Tuesday, February 28, 2017

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

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

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

...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:

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 Representations of Women

[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)

35 Shots of Rum (France/Germany: Claire Denis, 2008: 100 mins)

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

Abraham, Stephanie. "Wonder Woman: Does It Stand Up To the Hype?" Rising Up (June 5, 2017)

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)

Adams, Tim. "Juliette Binoche: 'Life is to Love." the Guardian (June 11, 2017) ["Directors have tried to control her, critics have swooned over her, four men have tried to marry her. Yet Juliette Binoche has refused to be boxed in. Tim Adams sits down to steak with France’s leading lady."]

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

Adichie, Chimamanda Ngozi. "The Danger of a Single Story." TED (July 2009) ["Our lives, our cultures, are composed of many overlapping stories. Novelist Chimamanda Adichie tells the story of how she found her authentic cultural voice — and warns that if we hear only a single story about another person or country, we risk a critical misunderstanding."]

---. "Why We Should All Be Feminists." TED (December 2012) ["We teach girls that they can have ambition, but not too much ... to be successful, but not too successful, or they'll threaten men, says author Chimamanda Ngozi Adichie. In this classic talk that started a worldwide conversation about feminism, Adichie asks that we begin to dream about and plan for a different, fairer world — of happier men and women who are truer to themselves."]

A Girl Walks Home Alone at Night (USA: Ana Lily Amirpour, 2014: 99 mins)

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

Akbari, Mania. "Close-Up." The Cinematologists #46 (May 26, 2017) ["Neil, Dario and guest presenter Mark Jenkin discuss the work of Iranian master Abbas Kiarostami particularly focusing on his 1990 'documentary' Close-Up. Having recently passed away the love and reverence for Kiarostami in the international film community was starkly apparent by the depth and breadth of tributes to him. Having watched many of his films we discuss his legacy, status and the vibrancy of filmmaking from Iran despite the hugely difficult social and political conditions. This episode also features an interview with Iranian Filmmaker Mania Akbari. After collaborating with Kiarostami on Ten as an actress, along with her son, Akbari has gone on to a directorial career of her own, making provocative films (along with art exhibitions) that are expressly feminist in nature tackling issues such as memory, identity, the body and sexuality all with an uncompromising personal underpinning."]

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."]

Als, Hilton. "Beywatch: Beyoncé’s reformation."  The New Yorker (May 30, 2016)

American Honey (UK/USA: Andrea Arnold, 2016: 163 mins)

American Psycho (USA: Mary Harron, 2000: 102 mins)

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

Anderst, Leah. "Memory’s Chorus: Stories We Tell and Sarah Polley’s Theory of Autobiography." Senses of Cinema #69 (December 2013)

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

Andrews, Mallory. "Dress Coding 9 to 5." cléo 5.1 (2017)

Andrews, Mallory, Jess Beaulieu and Brittani Nichols. "Roundtable: Queering Comedy." cléo (August 18, 2016)

"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)

Appen, Joe Von and Erik McCkanahan. "A Thematic Pairing Of Inescapable Dread." Adjust Your Tracking #116 (September 23, 2015) ["... reviews of two dread-soaked, arthouse genre films opening slowly in theaters across the country. First is Austrian horror Goodnight Mommy then onto drug war thriller Sicario, each tension-filled and terrifying in their own way."]

Asher-Perrin, Emily. "Princess Buttercup Became the Warrior General Who Trained Wonder Woman, All Dreams Are Now Viable." TOR (June 6, 2017)

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)

The Babadook (Australia: Jennifer Kent, 2014: 93 mins)

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

Balsom, Erika. "The Reality Based Community." e-flux #83 (2017)

Banks, Julie. "Innocent When You Dream: Affect and Perception through Lucile Hadzihalilovic’s Innocence." Screening the Past (September 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."]

Bastards (France/ Germany: Claire Denis, 2013)

Baughan, Nikki. "Where to Begin with Jane Campion." Sight and Sound (May 3, 2016)

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

The Beguiled (USA: Sofia Coppola, 2017: 94 mins)

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)

Besné, Viviana Garcia and Alistair Tremps. "Fascinating Eye on the Border." On Film (April 11, 2015) ["The Calderón brothers were Viviana's & Monica's great grandfathers, and the brothers' reputations as theater owners and film producers is renowned across Mexico and the borderland. Besné's film "Perdida" explores the Calderón family history. In this online-only extended interview, Viviana & Alistair also talk about the upcoming film "Shadow Collectors," which explores the efforts to preserve original film prints after they have been digitized. Many of the original prints are either left to decay or thrown out altogether."]

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."]

Bose, Shonali. "Margarita With a Straw." Film School (May 20, 2016)

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

Bryant, Brandon. "From Console to Trigger: How Pentagon 'Exploits' Video Game Culture to Wire Youth for War." Democracy Now (November 20, 2015) [Among the issues tackled in the new documentary film "Drone" is the connection between video games and military recruitment. We air a clip from the film and speak to its director, Tonje Hessen Schei, as well as drone war whistleblower Brandon Bryant. "I think gamers should be offended that the military and the government are using [video games] to manipulate and recruit," Bryant says. "We’re more interconnected now than at any time in human history — and that’s being exploited to help people kill one another."]

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)

Cade, Octavia. "Women, Monstrosity and Horror: Gynaehorror by Erin Harrington." Strange Horizons (September 18, 2017)

Campion, Jane interviewed by Nick James. "Romantic Setting." Sight and Sound (December 2009)

Canzona, Joshua. "The Innocents (Les Innocentes)."  The Journal of Religion and Film 21.1 (April 2017)

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)

Chevalier (Greece: Athina Rachel Tsangari, 2015: 99 mins)

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

Chira, Susan. "A New Rating for TV and Movies Tries to Combat Gender Stereotypes." The New York Times (June 20, 2017)

Chocolat (France/West Germany/Cameroon: Claire Denis, 1988: 105 mins)

Chow, Lesley. "Dream Story: Julia Leigh's Sleeping Beauty." Bright Lights Film Journal #76 (May 2012)

Chu, Jaime. "What's Not To Touch: Jane Campion's Intimacies."  cléo 5.1 (2017)

Citizenfour (Germany/USA: Laura Poitras, 2014: 114 mins)

City of God (Brazil/France: Fernando Meirelles and Kátia Lund, 2002: 130 mins)

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

Cloud Atlas (Germany/USA/Hong Kong/Singapore: Tom Tykwer, Lana Wachowski and Lily Wachowski, 2012: 172 mins)

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)

Coppola, Sofia. "The Bling Ring." The Close-Up #137 (May 24, 2017)

Corliss, Richard. "A Woman Scorned: The Top 12 Female Revenge Movies." Time (April 29, 2014)

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)

---. "Psychoanalysis and Cinema." The Oxford Guide to Film Studies. ed. John Hill and Pamela Church Gibson. Oxford University Press, 1998:

Cronin, Sarah. "Attenberg: Interview with Athina Rachel Tsangari." Electric Sheep (September 1, 2011)

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."]

Daisies (Czechoslovakia: Vera Chytilová, 1966: 74 mins)

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)

Darke, Chris. "The Directors of the Year: Agnes Varda." International Film Guide. London: Wallflower Press, 2009: 38-45. [Available in BCTC Library PN1993.3 I544 2009]

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)

Deighan, Samm and Kat Ellinger. "Lust for a Female Vampire Lover: The Evolution of Lesbian Vampires in Cinema, Part 1." Daughters of Darkness #1 (March 12, 2016)  ["This first episode of three begins by examining the lesbian vampire from her origins in eighteenth century Gothic literature, particularly Samuel Taylor Coleridge’s unfinished poem “Christabel” (1797) and Irish writer Sheridan Le Fanu’s story “Carmilla” (1871), both of which explore themes of monstrosity, repressed sexuality, and female identity. “Carmilla” — the source material for the majority of lesbian vampire films — follows a lonely young woman named Laura, who makes a strange, seductive new friend, Carmilla, whose designs on Laura are decidedly sanguinary. Carl Theodor Dreyer’s surreal horror film Vampyr (1932) was the first to adapt “Carmilla,” however loosely, but was followed soon after by the more straightforward Universal horror film, Dracula’s Daughter (1936). The latter — with its depiction of an elegant, sympathetic female vampire reluctantly driven to act out her bloodlust out on female as well as male victims — was among the first to portray vampirism as a blend of madness, female hysteria, sexual dysfunction, and addiction. Dracula’s Daughter would influence subsequent adaptations of “Carmilla,” like Roger Vadim’s lush arthouse effort Blood and Roses (1960) and obscure Italian Gothic horror film Crypt of the Vampire (1964). The film co-starred Hammer star Christopher Lee, who spends much of the running time in an outrageous smoking jacket. Speaking of Hammer studios, the episode wraps up with a discussion of their Karnstein trilogy, a watershed moment for lesbian vampire cinema. Films like The Vampire Lovers (1970), Lust for a Vampire (1971), and Twins of Evil (1971) — as well as some of the studio’s outlier efforts like The Brides of Dracula (1960) or Countess Dracula (1971) — left a bloody mark on vampire films. With minimal violence and plenty of nudity from buxom starlets like Ingrid Pitt, these films generally depict aristocratic vampires preying on innocent young ladies in pastoral settings. A film like The Vampire Lovers was famous for its use of lesbianism and casual nudity, but is quite restrained compared to the films discussed in episode two by European directors like Jess Franco and Jean Rollin."]

---. "Lust for a Female Vampire: The Evolution of Lesbian Vampires in Cinema, Part 2." Daughters of Darkness #2 (March 28, 2017) ["Kat and Samm continue their three-part discussion of lesbian vampire films, this time with a focus on European cult directors like Jess Franco, Jean Rollin, and Walerian Borowczyk. They begin their discussion with the career of the prolific Jess Franco, who produced a number of films with lesbian vampire themes, namely Vampyros Lesbos (1971). This starred his first muse, Soledad Miranda, as the mysterious Countess Carody, who sunbathes by day but thirsts for blood at night. Franco also adapted Bram Stoker’s novel with the relatively traditional Count Dracula (1970), but continued to explore his own perverse variations on vampire mythology in Dracula’s Daughter (1972) and the explicit Female Vampire (1975), with his longtime partner Lina Romay. Also explored is the work of French director Jean Rollin, known for his dreamlike, often surreal vampire films such as The Rape of the Vampire (1968), The Nude Vampire (1970), The Shiver of the Vampires (1971), and Requiem for a Vampire (1973). While these films infrequently use overt depictions of lesbianism, they are generally concerned with pairs or groups of female vampires banded together against the world. In films like Fascination (1979), about blood-drinking socialites, and The Living Dead Girl (1982), the tragic tale of a love that survives beyond death, Rollin expanded on his early themes. The episode concludes with a discussion of a few films that touch upon the legend of historical murderer and alleged blood-drinker Elizabeth Bathory. Most importantly is Belgian film Daughters of Darkness (1971), the podcast’s namesake, which follows a newly married couple who encounter an elegant and possibly ageless woman at a seaside hotel."]

Delaney, Erin. "Women Unbound: Queer Utopia in the Wachowski Sisters’ Bound." cléo 4.2 (December 2016)

Delgado, Monica. "Doris Wishman Lets You Look: Pay a visit—for research purposes—to the world of a nudie-cutie pioneer." Keyframe (March 7, 2017)

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)

Detroit (USA: Kathryn Bigelow, 2017: 143 mins)

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."]

"Discussion Questions: XXY." Film Movement (2009)

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)

Ducournau, Julia, Garance Marillier and Agnès Varda. "Agnès Varda and Raw." The Close-Up #127 (March 16, 2017) ["In conjunction with this year’s festival, French Insitute Alliance Française celebrated the career of Agnès Varda with screenings and exhibitions paying tribute to her perpetually influential and inventive work across many disciplines. Varda stopped by the Film Society for a special talk in our amphitheater, moderated by critic Melissa Anderson. Julia Ducournau’s shocking Raw has been described as a “coming-of-age cannibalism film.” It was the one of the most buzzed-about films at last year’s Cannes."]

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

Ellwand, Calina. "Motor City’s Gendered Shift: Heidi Ewing and Rachel Grady’s Detropia." cléo 1.3 (November 28, 2013)

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

Emmer, Katherine. "Life in Color." Wrong Reel #139 (May 2016)

Erbland, Kate. "15 Best 'Portlandia' Sketches." Rolling Stone (January 7, 2015)

Erbland, Kate, et al. " The 25 Best Films Directed By Women of the 21st Century, From Lost in Translation to Persepolis." Indiewire (May 26, 2017)

Evans, Marian. "#Cannes2017 Excludes #WomeninFilm Who Bring Their Children." Medium (May 28, 2017)

Even the Rain (Spain/Mexico/France: Icíar Bollaín, 2010: 103 mins)

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

"The Feminist Obligation." Breaking the Glass Slipper (July 6, 2017)

Ferguson, Susan. "Capitalist Childhood in Film: Modes of Critique." Jump Cut #55 (Fall 2013)

Fish Tank (UK/Netherlands: Andrea Arnold, 2009: 123 mins)

The Fits (USA: Anna Rose Holmer, 2015: 72 mins)

Flores, Steven. "The Auteurs: Jane Campion." Cinema Axis (September 30, 2013)

Forsyth, Iain and Jane Pollard. "20,000 Days on Earth." Final Cut (January 22, 2015)

Foulkes, Sarah. "I Love Dick and Female Fantasy, Written in Bold." Film School Rejects (June 13, 2017)

Fox, Neil and Dario Linares. "Professor Richard Dyer." The Cinematologists #43 (April 6, 2017) ["Professor Dyer's writing and scholarship has been extremely influential across Cultural Studies and Film Studies with recurring foci on the politics of representation, ideology and class, gender and sexuality, race, stardom to name just a few. His intellectual curiosity is infused with a identity politics that often centres around the difficult, contradictory relationship between cultural production and social reality. His work is hugely relevant to today's issues and in this interview Professor Dyer is generously self-reflexive in looking back, with a critical eye, over his long and distinguished career."]

Friday Night (France: Claire Denis, 2002: 90 mins)

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)

Gemmill, Allie. "Sofia Coppola and Female Coming of Age: These young women share an experience of inner life, and of parsing the culture that seeks to define them." Keyframe (May 24, 2016)

Garcia, Maria. "Rewriting Fairy Tales, Revisiting Female Identity: An Interview with Catherine Breillat." Cineaste 36.3 (2011)

"Ginger and Rosa (UK) (2012)." The Case for Global Film (October 22, 2012)

Girlhood (France: Céline Sciamma, 2014: 113 mins)

Goffman, Erving. Gender Advertisements. Harper Torchbooks, 1976.

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

Goodsell, Luke. "Axolotl Overkill." 4:3 (June 13, 2017)

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

Grant, Catherine. "The Headless Woman." The Cinephiliacs #92 (April 30, 2017) ["UK film scholar Catherine Grant has always seemed to be on the precipice of these changes. Her blog, Film Studies for Free, brought the idea of Open Access within the field to a whole array of scholars, and her pioneering work in video essays transformed the way that film scholarship can come closer to their objects of study than ever before. In this interview conducted in the heart of the annual SCMS conference, Catherine discusses her discovery of art cinema, her research on world cinema and auteurism in the digital age, and the role that these new visual tools have changed the way she approaches cinema. They top off their conversation by turning to The Headless Woman and how Argentine director Lucrecia Martel creates a hyper-attentive spectator in the most breathtaking drama of recent memory."]

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)

Hamilton-Smith, David. "Life's Incidental Character: The Films Of Agnès Varda." The Quietus (June 6, 2014)

Hammond, Caleb. "Killer Instincts: Florence Pugh’s Steely Performance in Lady Macbeth Foretells a Rapid Ascension." MovieMaker (July 10, 2017)

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)

Hannah Arendt (Germany/Luxemborg/France: Margarethe von Trotta, 2012: 113 mins)

Harris, Lauren Carroll. "Woman with an Editing Bench: How do film editors think?" Real Time (August 23, 2017)

Hart, David and Jesse Lauren. "Whale Rider and Modernization." Pop Culture Case Study #223 (March 30, 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."]

---. "How Movies Have Handled Trans Awareness." Keyframe (May 4, 2017) ["3 GENERATIONS and other film portraits of boundary-pushing gender diversity."]

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."]

Heller, Marielle. The Diary of a Teenage Girl (Screenplay: January 8, 2014)

Heron, Christopher. "A Woman Constructing Her World: Anna Biller Interview (The Love Witch)." The Seventh Art (April 5, 2017) ["American independent filmmaker Anna Biller discusses her latest film, The Love Witch (2016), which investigates gender and psychology through the prisms of love and witchcraft. Following Viva (2007) and her preceding short films, the aesthetic of The Love Witch is a bricolage of different formalist reference points found across the writing, performance, sets, music and more. Through this unique world building, Biller explores the underlying narcissistic personality of the complex main character, Elaine, as well as a means to explore notions of fantasy, desire, patriarchal structures, craft, and meta-level symbolism, among its many themes. We discuss these components of the film, its reception, critical misunderstandings of cinema history, and the realities of making films as a woman."]

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)

---. "Cannes 2017: Sofia Coppola's The Beguiled." Current (May 24, 2017)

---. "Josephine Decker and Zefrey Throwell's Flames." Keyframe (May 2, 2017)

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

Hughes, Harriet Smith. "On Regarding Susan Sontag." Another Gaze (March 29, 2016)

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)

The Hurt Locker (USA: Kathryn Bigelow, 2008: 131 mins)

"In a Better World. (2010) Susanne Bier." Filmsweep (June 29, 2011)

In Bloom Critics Round Up (Ongoing Archive)

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

The Intruder/L'intrus (France: Claire Denis, 2004: 130 mins)

"'The Invisible Thelma Schoonmaker,' Martin Scorsese's Editor." Filmmaker (July 12, 2017)

Ivins, Laura. "Collaged Gluttony in Vera Chytilová’s Daisies." A Place for Film (October 13, 2016)

---. "Maya Deren's Film Philosophy." A Place for Film (May 23, 2017)  ["Born April 29, 1917, this year would have been Maya Deren’s 100th birthday. In celebration of her contribution to experimental cinema, this video outlines some of the key principles informing Deren’s filmmaking. Deren wrote prolifically about her film practice, and the compilation of her writings – Essential Deren – has been one of my touchstones as a filmmaker since it was published in 2005. The essays in Essential Deren contain both practical advice about shooting and editing, as well as Deren’s philosophical perspective toward filmmaking. I focus on the latter in my video."]

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)

JB. ""The final collaboration is between the finished film and its audience": Jennifer Baichwal and Ed Burtynsky on Watermark." The Phantom Country (January 8, 2014)

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

Jenkins, David. "Leviathan Review." Little White Lies (November 27, 2013)

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)

Jones, Kathleen B. "The Idea of a Common World: Ada Ushpiz’s Vita Activa: The Spirit of Hannah Arendt." The Los Angeles Review of Books (April 29, 2016)

Jones, Sharon and Barbara Kopple. "Talk Miss Sharon Jones." The Close-Up (July 28, 2016)

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

Jupiter Ascending (USA: Lana Wachowski and Lily Wachowski, 2015: 127 mins)

Kaddish, Maddy. "Vocal Expression: Zoe Lister-Jones on Making Her Spirited Feature Debut, Band Aid, With an All-Female Crew." MovieMaker (June 2, 2017)

Kalafa, Amy. "Lunch Wars." Radio West (August 23, 2011)

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

Kapica, Stephen S. "The multivalent feminism of The Notorious Bettie Page." #55 (Fall 2013)

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

Kerr, Sarah. "Wonder Woman: The Weird, True Story." The New York Review of Books (November 20, 2014)

Kleinhans, Chuck and Julia Lesage. "The Last Word - #BlackLivesMatter." Jump Cut #57 (Fall 2016)

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)

Lapekas, Jenny. "Descent — 'Everything’s okay now.': Race, vengeance, and watching the modern rape-revenge narrative." Jump Cut #55 (Fall 2013)

"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." (Posted on Vimeo: February 2017)

---. "Essential Viewing: Roger Ebert on 35 Shots of Rum Keyframe (August 9, 2011)

---. "The Good Bad Acting of Juliette Binoche." (Posted on Vimeo: February 2017)

---. "Laura Poitras, Lives on the Line." (Posted on Vimeo June 2013)

---. "The Soundless Fury of Kate Lyn Shell." (Posted on Vimeo: February 2017)

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."]

Lennon, Elaine. "Sofia Coppola: A Cinema of Girlhood." Offscreen 21.6 (June 2017)

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. "]

Lindner, Katharina. "Corporeality and Embodiment in the Female Boxing Film." Alphaville #7 (Summer 2014)

Link, Trevor. "Polisse." Spectrum Culture (May 20, 2012)

Livingston, Michael. "Five Amazing Women Warriors of the Middle Ages." Tor (February 23, 2017)

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

The Loneliest Planet Critics Round Up (Ongoing Archive)

Longworth, Karina. "Barbara Loden (Dead Blondes Episode 12)." You Must Remember This (April 17, 2017) ["Barbara Loden won a Tony Award for playing a character based on Marilyn Monroe in Arthur Miller’s After the Fall. Like Marilyn, Barbara was a beauty with no pedigree who fled a hopeless upbringing in search of the fulfillment of fame. Like Marilyn, Loden found some measure of security as the mistress (and eventual wife) of a powerful man, in Loden’s case Elia Kazan. But instead of satisfying her, her small taste of fame and her relationship with Kazan left Barbara Loden wanting more, which would lead her to write, direct and star in a groundbreaking independent movie of her own."]

---. "Dorothy Stratten (Dead Blondes Episode 13)." You Must Remember This (April 25, 2017) ["Our Dead Blondes season concludes with the story of Dorothy Stratten. Coaxed into nude modeling by Paul Snider, her sleazy boyfriend-turned-husband, 18 year-old Stratten was seized on by Playboy as the heir apparent to Marilyn Monroe. She ascended to the top of the Playboy firmament quickly, and just after Hugh Hefner decided to make her Playmate of the Year, she met filmmaker Peter Bogdanovich, who fell in love with her and rewrote his upcoming film, They All Laughed, to give Dorothy a star-making role. After filming They All Laughed Dorothy planned to leave Snider and Playboy for life with Bogdanovich -- but her husband had other ideas."]

---. "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."]

Lourdes (Austria/France/Germany: Jessica Hausner, 2009: 96 mins)

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]

"Maiden, Mother and Crone: Ageism in Genre Fiction." Breaking the Glass Slipper (April 27, 2017)

Marlow, Jonathan. "The Journey Up to the Manakamana Temple: Stephanie Spray and Pacho Velez." Keyframe (April 18, 2014)

Marshall, Colin. "Slavoj Žižek’s Pervert’s Guide to Ideology Decodes The Dark Knight and They Live." Open Culture (September 30, 2013)

Martin, Adrian. "Call Her Mum: Margot Nash's The Silences." The Lifted Brow (April 28, 2016)

Mason, Belinda. "Constance on the Edge." The Last New Wave (May 25, 2017) ["This is a powerful documentary about mother of six, Constance, learning to adjust to life in Australia after moving here as a refugee from Sudan. In the lead up to the festival, Andrew spoke to director Belinda Mason about what went in to making the film and what documentaries like this mean for Australia’s understanding of refugees."]

The Matrix (USA: Lana Wachowski and Lily Wachowski, 1999: 136 mins)

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. "Horror in Paradise." The F Word (August 7, 2014) ["Sophie Mayer looks at Lucia Puenzo's Wakolda, film narrating the Patagonian epilogue to extremely dark period in European history"]

---. "In Praise of Soft Cocks." cléo 5.1 (2017)

---. "'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)

McIntyre, Gina. "Female TV Directors of Queen Sugar, The Handmaid's Tale and More on Pushing Boundaries." The Hollywood Reporter (June 12, 2017)

McKenna, Juliet, et al. "Fight Scenes and Women Warriors." Breaking the Glass Slipper 2.8 (April 13, 2017) ["As Kameron Hurley discusses in her Hugo Award-winning article, ‘We Have Always Fought‘, women have always fought. So why don’t we see more women warriors in science fiction and fantasy novels? History is full of women on battlefields and in brawls, even if the history books might gloss over it. Remember: much of the history we hold as the gold standard was written by men who were reinforcing the social structures they created. When it comes to fight scenes, there’s already enough to think about without worrying about gender representation (and no, that’s not an excuse…). A well-written fight scene is a rare gem. We talk to writer and martial artist Juliet McKenna about the common mistakes writers make when writing fight scenes, from grand military battles to a pub fight, we talk weapons, fight styles, point of view, and more. What makes a fight scene interesting? How much detail is too much? And it wouldn’t be an episode of Breaking the Glass Slipper without us championing some of our favourite examples of great women warriors in SFFH."]

Meek's Cutoff (USA: Kelly Reichardt, 2010: 104 mins)

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

Miller, Rebecca, et al. "Maggie's Plan." The Close-Up #82 (May 4, 2016)

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

Misra, Sulagna. "20 Marvel Firsts in Jessica Jones." Vulture (November 24, 2015)

Mitchell, Jerry and Dawn Porter. "Spies of Mississippi: New Film on the State-Sponsored Campaign to Defeat the Civil Rights Movement." and "PART 2: Interview with "Spies of Mississippi" Director and Reporter Jerry Mitchell." Democracy Now (February 25, 2014)

Mobarak, Jared. "Professor Marston and the Wonder Women: TIFF 2017 Review." The Film Stage (September 10, 2017)

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."]

Monihan, Maximon, Daisy Wright and Isaac Zablocki. "How Do You Make Movies About Invisible People?" No Film School (May 23, 2016) 

Monsoon Wedding (India/USA/Italy/Germany/France: Mira Nair, 2001: 114 mins)

Moore, Booth. The Story Behind the Sweet (and Sinister) Costumes in Sofia Coppola's The Beguiled." The Hollywood Reporter (June 15, 2017)

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

---. "Sofia Coppola's The Beguiled." Sunset Gun (June 15, 2017)

Mudede, Charles. "Flint Michigan and the American Way: Bad water, bankrupt Flint, and the hard fact about American poverty, as explained in DETROPIA." Keyframe (February 28, 2016)

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."]

Nash, Megan. "The Party." 4:3 (June 13, 2017)

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

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

---. "We Exist: The Female Horror Directors of 2014." Balder and Dash (December 29, 2014)

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

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

Night Moves (USA: Kelly Reichardt, 2013: 112 mins)

Nix, Laura, et al. "Be an Expert." Popaganda (July 30, 2015)

Noujaim, Jehane. "Wishes for a Global Film Day." TED (July 2006)

O'Hehir, Andrew. "Surviving a parents’ nightmare, with wine and sex: A young couple faces their son's deadly illness, with Parisian flair, in Declaration of War." Salon (January 26, 2012)

Oliver-Harding, Michael. "French Touch Gets a Proper Cinematic Homage in Eden." Noisey (October 17, 2014) ["The portrait of a generation captures the early days of Daft Punk and the scene they came from."]

Opperman, Romy. "Born in Flames and the No Future of Oppression." Another Gaze (September 15, 2016)

"Orange is Great, but Red is More Our Color." FlixWise (August 13, 2014)

Oreck, Jessica. Beetle Queen Conquers Tokyo." Film School (January 18, 2010)

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

Palmer, Tim. Brutal Intimacy: Analyzing Contemporary French Cinema. Middletown, CT: Wesleyan University Press, 2011. [Professor has a copy]

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

Papayanis, Marilyn Adler. "The Wanking Widow and Other Indecorous Dames: Three Films about Maternal Transgression and the 'Fortunate Fall.'" Bright Light Film Journal #82 (November 2013)
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."]

The Persepolis Issue Little White Lies #16 (2008)

Phillips, Eva. "Carol and the Ineffable Queerness of Being." Another Gaze (February 21, 2016)

The Piano (Australia/New Zealand/France: Jane Campion, 1993: 121 mins)

Pinkerton, Nick. "Leviathan: Sea lives meet amphibious cameras meet a hulking, devastating war machine: welcome to a documentary like nothing you’ve seen (or felt)." Sight and Sound (December 6, 2013)

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

Point Break (USA: Kathryn Bigelow, 1991: 120 mins)

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)

"Press Kit: XXY. Film Movement (2008)

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

Pskou, Elina. "Son of Sofia." Following Films (April 20, 2017)  ["After her celebrated debut, “The Eternal Return of Antonis Paraskevas”, Elina Psykou returns with “SON OF SOFIA”, a dark, yet tender coming-of-age fairytale that strikes a masterful balance between realism and dreams, much like its young lead. The story revolves around 11-year-old Misha, who flies from Russia to Athens in the summer of 2004, to join his mother, Sofia, after having spent a long time apart. What he doesn’t know is that there is a father waiting for him there. While Greece is living the Olympic dream, Misha will get violently catapulted into the adult world, riding on the dark side of his favorite fairy tales."]

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: Sini 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)

Reardon, Kiva. "Housekeeping and Other Feudalisms: An Interview with Athina Rachel Tsangari."  cléo 1.2 (July 25, 2013)

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)

Reichardt, Kelly. "How to Live Life or Make a Film Instead." Four by Three (2016) ["How does extraordinary sensibility manifest itself through the moving image on screen? American director Kelly Reichardt talks to four by three magazine about her latest film Certain Women, the journey of life and how to answer the question of how to live."]

Reichert, Jeff. "From the Other Side: Degrees of Separation." Reverse Shot (May 30, 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)

Rich, B. Ruby, et al. "Film & Media in a Time of Repression: Practices & Aesthetics of Resistance." Film Quarterly (February 24, 2017)

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)

Riesman, Abraham. "Jessica Jones Has Hot Sex and Nuanced Sexuality (Especially for a Marvel Show)." Vulture (October 12, 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)

Rosenberg, Emma. "Staying Sane with Rocks in My Pocket." The Baffler (October 30, 2014)

Rosso, Jason Di. "The Meddler - review and interview with director Lorene Scafaria." The Final Cut (May 20, 2016)

Rule, Ashley. "Appropriate Behavior." Letterboxd (April 13, 2005)

Russell, Dominique. "Lucrecia Martel — 'a decidedly polyphonic cinema.'” Jump Cut #50 (2008)

Saladoff, Susan. "Hot Coffee." Media Matters (October 9, 2011)

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)

Saunders, D.J.M. "Without Permission: Three Contemporary Feminist Films and One Classic (Suffragette, Mustang, Under the Shadow, Woman on the Run)."  Bright Lights Film Journal (JUne 2, 2017)

Scherffig, Clara Miranda. "Maren Ade's Women: Complex and tenacious protagonists who disturb social norms and refuse to be ashamed." Fandor (December 24, 2016)

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

Scott, A.O. "Cannibalism, Hallucinogenics and Keanu: The Bad Batch Has It All." The New York Times (June 22, 2017)

Segade, Alexandro. "We Belong: On Sense 8." Art Forum (August 24, 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)

Selma (USA: Ava DuVernay, 2014: 122 mins)

Sharf, Zack. "20 Rising Female Filmmakers You Need To Know." IndieWire (June 14, 2017)

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, Gavin. "Interview: Claire Denis." Film Comment (January/February 2006) ["With its luminous images and globe-trotting narrative, The Intruder is one of the year's most compelling movie experiences."]

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.

Solomonoff, Julia. "Five Questions for Nobody's Watching Director." Filmmaker (May 24, 2017)

Song, C.S. "Hannah Arendt's Life and Ideas." Against the Grain (May 15, 2017)

Spencer, Michelle. "Three Visual Patterns in Sofia Coppola's Films." A Place for Film (June 1, 2017)

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)

Steingraber, Sandra. "Living Downstream - creating a world free of cancer causing toxics." Making Contact (July 22, 2015) ["Renowned biologist Sandra Steingraber has made fighting environmentally induced cancers her lifes work. Steingraber’s book, Living Downstream, has been turned into a movie chronicling a year in her life trying to create a world free of cancer causing toxics. On this edition, we hear excerpts of the documentary film, Living Downstream."]

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)

Sutherland, Jean-Anne. "Constructing Empowered Women: Cinematic Images of Power and Powerful Women." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 149-161. [In BCTC Library PN1995.9 S6 C543 2013]

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."  (Posted on Vimeo: August 2016)

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

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

Tafoya, Scout. "The Greatest Films Directed by Women." (Posted on Vimeo: February 2017)

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. "Annette Bening is Just the Best: Who else brings us such a great range of joy, wry intelligence, and grownup allure?" Fandor (December 22, 2016)

---. "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)

Temple, Melissa Bow. "It's Okay to Be Neither." Together for Jackson County Kids (December 16, 2011)

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.'"]

Thicknes, Holly. "Examining the Trauma of Child Abuse in Wildlike and The Violators." Another Gaze (Jabuary 17, 2016)

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)

Thornham, Sue. "‘A Hatred So Intense…’ We Need to Talk about Kevin, Postfeminism and Women’s Cinema." Sequence 2.1 (2013)

Thou Wast Mild and Lovely (USA: Josephine Decker, 2014: 94 mins)

Toit, Andries Du. "The Heart in Exile: Persepolis. A Subtle Knife (July 9, 2009)

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

Tragos, Tracy Droz. "Abortion: Stories Women Tell." Film School (August 11, 2016)  ["In 1973 the U.S. Supreme Court decision Roe v. Wade recognized the right of every woman in the United States to have an abortion. Since 2011, over half the states in the nation have significantly restricted access to abortions. In 2016, abortion remains one of the most divisive issues in America, especially in Missouri, where only one abortion clinic remains open, patients and their doctors must navigate a 72-hour waiting period, and each year sees more restrictions. Awarding-winning director and Missouri native Tracy Droz Tragossheds new light on the contentious issue with a focus not on the debate, but rather on the women themselves – those struggling with unplanned pregnancies, the providers who show up at clinics to give medical care, as well as the activists on both sides of the issue hoping to sway decisions and lives. Tragos’ illuminating documentary Abortion: Stories Women Tell offers an intimate window into the lives of these women through their personal stories. Some are heartbreaking and tender some are bleak and frightening; some women, on both sides of the issue, find the choice easy to make due to their own circumstances and beliefs, while others simply inform us of the strength and capacity of women to overcome and persevere through complicated and unexpected circumstances. Director and producer Tracy Droz Tragos joins us for a conversation on one of the most contentious and intractable issues facing women and her beautifully balanced, heart wrenching and moving documentary."]

Triumph of the Will (Germany: Leni Riefenstahl, 1935: 110 mins)

"Liv Ullman/Chuck Workman/Göran Olsson." Filmwax Radio #260 (December 6, 2014)

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."]

Vanderwees, Chris. "Sartorial signifiers, masculinity, and the global recession in HBO's Hung." Jump Cut #55 (Fall 2013)

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."]

Vergano, Dan. "Invasion of the Viking Women Unearthed." Science Fair (July 19, 2011)

"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)

Wagner, Brigitta. " Uncanny, Haptic Encounters and the Importance of Play: An Interview with Josephine Decker, Filmmaker." Senses of Cinema #70 (March 2014)

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)

Water (Canada/India: Deepa Mehta, 2005: 117 mins)

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)

Wendy and Lucy (USA: Kelly Reichardt, 2006: 80 mins)

West, Erica. "The Pitfalls of Radical Feminism." Jacobin (July 9, 2017) ["Fighting capitalism remains the only path toward women’s full liberation."]

West, Steven. "The Ethics of Ambiguity." Philosophize This! (July 29, 2017) ["... Simone De Beauvoir and her book The Ethics of Ambiguity. There are some thinkers who are, from the very beginning, unambiguously identified as philosophers (e.g., Plato). There are others whose philosophical place is forever contested (e.g., Nietzsche); and there are those who have gradually won the right to be admitted into the philosophical fold. Simone de Beauvoir is one of these belatedly acknowledged philosophers. Identifying herself as an author rather than as a philosopher and calling herself the midwife of Sartre’s existential ethics rather than a thinker in her own right, Beauvoir’s place in philosophy had to be won against her word. That place is now uncontested. The international conference celebrating the centennial of Beauvoir’s birth organized by Julia Kristeva is one of the more visible signs of Beauvoir’s growing influence and status. Her enduring contributions to the fields of ethics, politics, existentialism, phenomenology and feminist theory and her significance as an activist and public intellectual is now a matter of record. Unlike her status as a philosopher, Simone de Beauvoir’s position as a feminist theorist has never been in question. Controversial from the beginning, The Second Sex’s critique of patriarchy continues to challenge social, political and religious categories used to justify women’s inferior status."]

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

Whip It." Cinematologists #3 (March 23, 2015)

White Material (France/Cameroon: Claire Denis, 2009: 106 mins)

Wichmann, Kanchi. "Lesbian Films Don't Make Money." Another Gaze (March 9, 2016)

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)

Wilson, Jake. "Trash And Treasure: The Gleaners And I Senses of Cinema #23 (2002)

Wilson, Shane. "Wool 100% (2006)." 366 Weird Movies (June 29, 2017)

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

Winter's Bone (USA: Debra Granik, 2010: 100 mins)

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)

Woolcock, Penny. "Climbing Trees: From the Second Wave to Intersectionality." Another Gaze (February 24, 2016)

Wuthering Heights (UK: Andrea Arnold, 2011: 129 mins)

Yes (UK: Sally Potter, 2004: 100 mins)

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)

---. "Phantom Heart: L'Intrus." Reverse Shots #29 (2009)

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

Zhou, Xin. "ND/NF Interview: Vivian Qu." Film Comment (March 28, 2014)

“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.

Loneliness of Sofia Coppola from movement_of_time on Vimeo.

Trailer: THE WORKS - CHLOË SEVIGNY from Nitehawk Cinema on Vimeo.