as well, with their
memories manipulated so many times, their identity as defined by Locke was ever changing and
thus non-existent. Once again, the psychological approach has brought us to the impossible
conclusion that the characters, and in this case most people, are nothing. But this is illogical of
course, because the characters continue to act and generally live within the show, indicating their
existence and some sort of identity. Where Locke and the psychological approach to deriving
personal identity fail us, the physiological approach and the concept of physical continuity have
a solution. In the same manner as in the Roy example, the characters all had a physical
continuity that preserved their identity in a way their manipulated memories could not. No matter
the changes to their memory, their bodies continued to exist throughout the experience, keeping
their identities intact. Because of this, when the characters had all come back to the table with
their original bodies, they also came back with their identities. Through the episode “Total
Rickall”, “Rick and Morty” tears at the concept of deriving identity through a psychological
continuity and instead points to a physical continuity as the better theory of personal identity.

Through the scenarios of the game of “Roy” and the memory implanting parasites of
“Total Rickall”, “Rick and Morty” shows that personal identity cannot truly come from memory
or the mind, but that it can only come from the physical body. These examples exhibit the
unreliability of human memory, how easily it can be manipulated by others and even yourself,
and the impossibility of deriving any sort of true personal identity from such an untrustworthy
source. They also exhibit the consistency of the physical form, and how a physical continuity is
the reliable way to derive personal identity. Through this, it has become clear that “Rick and
Morty” illustrates that one's identity doesn't come from memory or life experience, but rather
from physical form.

Works Cited

Ayer, A.J.. “Language, Truth and Logic”, Dover Publications, 2012. 81-82

Korfmader, Carsten. “Personal Identity”, Internet Encyclopedia of Phyilosophy:
http://www.iep.utm.edu/person-i/#H4

Locke, John. “An Essay Concerning Human Understanding Book II: Ideas”, Early Modern Texts
(1690): http://www.earlymoderntexts.com/assets/pdfs/locke1690book2.pdf

Olson, Eric T., "Personal Identity", The Stanford Encyclopedia of Philosophy (Spring 2016
Edition): <http://plato.stanford.edu/archives/spr2016/entries/identity-personal/>.

Thursday, February 23, 2017

Fall 2017 ENG 281: Women Filmmakers and Women in Film

[An archive I'm building for my Fall 2017 ENG 281: Women Filmmakers course -- please share suggestions of resources and films in the comments.  The archive also includes general analysis from a range of disciplines authored by and/or about women.  It also includes unique and problematic representations of women, including those made/written/legislated by men.]



"Heteropatriarchy is the logic by which all other forms of social hierarchy become naturalized… The same logic underlying the belief that men should dominate women on the basis of biology underlies the belief that the elites of a society naturally dominate everyone else[…]we must develop strategies that address state violence and interpersonal violence simultaneously." from the Preface to Andrea Smith's The Revolution Starts at Home (AK Press, 2016)









"50+ Films about Women That Will Change The Way You See The World." Films for Action (August 4, 2015)

Abrams, Jenessa. "Written in Chalk: What It Means to Be Crazy." The Rumpus (April 17, 2017)

Ackerman, Bill, et al. "Chilly Scenes of Winter (1979)." The Projection Booth #310 (February 14, 2017) ["In Joan Micklin Silver's Chilly Scenes of Winter (1979) John Heard plays Charles, a lovelorn man who pines for Laura (Mary Beth Hurt), who's taking a break from her relationship with Ox (Mark Metcalf). Produced by Metcalf, Amy Robinson, and Griffin Dunne, the film was initially released as Head Over Heels with a ridiculous advertising campaign that didn't capture the true spirit of the movie. Fortunately, the film was given another chance with a new ending and its proper title."]

Ackerman, Galia, et al. "My Body My Message: Women’s Bodies as Tools of Self-Empowerment." Making Contact (July 8, 2015) ["The female body as medium, and as message. How can a woman determine how she is perceived by the world, and even by herself? On this edition, we hear stories of women who are using their bodies for political protest, and as tools of self-empowerment…forcing everyone to reevaluate their perspectives on the female form."]

A Class Divided Frontline (March 26, 1985) ["The day after Martin Luther King, Jr. was killed, a teacher in a small town in Iowa tried a daring classroom experiment. She decided to treat children with blue eyes as superior to children with brown eyes. FRONTLINE explores what those children learned about discrimination and how it still affects them today."]

Adalat, Haroon. "Julie Dash's Daughters of the Dust Trailer: And let Beyoncé help you remember the ground it broke." Keyframe (September 4, 2016)

Adams, John Joseph, Tobias Buckell and Sam J. Miller. "Is Sense8 Too Radical for Critics?" Wired (July 6, 2015)

Ade, Maren and Zack Scharf. "Toni Erdmann." IndieWire's Filmmaker Toolkit (February 2017)

Ahmad, Aalya. "Feminist Spaces in Horrific Places: Teaching Gender and Horror Cinema." Offscreen 18.6/7 (July 2014)

Alaimo, Stacy and Susan Hekman, eds. Material Feminisms. Indiana University Press, 2008. [“Harnessing the energy of provocative theories generated by recent understandings of the human body, the natural world, and the material world, Material Feminisms presents a new way for feminists to conceive of the question of materiality. In lively and timely essays, an international group of feminist thinkers challenges the assumptions and norms that have previously defined studies about the body. These wide-ranging essays grapple with topics such as the material reality of race, the significance of sexual difference, the impact of disability experience, and the complex interaction between nature and culture in traumatic events such as Hurricane Katrina. By insisting on the importance of materiality, this volume breaks new ground in philosophy, feminist theory, cultural studies, science studies, and other fields where the body and nature collide.”]

Alcoff, Linda Martin. Visible Identities: Race, Gender and the Self. Oxford University Press, 2006.

Alderman, Naomi. "Dystopian Dreams: How Feminist Science Fiction Predicted the Future." The Guardian (March 25, 2017) ["From Mary Shelley to Margaret Atwood, feminist science fiction writers have imagined other ways of living that prompt us to ask, could we do things differently?"]

"Alexandra Heller-Nicholas (Ms. 45)." The Cinephiliacs #90 (March 17, 2017) ["Cinema is not just watching: it's shivering, sweating, and screaming. Those aspects of the moves are part of what drives Australian film critic Alexandra Heller-Nicholas. The co-editor of Senses of Cinema discusses her interest in horror films through a number of multimedia projects from radio to image collages on Twitter. They also dive deep on her books on rape-revenge, Dario Argento's Suspria, and now her latest on Abel Ferrara's exploitation classic, Ms. 45...or does the film actually belong to its lead actress Zoë Lund? The two look at the unique tension between director and performer, and how this surprisingly complex film has become an icon for feminist horror buffs."]

Anderson, Hannah and Matt Daniels. "Film Dialogue from 2,000 screenplays, Broken Down by Gender and Age." Pudding Cool (March 2017)

"Andrea Štaka's Cure - The Life of Another." Notebook (august 4, 2015)

"An Interview with Sophie Mayer." The Midnight Mollusc (September 29, 2016)

"A Pantheon of One’s Own: 25 Female Film Critics Worth Celebrating." Sight and Sound (March 8, 2015)

Ataide, Jesse. "Half the Sky: Women Auteurs I." Keyframe (March 23, 2012)

---. "Half the Sky: Women Auteurs II." Keyframe (March 30, 2012)

---. "Half the Sky: Women Auteurs III." Keyframe (April 6, 2012)

Atwood, Margaret, Roger Berkowitz and Sally Parry. "From Hannah Arendt to The Handmaid's Tale." The Sunday Edition (May 7, 2017)

Bale, Miriam. "Johnny Guitar." The Cinephiliacs (April 21, 2013)

Barnes, Christopher. "Representing Incarceration in Persons of Interest and The Oath." Jump Cut #57 (Fall 2016)

Barnes, Henry. "Cannes faces backlash after women reportedly barred from film screening for not wearing high heels." The Guardian (May 19, 2015)

Barton-Fumo, Margaret, Molly Haskell and Violet Lucca. "Women in New Hollywood." Film Comment Podcast (February 7, 2017) ["Road-tripping crises of masculinity soundtracked by classic rock, Harvey Keitel making up for his sins in the streets—a laundry list of 1970s New Hollywood highlights can tend to lack a nuanced female presence. But the ’70s also gave us Wanda, Puzzle of a Downfall Child, Girlfriends, A Woman Under the Influence, and even Five Easy Pieces, all of which explore female identity in the era of second-wave feminism. This episode of the Film Comment podcast spirals outwards from From Reverence to Rape author Molly Haskell’s essay on Mike Mills’s 20th Century Women and accompanying interview with Annette Bening, in the January/February issue, taking a closer look at depictions of women in New Hollywood. Some of these were “neo-women’s films,” dealing with disillusioned housewives fleeing the domestic sphere; others took on female friendship without turning a blind eye to its messiness, a line that runs through Thelma and Louise, Frances Ha, and Broad City."]

Beau travail (France: Claire Denis, 1999: 92 mins)

Beauvoir, Simone. Simone de Beauvoir Explains “Why I’m a Feminist” in a Rare TV Interview (1975). Open Culture (May 23, 2013)

Bechdel Test Fest

Benedict, Steven. "Mad Max: Fury Road." (Audio: May 16, 2015) [Highights the role of Eve Ensler in the development of the film]

Berman, Judy. "It’s Pointless to Argue Over Whether a Film — or Any Work of Art — Is Feminist." Flavorwire (November 14, 2013)

---. "What Dogme 95 Did for Women Directors." The Dissolve (April 22, 2015)

Bernstein, Paula. "Oscar Winner Laura Poitras on How Field of Vision Will Change Documentary Filmmaking." IndieWire (September 10, 2015)

Bhushan, Nyay. "How Female Filmmakers are Transforming Indian Cinema." The Hollywood Reporter (May 21, 2017)

Bloom, Lisa. "First Roger Ailes, Now Bill O'Reilly: Sexual Harassment Scandal Ousts Top Men at Fox News." Democracy Now (April 20, 2017)

Blue, Violet, et al. "Be an Expert." Popaganda (July 30, 2015) ["In all kinds of ways, race and gender impact the way we present ourselves as knowledgable. You see it everywhere: from the way boys are more likely to speak up in classrooms to the way men are way more likely to be quoted as “experts” in print media or asked to be voices of authority on TV. A recent analysis of Sunday morning TV news shows by Media Matters showed that 61 percent of expert guests were white men. So on today’s show, we have three stories about women who are screwing around with the idea of what’s an expert. The women on this show are all putting themselves forward as experts—sometimes requiring actual imposter situations. We talk with Laura Nix, the co-director of the new documentary The Yes Men Are Revolting about how she captures the activist group's media stunts on camera. Then, comedians Gaby Dunn and Allison Raskin discuss being fake advice experts to dish out genuine comedy. The show ends with journalist Violet Blue, author of The Smart Girls' Guide to Privacy, about how to be an expert on your internet privacy."]

Boone, Christopher. "Signature Move: Pakistani Muslims, Lesbians, and Luchadora Wrestlers Have More in Common Than You Think." No Film School (April 6, 2017)

Borstein, Alex, et al. "Hollywood's Missing Directors." Popaganda (June 4, 2015) ["We start off this episode by talking with a lawyer from the ACLU (which recently issued a letter calling for government agencies to investigate Hollywood hiring practices) and talk with filmmaker Destri Martino, who launched The Director List—a brand-new database of hundreds of female directors. We hear from filmmaker Christina Choe about what it’s like to work on indie movies—including her current film Nancy—and from producer, writer, and actress Alex Borstein about her long career working within Hollywood writers' rooms. Plus: the best of Shit People Say to Women Directors."]

Brown, Adrienne Maree and Walida Amarisha. "Decolonizing the Mind." GRITtv (Posted on Youtube: April 21, 2015)

Buckley, Cara. "A.C.L.U., Citing Bias Against Women, Wants Inquiry Into Hollywood’s Hiring Practices." The New York Times (May 13, 2015)

Buder, Emily. "M.F.A.: The David Fincher-Style Rape-Revenge Thriller That Rocked SXSW." No Film School (April 10, 2017)

Burchett, William, Brian Risselada and Josh Ryan. "Claire Denis." Syndrome and a Cinema #3 (October 17, 2011) ["On this episode we talk about Claire Denis, a highly-regarded contemporary French filmmaker who has made waves with films such as Beau travail and White Material. In particular we look at her films Chocolat (1988), Beau travail (1999) and Trouble Every Day (2001)."]

Burks, Raychell, et al. "Women of Science." Popaganda (May 8, 2015)

Cachet, Tamar, Cora Frischling and Adrià Guxens. "Interview - Maren Ade," 28 Times Cinema (December 12, 2016)

Carter, Helen. "Great Directors: Agnes Varda." Senses of Cinema #22 (October 2002)

Chemaly, Soraya. "10 Words Every Girl Should Learn." Films for Action (March 24, 2015)

Child, Ben. "Maggie Gyllenhaal: At 37 I was 'too old' for role opposite 55-year-old man." The Guardian (May 21, 2015)

Claire Denis: The Art of Seduction Reverse Shot (June 26, 2009-July 16, 2009)

Clover, Carol J. "Her Body, Himself: Gender in the Slasher Film."  Misogyny, Misandry, and Misanthropy. Eds. R. Howard Bloch and Frances Ferguson. Berkeley: University of California Press, 1989: 187-221.

Colau, Ada. "From Occupying Banks to City Hall: Meet Barcelona’s New Mayor Ada Colau." Democracy Now (June 5, 2015)

Cotillard, Marion. "On Her career and Her Roles in Jean-Pierre and Luc Dardenne's Two Days One Night and James Gray's The Immigrant." The Close-Up #8 (December 2014)

Coyle, Jake. "Amid Male Landscape of 'Mad Max,' Charlize Theron Dominates." ABC (May 14, 2015)

Criado-Perez, Caroline. "Do it Like a Woman: Contemporary feminist activism and How You Can Change the World." London School of Economics and Political Science (June 3, 2015)

Creed, Barbara. "Horror and the Monstrous-Feminine: An Imaginary Abjection." (Excerpt of essay originally published in Screen, January 1986)

Cronk, Jordan. "Kelly Reichardt: Genres, Geographies and the Evolution of a Filmmaker." Keyframe (March 4, 2014) ["Where Reichardt’s latest, an elaborate tale of radicalism, eco-terrorism, guilt and paranoia, fits."]

D., Margo and Margo P. "Mildred Pierce by J.M. Cain and Starring Joan Crawford." Book vs Movie (April 14, 2017)

Dannin, Ellen. "Suffragettes No More - The Long Struggle for Women's Equality." Truth-Out (March 30, 2014)

Dash, Julie. "Daughters of the Dust." Film School (April 14, 2017) ["Set in the legendary Sea Islands off the South Carolina/Georgia coast in 1902, Julie Dash’s DAUGHTERS OF THE DUST (1991) follows a Gullah family (descendants of West African slaves) on the eve of its migration to the North. Led by a group of women who carry with them ancient African traditions, the extended family readies itself to leave behind friends, loved ones and their insulated way of life. Can these women hold fast to their sacred religious beliefs and customs, or will their world be swept away in the course of a new century?This richly costumed drama, structured in tableaux to reflect the art and icons of African tradition, testifies movingly to the secret celebrations and packed-away sorrows of African-American women."]

Davis, Peter. "When Hollywood Wasn’t So Male." The Nation (February 11, 2015)

De Fren, Allison. "Fembot in a Red Dress." (Posted on Vimeo: 2016) ["This video essay examines the cultural trope of the “lady in red” as it evolved from the genre of film noir to science fiction and from the human to the artificial female in a variety of film and television texts."]

---. "The Human Machine in Ex Machina." Keyframe (March 16, 2016)
Denis, Claire. "In Dialogue with Eric Hynes." (Posted on Youtube: July 15, 2013) ["Claire Denis joins writer/critic Eric Hynes in a discussion of her creative process, influences, and the films she's made over the course of some 25 years."]

Derr, Holly L. "What Really Makes a Film Feminist?" The Atlantic (November 13, 2013)

Di Mattia, Joanna. "The Year of Nicole Kidman." Keyframe (May 1, 2017)

"Diminished Lives." Cineaste (Summer 2015)

Directed by Women (Website)

Dirik, Dilar, et al. "Stateless Democracy: The Revolution in Rojava Kurdistan." (New World Academy posted on Vimeo: October 21, 2014) ["The fight against the Islamic State of Iraq and Syria (ISIS) has often been portrayed as a fight between the West and its Arab allies against Islamic ultra-fundamentalists. Over the last several years, however, a progressive Kurdish-led resistance has been forming in Rojava (Syrian Kurdistan) amidst the Syrian Civil War. The resistance has successfully implemented new models of grassroots democracy, gender equality, and sustainable ecology, its members practicing a political project they refer to as Democratic Confederalism. Women and men stand side-by-side in its armed forces in the face of both ISIS and the Bashar al-Assad regime. Despite the resistance’s efforts, Rojava is currently threatened by a massacre, and the international community continues to stand by silently as tragedy unfolds."]

Dockterman, Eliana. "Vagina Monologues Writer Eve Ensler: How Mad Max: Fury Road Became a ‘Feminist Action Film.’" Time (May 7, 2015)

Dower, Kim and Erica Jong. "Unsolved Problems." The Los Angeles Review of Books (March 29, 2017)

Duncan, Patti. "WS 235H: Women in World Cinema." (Oregon State University Women, Gender and Sexuality Studies syllabus: Winter 2013)

Elmi, Rooney. "Women in Revolt: An International Women's Day Film Syllabus." Notebook (March 8, 2017)

Faleiro, Sonia. "India's Daughter review – this film does what the politicians should be doing." The Guardian (March 5, 2015)

Friedrichs, Ellen. "3 Well-Meaning Assumptions About Women You Never Realized Were Sexist." Everday Feminism (May 4, 2015)

Gallagher, Kelly. "The Herstory of the Female Filmmaker." (Posted on Vimeo: September 2016)

Goldberg, Michelle. "The Laura Kipnis Melodrama." The Nation (March 16, 2015)

Grady, Pam. "French Touch: Mia Hansen-Løve and Eden." Keyframe (June 17, 2015)

Gravely, Brittany. "To the Beat of Shirley Clarke." Harvard Film Archive (March 2015)

Greenhouse, Linda. "The Bittersweet Victories of Women." The New York Review of Books (May 26, 2016)

---. "How Smart Women Got the Chance." The New York Review of Books (April 6, 2017)

Gross, Anisse. "Mary Harron [Screenwriter, Director]." The Believer (March/April 2014)

Hancock, James and Orest Ludwig. "Confronting Taboos Through the Films of Charlotte Gainsbourg." Wrong Reel #232 (February 2017)

Handler, Rachel. "On The Handmaid's Tale, Bernie Sanders, and Feminism." MTV News (April 25, 2017)

Harvey, Dennis. "DAISIES’ Chain: Czech New Wave High Points." Keyframe (June 7, 2012) ["A Pacific Film Archive series with two Věra Chytilová classics highlights an unforgettable era."]

Hausdorf, Nicolas. "A Requiem for the European Bourgeoisie." Hong Kong Review of Books (March 27, 2017)  ["Nicolas Hausdorf reads Mia Hansen-Løve’s new movie Things to Come as an allegory for a disintegrating Europe and a happy eulogy for the death of the bourgeoisie. With three pieces of art from Tarron Ruiz-Avila."]

Hill, Erin and Brian Hu. "In Response to the AFI: Top 100 American Films by Women Directors." Mediascape (Spring 2007)

hooks, bell. "The Oppositional Gaze." Black Looks: Race and Representation South End Press, 1992: 115-131.

Hrapkowicz, Błażej. "Kelly Reichardt: Ambiguities." Ketframe (March 5, 2014) ["On bad dreams, political predicaments and fine lines: a master filmmaker speaks on her new project."]

Hudson, David. “Agnès Varda in California.” Keyframe (August 17, 2015)

---. "Věra Chytilová, 1929 – 2014." Keyframe (March 12, 2014) ["Best known for DAISIES (1966), Chytilová was a major figure in Czech cinema."]

Hurley, Kameron. "Feminist SF and Space Operas." Breaking the Glass Slipper (February 2, 2017)

---. "'We Have Always Fought': Challenging the 'Women, Cattle and Slaves' Narrative." A Dribble of Ink (May 20, 2013)

India's Daughter (UK/India: Leslee Udwin, 2014: 64 mins)

Jaising, Shakti. "Cinema and Neoliberalism: Network Form and the Politics of Connection in Icíar Bollaín’s Even the Rain." Jump Cut #56 (Winter 2014/2015)

Jelincic, Stela. "Celebrating the Six Percent: Women Filmmakers." Keyframe (March 2, 2015)

Johnson, Allie. "Blame: 22-Year-Old Filmmaker Quinn Shephard Becomes One To Watch With Her Startling Debut [Tribeca]." The Playlist (April 26, 2017)

Johnson, Janet Elise. "The Independent Mothers of Iceland." The New Yorker (July 12, 2015)

Johnson, Kirsten. "Through the Lens: Cameraperson." Radio West (February 27, 2017) ["Kirsten Johnson’s 25-year career as a documentary film cinematographer has taken her around the world, often to regions of conflict. Her own film, Cameraperson, is a memoir of her life’s work assembled from a collage of cutting-room-floor footage. It’s also a keen examination of the dilemmas and blind spots that riddle documentary filmmaking."]

Jones, Brian Adam. "40 Service Members are Sexually Assaulted a Day." Task and Purpose (May 7, 2017)

Juhasz, Alexandra. "In Conversation: Agnes Varda." Brooklyn Rail (April 1, 2017)

Kale, Sirin. "The All-Female Collective Championing Horror Films for the Girls." Broadly (July 22, 2016)

Kent, Jennifer. "Babadook." Final Cut (January 1, 2015)

Kluge, Alexander and Oskar Negt. History & ObstinacyTrans. Richard Langston, et al. Zone Books, 2014. [“If Marx’s opus Capital provided the foundational account of the forces of production in all of their objective, machine formats, what happens when the concepts of political economy are applied not to dead labor, but to its living counterpart, the human subject? The result is Kluge and Negt’s History and Obstinacy, a breathtaking archaeology of the labor power that has been cultivated in the human body over the last 2,000 years. Supplementing classical political economy with the insights of fields ranging from psychoanalysis and phenomenology to evolutionary anthropology and systems theory, History and Obstinacy examines the complex ecology of expropriation and resistance as it reaches down into the deepest strata of unconscious thought, genetic memory, and cellular life. First published in 1981, this epochal collaboration has now been edited, expanded, and updated by the authors in response to global developments of the last decade to create an entirely new analysis of “the capitalism within us.”]

Koerner, Claudia and Ema O'Connor. "The Military's Nude Photo Scandal Goes Beyond Just the Marines." BuzzFeed (March 10, 2017) ["The Defense Department is investigating after members of the military allegedly shared nude photos of their female colleagues online without their permission or knowledge."]

Kolb, Leigh. "Advantageous Is a Dystopian Sci-Fi About All-Too-Real Beauty Standards." Bitch (July 9, 2015)

Kron, Joan. "Take My Nose Please ... A Joan Iron Film." Film School (April 21, 2017) ["TAKE MY NOSE PLEASE is a seriously funny and wickedly subversive look at the role comedy has played in exposing the pressures on women to be attractive and society’s desire/shame relationship with plastic surgery."]

Landekic, Lola. "Always Shine (2016)." Art of the Title (March 23, 2017)

Langill, Molly. "‘Mad Women’ in Robert Altman’s 3 Women and Images." Offscreen 18.8 (August 2014)

"Laura Poitras." Close Up #2 (October 2014) ["Laura Poitras talks CITIZENFOUR, Edward Snowden, the NSA, and surveilance, at one of our HBO Directors Dialogues during the 52nd New York Film Festival."]

LaVelle, Ciara, et al. "Mad Men and the Advertising Age." Popaganda (April 23, 2015)

Leach, Hope Dickson. "Kelly Reichardt and Humanism as a Political Statement." Talkhouse (March 29, 2017)

Leach, Hope Dickson and Alice Lowe. "On Motherhood and Film." The Early Hour (May 12, 2017)

Lee, Edmund. "Ann Hui, officially the most celebrated director in Hong Kong film history, turns 70." South China Morning Post (May 21, 2017)

Lee, Kevin B. "Essential Viewing: Claire Denis on 35 Shots of Rum." Keyframe (August 9, 2011)

---. "Laura Poitras, Lives on the Line (Video)." Keyframe (August 14, 2013)

Leigh, Jennifer Jason. "Mrs. Parker and the Vicious Circle." Pinewood Dialogues (November 23, 1994) ["Jennifer Jason Leigh is remarkable for her chameleon-like ability to transform herself, physically and psychologically, for each of her roles. Her ability to inhabit her characters comes from an intensive process of preparation and research, and from a fearlessness that allows her to abandon her reflective personality and become another person onscreen. Leigh has consistently sought out risky, interesting roles, working for such directors as Robert Altman, David Cronenberg, and Alan Rudolph. She spoke at the Museum on the day she received rave reviews for her dazzling portrayal of Dorothy Parker in Mrs. Parker and the Vicious Circle."]

Lenten, Jessica. "Phenomenology and the films of Andrea Arnold." Real/Reel (August 1, 2012)

Liddington, Jill, et al. "Rebels in the Archive." The British Library (March 8, 2017) ["Rebels in the Archives took place at the British Library on International Women’s Day 2017. The event considered the power and potential of archiving stories of sexism, sisterhood and struggle, raising issues about how identity and privilege impact upon the personal and public stories that get archived, as well as who can access them. The panel discussed their own use of archives in relation these issues; archives which relate to the Suffragette movement were a particular topic of discussion. "]

Littman, Sam. "Great Directors: Kelly Reichardt." Senses of Cinema (June 2014)

Longworth, Karina. "Jean Harlow (Dead Blondes Flashback)." You Must Remember This (February 13, 2017) ["Jean Harlow was the top blonde of the 1930s, and even though she didn’t survive the decade -- she died in 1937 at the age of 26 -- she’d inspire a generation of would-be platinum-haired bombshell stars."]

---. "Thelma Todd (Dead Blondes Episode 2)." You Must Remember This (February 6, 2017) ["Thelma Todd -- a curvaceous white-blonde who predated Jean Harlow -- was a sparkling comedienne who began in the silent era and flourished in the talkies, both holding her own opposite the Marx Brothers and playing straight woman in one of cinema’s first all-girl comedy teams. She was also an early celebrity entrepreneur, opening a hopping restaurant/bar with her name above the door. But today, Thelma is best remembered for her shocking 1935 death, which was deemed an accident but still sparks conspiracy theories that it was really murder."]

---. "Veronica Lake (Dead Blondes Episode 4)." You Must Remember This (February 20, 2017) ["Veronica Lake had the most famous hairdo of the 1940s, if not the twentieth century. Her star turn in Preston Sturges’ Sullivan’s Travels and her noir pairings with Alan Ladd made her Paramount’s biggest wartime draw behind Hope and Crosby, but behind the scenes, Lake was a loner with a drinking problem who didn’t give an F about Hollywood etiquette. Bankrupt and without a studio contract, in the early 1950s she consciously quit movies. She claimed she left Hollywood to save her own life -- so how did she end up dead at 50?"]

López, Cristina Álvarez. "Ratcatcher: Tell Me Where It Hurts." Keyframe (April 7, 2015)

López, Cristina Álvarez and Adrian Martin. "Isabelle Huppert: The Absent One." Third Rail #10 (2017)

Lorber, Judith. "Believing as Seeing: Biology as Ideology." Gender and Society (December 1, 1993) ["Western ideology takes biology as the cause, and behavior and social statuses as the effects, and then proceeds to construct biological dichotomies to justify the “naturalness” of gendered behavior and gendered social statuses. What we believe is what we see—two sexes producing two genders. The process, however, goes the other way: gender constructs social bodies to be different and unequal. The content of the two sets of constructed social categories, “females and males” and “women and men,” is so varied that their use in research without further specification renders the results spurious."]

Lowin, Rebekah. "Mom's powerful photos of her daughters show 'Strong is the New Pretty.'" Today (April 7, 2015)

MacLean, Nancy. The American Women's Movement, 1945-2000 MacMillan, 2009. [Professor has a copy]

Malone, Noreen. "Sexual-Harassment Claims Against a ‘She-E.O.’" The Cut (March 20, 2017) ["Thinx boss Miki Agrawal wanted to break taboos about the female body. According to some employees, she went too far."]

Maur, Renée In der, Jonas Staal and Dilar Dirik. ed. Stateless Democracy. BAK and New World Academy, 2015.  [“New World Academy, an alternative learning platform for art and politics established by artist Jonas Staal and BAK has entered its fifth sequence. Developed together with the Kurdish Women’s Movement as a nomadic platform that unfolding throughout 2015, the fifth sequence of the New World Academy explores—from artistic, activist, and scholarly perspectives—the proposition of delinking democracy from the nation-state: the notion of “stateless democracy.” On this occasion, the fifth reader of the New World Academy, titled Stateless Democracy, has been published. If initially the Kurdish struggle, led by the Kurdistan Workers’ Party (PKK), had aimed to establish an independent state, since the 1990s PKK leader Abdullah Öcalan, together with the Kurdish Women’s Movement, have turned to questioning the patriarchal and capitalist nature of the very concept of the nation-state itself. Within this process the Kurdish revolutionary movement developed an alternative model called “democratic confederalism” or “stateless democracy” that invoked a confederate composition in which gender-equality, self-governance, secularism, cultural diversity, communal economy, and social ecology form key pillars. Since 2012 this proposition has been put fully into practice in Rojava, Western Kurdistan in Syria, in alliance with the peoples of the region. New World Academy Reader #5: Stateless Democracy provides key texts that offer an overview of both the political and cultural dimensions comprising what has now come to be known to history as the Rojava Revolution. The texts in the reader are as much an introduction to the model of stateless democracy practiced in Rojava, as a potential political paradigm through which to confront the many related crises in politics, economy, and ecology that we face across the world.”]

May, Elaine and Mike Nichols. "Mike Nichols, Part 1." Close Up #6a (December 2014) ["In this special two-part episode of The Close-Up, we pay tribute to the late Mike Nichols. For Part 1, we present a conversation between Mike Nichols and Elaine May after a screening of May's "Ishtar" here at the Film Society of Lincoln Center in 2006."]

Mayer, Sophie. "'She's getting back in the frame': Interview with Céline Sciamma." The F Word (May 5, 2015)

McCahill, Mike. "21st Century Directors You Need to Know About: Andrea Arnold." Movie Mail (February 27, 2014)

McGoff, Jessica. "Andrea Arnold's Women in Landscapes." (Posted on Vimeo: September 2016)

Mesle, Sarah. "'High Sparrow': Cersei Lannister’s Last F–ckable Day." LA Review of Books (April 26, 2015)

Mirk, Sarah. "Female Film Directors Put Together a List of Must-See Movies Made By Women." Bitch (July 8, 2015)

Moffitt, Evan. "All Lynn." Frieze (April 14, 2017) ["Recently awarded a USA Artist Fellowship, Lynn Hershman Leeson speaks about cultural technologies, personal narratives and alter egos."]

Morgan, Kim. "April Sight and Sound: Anna Biller." Sunset Gun (April 16, 2017)

Mulvey, Laura. ""Afterthoughts on 'Visual Pleasure and Narrative Cinema." Feminist Film Theory ed. Sue Thronham. New York University Press, 1999: 122–30.

---. "In Conversation with Laura Mulvey." Another Gaze Journal (Posted on Youtube: March 7, 2017) ["My shift in spectatorship came very specifically out of the influence of the Women's Movement. Instead of being an absorbed spectator; a voyeuristic spectator; a male spectator, as it were, I suddenly found I'd become a woman spectator, who watched the film from a distance, not with those absorbed eyes.' Laura Mulvey is a feminist film theorist, whose seminal text 'Visual Pleasures and Narrative Cinema' instigated what is now known as 'male gaze' theory. Together with Peter Wollen, she also made many experimental films in the '70s and '80s. Here she talks Freud; Hollywood; her own counter-cinema; Frida Kahlo, and a shift to active spectatorship."]

---. "Visual Pleasure and Narrative Cinema." Film Theory and Criticism : Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999: 833-44.

Murray, Terri and Anja Steinbauer. "Feminist Film Theory." Philosophy Now #7 (September 13, 2011)

"My Reaction to Mad Max: Fury Road and the Utter Perfection that is Imperator Furiosa." NOSPOCKDASGAY@TUMBLR.COM (May 19, 2015)

Nagy, Phyllis. "Carol Screenwriter talks Cate Blanchett, Todd Haynes, and Isabelle Huppert’s Pact with The Devil." Flixwise (February 14, 2017)  ["The funny and brilliant Phyllis Nagy is here to talk about adapting Carol’s screenplay from Patricia Highsmith’s original source material and the lengthy, and at times frustrating, process of getting the film into production. They chat about Cate Blanchett and Rooney Mara’s rendering of the two lead characters, as well as the standout performance from supporting players, Sarah Paulson and Kyle Chandler. Plus, Phyllis offers a scoop on what happened to a few scenes from the book that didn’t make the final cut of the film. ... In addition to filling us in on details from behind-the-scenes of Carol, Phyllis is also here to discuss a pair of standout performances by the incomparable French actress, Isabelle Huppert. This year Huppert was, at long last, nominated for her first Academy Award. However, Huppert has been giving Oscar-worthy performances well before she ever worked with Verhoeven. If you are unfamiliar with her work up to this point, you might not know where to begin, as her filmography is quite extensive. Fortunately, Phyllis is here to offer up two of her favorite Huppert films as suggestions for your watch list: Claude Chabrol’s 1988 film: Story of Women, and Diane Kurys 1983 film: Entre Nous.  Both Story of Women and Entre Nous are period dramas which find Huppert playing malcontented married women, both of whom form deep attachments to their closest female friends. In Story of Women she plays Marie Latour, a woman who, despite her husband’s objections, traffics in abortions and other illegal various dealings in German occupied France. In Entre Nous, Huppert plays Lena Weber, a woman who falls into an expedient marriage in order to escape Nazi control, but after the war is over falls in the love with another woman."]

Nastasi, Alison. "50 Essential Feminist Films." Flavorwire (July 18, 2014)

---. "50 Groundbreaking Female Film Artists We’re Thankful For." Flavorwire (November 25, 2014)

Natarajan, Priyamvada. "Calculating Women." The New York Review of Books (May 25, 2017)

Nehme, Farran Smith. "Three Strangers." The Cinephiliacs #^ (October 21, 2012)

Orenstein, Peggy. "Girls & Sex And The Importance Of Talking To Young Women About Pleasure." Fresh Air (April 21, 2017)

Panda, Robo. "Men’s Rights Activist Site Calls For A Boycott Of Mad Max: Fury Road." Uproxx (May 13, 2015)

Pate, SooJin. "More Than Words: Microaggressions." Sociological Cinema (March 2, 2014)

"Patrizia von Brandenstein." Moving Image Sources (October 15, 1994) ["When we comment on the look of a movie, or on the beautiful cinematography, we are often commenting on what the production designer, working with the director and cinematographer, has put there to be photographed. Legendary designer Patrizia von Brandenstein has shown a remarkable range, from the period settings of Ragtime and Billy Bathgate to the swank Manhattan interiors of Six Degrees of Separation to the weather-beaten and far less sumptuous interiors of Leap of Faith and Silkwood. In this presentation, von Brandenstein leads the audience through sequences from her work, and lucidly defines the art of production design."]

Pinn, Marcus, Brian Risselda and Josh Ryan. "Kelly Reichardt." Syndrome and a Cinema #11 (June 28, 2014)

Popova, Maria. "Love, Sex, and the World Between." Brain Pickings (January 14, 2014) [ Susan Sontag - “Part of the modern ideology of love is to assume that love and sex always go together… And probably the greatest problem for human beings is that they just don’t.”]

---. "Why I Write: Joan Didion on Ego, Grammar, and the Creative Impulse." Brain Pickings (October 16, 2012)

Porter, Evan. "An artist replaced the men in these classic Westerns with women. The images are awesome." Upworthy (March 7, 2017)

Prose, Francine. "Selling Her Suffering." The New York Review of Books (May 4, 2017)

Pulver, Andrew. "Films that pass the Bechdel test plummet in 2014." The Guardian (March 24, 2015) ["The number of films featuring positive depictions of women has dropped significantly, according to new research."]

The Punk Singer (USA: Sinia Anderson, 2013: 81 mins)

Rahbar, Jean. "U.S. ambivalence about torture: an analysis of post-9/11 films." Jump Cut #56 (Winter 2014/2015)

Rapold, Nicholas. "An Audience for Free Spirits in a Closed Society." The New York Times (July 1, 2012)

---."Chantal Akerman Takes Emotional Path in Film About 'Maman'." The New York Times (August 6, 2015)

Rebhandl, Bert. "Breaking the Mould: The lead in The Handmaiden, Kim Min-hee is proving to be the most interesting Korean actor for some time." Frieze (April 13, 2017)

Reilly, Phoebe. "From Babadook to Raw: The Rise of the Modern Female Horror Filmmaker." Rolling Stone (October 27, 2016)

Rhodes, John David. "Great Directors: Peggy Ahwesh." Senses of Cinema (December 2003)

Richards, Jill. "Pussy Wars." Los Angeles Review of Books (March 24, 2017)

Richter, Nicole. "Filming the Impossible: An Interview with Catherine Breillat." Reverse Shot (May 19, 2015)

Risselada, Brian and Josh Ryan. "Larissa Sheptiko." Syndromes and Cinema #8 (March 29, 2014) ["On this episode we talk about the films of Ukrainian born director Larisa Shepitko. In particular we look at her films Homeland of Electricity which is half of the film The Onset Of An Unknown Age (1967), You and Me (1971) and The Ascent (1977)."]

Rirch, Katey. "Take This Waltz." The Cinephiliacs (December 16, 2012)

Rogers, Nathaniel. "Women's Pictures - Agnes Varda's Le Bonheur." The Film Experience (June 19, 2015)

Róisín, Fariha. "Kids Like Us: Fifteen years after its release, Bend It Like Beckham is still an essential representation of South Asian teenagehood." Hazlitt (April 11, 2017)

Romney, Jonathan. "Away from the picture: Mica Levi on her Under the Skin soundtrack." Sight and Sound (November 28, 2014)

---. "The stars of Girlhood: ‘Our poster is all over Paris, with four black faces on it…’" The Guardian (March 4, 2014)

Sarkeesian, Anita. "Damsel in Distress: Part 1 - Tropes vs Women in Video Games." Feminist Frequency (Posted on Youtube: March 7, 2013)

---. "Damsel in Distress: Part 2 - Tropes vs Women in Video Games." Feminist Frequency (Posted on Youtube: May 28, 2013)

---. "Damsel in Distress: Part 3 - Tropes vs Women in Video Games." Feminist Frequency (Posted on Youtube: August 1, 2013)

Sarmiento, José. "Scopophile's Redemption: On Laura Mulvey and Peter Wollen's Riddles of the Sphinx." Keyframe (March 16, 2017)

---. "The Strangers of Claire Denis: Her cinema speaks of the borders that divide humanity, and the people who cross them." Keyframe (March 24, 2017)

Schneider, Michael. " Diverse Documentaries Under Attack as Congressman Questions Public Broadcasting ‘Agenda.'" IndieWire (March 28, 2017)

Selby, Jenn. "Mad Max heroine Charlize Theron on female roles in Hollywood: 'You're either a really good mother, or a really good hooker.'" The Independent (May 15, 2015)

Silverstein, Melissa. "Infographic: Cannes Women Filmmakers By the Numbers 2005-2015 #SeeHerNow." Women and Hollywood (May 6, 2015)

---. "Statistics on the State of Women and Hollywood." Women and Hollywood (February 23, 2014)

Smith, Jordan. "Oklahoma Lawmakers Want Men To Approve All Abortions." The Intercept (February 13, 2017)

Smith, Valerie. "Reconstituting the Image: The Emergent Black Woman Director." Callaloo 37 (Autumn 1988): 709-719.

Staab, Laura. "Certain Women and Other Animals: A Symposium on the Cinema of Kelly Reichardt at the British Film Institute, London." Another Gaze (April 14, 2017)

Stevens, Brad. "Ishtar, Elaine May, and the Road Not Taken." Sight and Sound (April 24, 2017) ["Elaine May’s misunderstood 1980s comedy critiqued 1980s American foreign policy and parodied male narcissism, which is probably why it also destroyed its director’s career."]



Stewart, Kristen, et al. "Personal Shopper / Certain Women." The Close-Up #126 (March 2017) ["Olivier Assayas and Kristen Stewart discuss PERSONAL SHOPPER, which opens in select theaters this weekend. Also, Kristen Stewart discusses CERTAIN WOMEN with director Kelly Reichardt, and co-stars Lily Gladstone and Laura Dern."]

Stratton, Catherine. "Lady Lands: What we all can learn from B-movie sci-fi matriarchies." Keyframe (March 23, 2017)

---. "We Owe a Lot to Lotte Reiniger: Her enduringly beautiful early animation was at once traditional and trailblazing." Keyframe (March 16, 2017)

Suddath, Claire. "Beyond Roe v. Wade: Here’s What Gorsuch Means for Abortion." Bloomberg Businessweek (March 20, 2017)

Sutton, Tim. "Dark Night." Film School (February 17, 2017) ["A haunting, artfully understated critique of American gun culture, Tim Sutton’s third feature is loosely based around the 2012 massacre in Aurora, Colorado that took place during a multiplex screening of “The Dark Knight Rises.” Employing a documentary-style technique and a cast of non- professional actors, DARK NIGHT follows the activities of six strangers over the course of one day, the shooter among them. Shot by veteran French DP Helene Louvart (PINA), DARK NIGHTis essential viewing, not only for art-house filmgoers, but for anyone invested in the debate over gun violence in America as well. Helene Louvart has served as cinematographer on more than 65 feature films, 50 short feature films, documentaries, and television projects, including French director Agnès Varda “The Beaches of Agnès (French: Les plages d’Agnès) She won The César Award for Best Documentary Film in 2009. Also, she worked with Alice Rohrwacher, and shot the italian drama “The Wonders” (Italian: Le meraviglie) It was selected to compete for the Palme d’Or in the main competition section at the 2014 Cannes Film Festival, where it was awarded with the Grand Prix. “Dark Night” was her first collaboration with Tim Sutton."]

Swinney, Jacob T. "12 Essential Women Cinematographers." Keyframe (August 10, 2016)

---. "The Chameleonic Charlize Theron." Keyframe (Match 13, 2017)

---. "On Anne Hathaway and the Creation of Monsters." Keyframe (April 4, 2017)

Tatarska, Anna. "The Making of Vulva 3.0." Keyframe (July 14, 2015) ["Ulrike Zimmerman: ‘People are afraid of female sexuality. Everyone. Even the women themselves.’"]

Taubin, Amy. "Like a Hurricane: The Diary of a Teenage Girl boldly goes where no American coming-of-age movie has gone before." Film Comment (July/August 2015)

Taylor, Astra. "On the Unschooled Life." Walker Art Center (Posted on Youtube: November 4, 2009) ["Raised by independent-thinking bohemian parents, Taylor was unschooled until age 13. Join the filmmaker as she shares her personal experiences of growing up home-schooled without a curriculum or schedule, and how it has shaped her educational philosophy and development as an artist."]

Taylor, Ella. "Blow-Up: Bechdel Testing …. 1, 2." Keyframe (May 26, 2015) ["The larger question is, should we be trying to influence or legislate how many or what kind of women characters go into a movie?"]

Telaroli, Gina. "Brigadoon." The Cinephiliacs #23 (July 28, 2013)

Temple, Emily. "15 Essays by Female Writers That Everyone Should Read." Flavorwire (February 11, 2013)

Theweleit, Klaus. Male Fantasies, Volume 1 and Volume 2. Trans. Erica Carter, et al. University of Minnesota Press, 1987. ["These two volumes center upon the fantasies that preoccupied a group of men who played a crucial role in the rise of Nazism. Theweleit draws upon the novels, letters, and autobiographies of these proto-fascists and their contemporaries, seeking out and reconstructing their images of women. 'Theweleit’s study of the fascist consciousness in general and the bodily experience of these former soldiers in particular, easily detected in their hate filled, near-illiterate books, was well received. Theweleit used Wilhelm Reich, Gilles Deleuze and Félix Guattari for his basic theory, but also empirical research, especially of the leading German left-wing historian of Weimar unrest, his friend Erhard Lucas and he was always discussing his findings with his wife, who has professional clinical experience. Theweleit writes in an anti-academic, highly personal style.'"]

Thill, Vanessa. "Bad Blood, Honest Work: Blood on the Mountain." Brooklyn Rail (April 1, 2017)

Thomas, Lou. "Raw director Julia Ducournau: ‘I’m fed up with the way women’s sexuality is portrayed on screen'" BFI (April 6, 2017)

Thompson, Kelly. "Breaking the Binaries: A Conversation with Lidia Yuknavitch." The Rumpus (April 24, 2017)

Townes, Carimah. "Why Netflix Shouldn’t Care If White Men Watch Its Newest Sci-Fi Series." Think Progress (July 8, 2015)

Vágnerová, Lucie. Sirens/Cyborgs: Sound Technologies and the Musical Body. (Ph'D Dissertation for the Music Department, Columbia University: 2016) ["This dissertation investigates the political stakes of women’s work with sound technologies engaging the body since the 1970s by drawing on frameworks and methodologies from music history, sound studies, feminist theory, performance studies, critical theory, and the history of technology. Although the body has been one of the principal subjects of new musicology since the early 1990s, its role in electronic music is still frequently shortchanged. I argue that the way we hear electro-bodily music has been shaped by extra-musical, often male-controlled contexts. I offer a critique of the gendered and racialized foundations of terminology such as “extended,” “non-human,” and “dis/embodied,” which follows these repertories. In the work of American composers Joan La Barbara, Laurie Anderson, Wendy Carlos, Laetitia Sonami, and Pamela Z, I trace performative interventions in technoscientific paradigms of the late twentieth century. The voice is perceived as the locus of the musical body and has long been feminized in musical discourse. The first three chapters explore how this discourse is challenged by compositions featuring the processed, broadcast, and synthesized voices of women. I focus on how these works stretch the limits of traditional vocal epistemology and, in turn, engage the bodies of listeners. In the final chapter on musical performance with gesture control, I question the characterization of hand/arm gesture as a “natural” musical interface and return to the voice, now sampled and mapped onto movement. Drawing on Cyborg feminist frameworks which privilege hybridity and multiplicity, I show that the above composers audit the dominant technoscientific imaginary by constructing musical bodies that are never essentially manifested nor completely erased."]

Vasseur, Flore. "The Woman Who Hacked Hollywood." Backchannel (March 2015) ["Laura Poitras’ name was once on terror watch lists. Now it’s on an Oscar. Here’s her personal journey."]

"Videographic screen media criticism by female critics, scholars and artists #InternationalWomensDay." Film Studies For Free (March 8, 2017)

Wachowski, Lana. "Human Rights Campaign Visibility Award Acceptance Speech." The Hollywood Reporter (October 24, 2012)

Wang, Evelyn. "Welcome to the Golden Age of Women-Directed Horror." Broadly (April 14, 2017)

Warne, Jude. "Ben Kingsley and Company on Learning to Drive." Film International (September 6, 2015)

Watercutter, Angela. "Ex Machina has a Serious Fembot Problem." Wired (April 9, 2015)

Weigel, Moira. "We Live in the Reproductive Dystopia of The Handmaid's Tale." The New Yorker (April 26, 2017)

Weston, Hillary. "Grotesque Poetry: A Conversation with Lina Wertmüller." Current (April 12, 2017)

Wilde, Olivia. "Social Justice and the Portrayal of Women in the Media." (GRITtv posted on Youtube: February 12, 2015)

Williams, Linda. "Film Bodies: Gender, Genre, and Excess." Film Quarterly 44.4 (Summer, 1991): 2-13.

Willis, Paul. "“She Knew Then That She was Going to Die of Her Femininity”: The Making of the Ayahuasca Drama Icaros: A Vision." Filmmaker (April 19, 2017)

Wise, Jennifer C. "Jennifer's Body Disinterred." Another Gaze (March 8, 2016)

Women and Gender Studies Open Education Consortium (Archive of courses available online with resources)

!Women Art Revolution (USA: Lynn Hershman-Leeson, 2010: 83 mins)

"The Women of the Avant-Garde: An Introduction Featuring Audio by Gertrude Stein, Kathy Acker, Patti Smith & More." Open Culture (August 5, 2015)

Young, Iris Marion. On Female Body Experience: Throwing Like a Girl and Other Essays. Oxford University Press, 2005.

Yue, Genvieve. "The 17th Geneviève McMillan - Reba Stewart Fellow: Mati Diop." Harvard Film Archive (February 2015)

Zero Dark Thirty (USA: Kathryn Bigelow, 2012: 157 mins)























“I used to think I was the strangest person in the world but then I thought there are so many people in the world, there must be someone just like me who feels bizarre and flawed in the same ways I do. I would imagine her, and imagine that she must be out there thinking of me too. Well, I hope that if you are out there and read this and know that, yes, it’s true I’m here, and I’m just as strange as you.” -- Frida Kahlo

















Emma Stone, people! from Fandor on Vimeo.

















Agnès Varda from Artforum on Vimeo.