Three Bewitching Occult Indies to Watch before Halloween
Movies about the occult are not a new phenomenon. Directors have been obsessed with the occult for as long as…
women in film
Thirsting for the Forbidden: Dissecting the Monstrous Feminine
“The female vampire is abject because she disrupts identity and order; driven by her lust for blood, she does not…
Possessed by Puberty: Dissecting the Monstrous Feminine
“In order to enter the symbolic order, the subject must reject or repress all forms of behaviour, speech and modes…
The Many Faces of the Archaic Mother: Dissecting the Monstrous Feminine
“The unacceptable, monstrous aspect of woman is represented in two ways: Mother as an omnipresent archaic force linked to death…
5 Female Directed Independent Films to Watch in case You Missed This Women’s History Month
With the ever expanding film industry we have had the opportunity for a myriad of people from a myriad of…
“Scores of ‘Starlets’ Like Me… Fifty Bucks a Week’’
In the 1940s, two female intellectuals, coming from very different positions, began to theorize gender and economy in studio Hollywood. In this fourth series installment, Kerry McElroy delves into the changing and ironic state of affairs for actresses in the 1940s— unexpected autonomy and worsening exploitation. Food restriction, forced cosmetic surgery, suspensions, and poverty were largely the order of the tyrannical day. McElroy also looks at the last living Golden-Age star, Olivia de Havilland, and her landmark 1943 court case on contracts and suspensions.
Directed by Women: How About Shot, Edited, & Produced by Too?
Over the past year, ever since the May release of the ACLU’s 15 page letter to the EEOC, there has…