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Call No: SUBJECT CLIPPINGS FILE; WOMEN DIRECTORS. AUSTRALIA
PhysDes: Article
Subject: WOMEN DIRECTORS. AUSTRALIA
Summary: Comments by Screen Australia on 50/50 quota

Call No: 802.253 CEL
Source: UK
Place: Twickenham
Publisher: Supernova Books
PubDate: 2014
PhysDes: 383 pages : illustrations ; 20 cm
Series: Women and the arts
Subject: WOMEN DIRECTORS; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA
Summary: "With Katherine Bigelow making history as the first woman to win an Oscar for directing, is this a new era for female filmmakers? The numbers suggest otherwise. A San Diego University study published last year states that only 9% of Hollywood directors in 2008 were women - the same figure recorded in 1998. Celluloid Ceiling seeks to redress the imbalance in the ratio of male to female film directors by exploring the most inspiring new work appearing in the UK, US and across the globe. Highlighting emerging female directors alongside recognised pioneers (eg. Bigelow, Campion, Coppola), placing all in context and examining their influences, Celluloid Ceiling offers a one-stop guide to the leading female directors of 21st century. With particular attention paid to women making films in traditionally male-dominated areas - such as action movies and films featuring violence or pornography - the author hopes to show all budding filmmakers that women can overcome the challenges within this industry." -- BOOK BLURB
Notes: Includes bibliographical references
ISBN: 9780956632906
Donation: donated by Senses of Cinema, 2014
Contents: Introduction / Gabrielle Kelly and Cheryl Robson -- Africa -- African Women Directors: Edited version of a speech given at the colloquy 'Francophone African Women Filmmakers: 40 years of cinema, Paris (1972-2012)' / Beti Ellerson -- Speak Up! Who's Speaking?: African Female Filmmakers Speak for Themselves / Maria Williams-Hawkins -- Americas -- The home, the body and otherness: Canadian representations of identity and feminism in Mary Harron's American Psycho, Sarah Polley's Away From Her and the Soska Sisters' American Mary / Karen Oughton -- Female Filmmakers in Latin America / Ana Maria Bahiana -- USA: Flouting the System: Lois Weber, Dorothy Arzner and Ida Lupino / Jacqui Miller -- From Hollywood to Indiewood to Chinawood: Women Film Directors in the US / Gabrielle Kelly -- US: Women Film Directors of the Indie World / Nathan Shaw -- Oscar-worthy Women Directors / Patricia Di Risio -- Interview with Kathryn Bigelow / Ana Maria Bahiana -- Asia -- Moving Up: Women Directors and South-east Asian Cinema / Anchalee Chaiworaporn -- Films from an Unknown Woman: Remediating the absence of gender politics in the films of women directors in China, Taiwan and Hong Kong / Pieter Aquilia -- Women Filmmakers of South Korea / Anchalee Chaiworaporn -- 'Why are you making such a big deal just because I am a woman?' Women Directors of Popular Indian Cinema / Coonoor Kripalani -- Cats and Dogs and Wild Berries: New Voices in Japanese Cinema / Adam Bingham -- To Direct Patriarchy / Women Film Directors in Pakistan / Iram Parveen Bilal -- Australia & New Zealand -- Brilliant Careers: Three Waves of Australian, New Zealand and Indigenous Women Film Directors / Pieter Aquilia -- Europe -- Alice Guy-Blache, True Pioneer / Tania Field -- A Century of Madchen: Femmes and Frauen in Facist, New Wave, and Contemporary European Cinema / Heidi Honeycutt -- Hidden Histories on Film: Female Directors from South Eastern Europe / Dina Iordanova -- Iron and Reel: Russian Women Directors Through the Soviet Era and Beyond / Karlanna Lewis -- Where's Britannia / Melody Bridges -- Middle East -- Coming Forth (Day) by Day: Arab Female Filmmakers Making Strides / Ronan Doyle -- In their Own Words: Interviews with Contemporary Women Directors from the Middle East / Elhum Shalerikar -- Voices of Israeli Women Filmmakers / Amy Kronish -- Summary / Gabrielle Kelly

Call No: 451-02 SMI
Author: Pieper, Katherine; Choueiti, Marc; Smith, Stacy L.
Source: US
Publisher: University of Southern California
PubDate: 2013
PhysDes: 43p. : ill. ; 30cm
Subject: WOMEN FILM WORKERS; WOMEN FILMMAKERS; WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN, FILMS MADE BY
Summary: "The purpose of this research is to examine how females are faring in American independent film. Studies have been conducted in the past on women in the mainstream U.S film industry, but little research has yet been done in the U.S independent film arena. To this end, we developed a research strategy with a two-prong approach. First, we quantitatively document the involvement of female content creators of U.S films at the Sundance Film Festival, assessing the gender of 11,197 directors, writers, producers, cinematographers, and editors across 820 films classified as U.S narratives (534 films) or documentaries (286 films) between 2002 and 2012. The second prong documents the qualitative experiences of female filmmakers through interviews with emerging and seasoned content creators as well as key industry gate-keepers. Here, we surveyed 51 individuals to unpack the specific obstacles that face female directors and producers in the independent film arena. We also assessed participants' perceptions of opportunities that may increase women's involvement behind the camera" -- taken from the Executive Summary
Notes: This research was commissioned by the Sundance Insitute and Women in Film Los Angeles thorugh their 'Women Filmmakers Initiative'.
Contents: -- pages 3-4: case statement: Independent Women Filmmakers: setting the agenda for change -- page 5: allied organizations list -- page 7: 2012-2013 mentorship program participants -- pages 9-11: research study executive summary -- pages 13-33: research study: exploring the barriers and opportunities for independent women filmmakers -- page 34: acknowledgments -- pages 35-43: works cited and notes --

Call No: 744.7 FEM
Author: Radner, Hilary; Stringer, Rebecca
Source: US
Place: London ; New York
Publisher: Routledge
PubDate: 2011
PhysDes: ix, 310 pages : illustrations ; 23 cm
Subject: BISEXUALITY IN FILMS; FEMINISM AND THE CINEMA; GENRES; HOLLYWOOD; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; IDENTITY IN FILMS; JAMES BOND IN FILMS; MARRIAGE IN FILMS; MASCULINITY IN FILMS; MUSIC IN FILMS; POPULAR CULTURE AND THE CINEMA; RACE AND THE CINEMA; SEXUALITY AND THE CINEMA; WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN FILMMAKERS; YOUNG PEOPLE AND THE CINEMA; YOUNG PEOPLE IN FILMS; 13 GOING ON 30 (US, Gary Winick, 2004); BABY MAMA (US, Michael McCullers, 2008); BEND IT LIKE BECKHAM (UK, Gurinda Chadha, 2002); BRAVE ONE, THE (US/AT, Neil Jordan, 2007); BRIDE WARS (US, Gary Winick, 2009); CASINO ROYALE (CZ/US/UK, Martin Campbell, 2006); ENCHANTED (US, KEVIN LIMA, 2007); FORTY YEAR OLD VIRGIN, THE (US, Judd Apatow, 2005); FRIENDS WITH MONEY (US, Nicole Holofcener, 2006); HARD CANDY (US, David Slade, 2005); JUNO (US/CN, Jason Reitman 2007); KISSING JESSICA STEIN (US, Charles Herman-Wurmfeld, 2001); MARIE ANTOINETTE (US, Sofia Coppola, 2006); MICHAEL CLAYTON (US, Tony Gilroy, 2007); MISS CONGENIALITY (US, Donald Petrie, 2000); SECRET LIFE OF BEES (US, Gina Prince-Bythewood, 2008); SEX AND THE CITY: THE MOVIE (US, MICHAEL PATRICK KING, 2008); SINGLE MAN, A (US, Tom Ford, 2009); SISTERHOOD OF THE TRAVELLING PANTS, THE (US, Ken Kwapis, 2005); WAR OF THE WORLDS (US, Steven Spielberg, 2005)
Summary: "Feminism at the Movies: Understanding Gender in Contemporaty Popular Cinema examines the way that contemporary film reflects today's changing gender roles. The book offers a comprehensive overview of the central issues in feminist film criticism with analyses of over twenty popular contemporary films across a range of genres, such as chick flicks, teen pics, hommecoms, horror, action adventure, indie flicks, and women lawyer films. Contributors explore issues of masculinity as well as femininity, reflecting on the interface of popular cinema with gendered realities and feminist ideas. Topics include the gendered political economy of cinema, the female director as auteur, postfeminist fatherhood, consumer culture, depictions of professional women, transgender, sexuality, gendered violence, and the intersections of gender, race, and ethnic identities." - BOOK BLURB
Notes: Includes list of figures, bibliographical references and index
ISBN: 9780415895880
Contents: List of figures -- Acknowledgements; Introduction: "Re-vision"?: Feminist film criticism in the twenty-first century / Hilary Radner and Rebecca Stringer; Part I: Masculinity in question -- "The first Bond who bleeds, literally and metaphorically": gendered spectatorship for "pretty boy" action movies / Janet Staiger -- Queer memories and universal emotions: A Single Man (2009) / Michael DeAngelis -- "Lad flicks": discursive reconstruction of masculinity in popular film / David Hansen-Miller and Rosalind Gill -- Transamerica (2005): the road to the multiplex after New Queer Cinema / Gary Needham; Part II: New feminine subjects: a space for women? -- Enchanted (2007) by postfeminism: gender, irony, and new romantic comedy / Yvonne Tasker -- Neoliberal feminism in Miss Congeniality (2000) / Yael D Sherman -- Girls' sexualities in The Sisterhood of the Travelling Pants universe: feminist challenges and missed opportunities / Sarah Projansky -- Michael Clayton (2007): women lawyers betrayed - again / Taunya Lovell Banks -- Crossing race, crossing sex in Gurinder Chadha's Bend It Like Beckham (2002): managing anxiety in multicultural Britain / Mridula Nath Chakraborty -- Speaking the name of the father in the neo-romantic comedy: 13 Going On 30 (2004) / Hilary Radner; Part III: Consuming culture(s) -- No country for old women: gendering cinema in conglomerate Hollywood / Rob Schaap -- Music and the woman's film: Sex and the City: The Movie (2008) / Peter Stapleton -- Independence at what cost? Economics and desire in Nicole Holofcener's Friends With Money (2006) / Michele Schreiber -- The feminist politics of Sofia Coppola: spectacle and self-consciousness in Marie Antoinette (2006) / Christine Lane and Nicole Richter; Part IV: Relationships, identity and family -- "Eggs in many baskets": Juno (2007), Baby Mama (2008), and the new intimacies of reproduction / JaneMaree Maher -- Temporarily Kissing Jessica Stein (2001): negotiating (and negating) lesbian sexuality in popular film / Kelly Kessler -- "Die, Bridezilla, die!": Bride Wars (2009), wedding envy, and chick flicks / Heather Brook -- Extreme parenting: recuperating fatherhood in Steven Spielberg's War of the Worlds (2005) / Hannah Hamad; Part V: Gender and violence -- Kinship and racist violence in Gina Prince-Blythwood's The Secret Life of Bees (2008) / Ewa Plonowska Ziarek -- From victim to vigilante: gender, violence, and revenge in The Brave One (2007) and Hard Candy (2005) / Rebecca Stringer -- "When the woman looks": Haute Tension (2003) and the horrors of heteronormativity / Barry Keith Grant; Contributors -- Index

Call No: SUBJECT CLIPPINGS FILE; GENDER MATTERS
Author: Maddox, Garry
PhysDes: Clippings File Article
Subject: SCREEN AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; WOMEN TV WORKERS. AUSTRALIA; FUNDING. AUSTRALIA; WOMEN DIRECTORS. AUSTRALIA; GENDER MATTERS
Summary: Report on the Gender Matters initiative, funded by Screen Australia, which is providing $3 million of funding to projects created by women in the film, tv and online industries. Statistics list the bias towards men in employment and funding within the aforementioned industries. Quotes from Graeme Mason, Magda Szubanski, Judy Davis, and Del Kathryn Barton

Call No: SUBJECT CLIPPINGS FILE; GENDER MATTERS
Author: Quinn, Karl
PhysDes: Clippings File Article
Subject: GENDER MATTERS; WOMEN FILM WORKERS. AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; WOMEN TV WORKERS. AUSTRALIA; WOMEN DIRECTORS. AUSTRALIA; SCREEN AUSTRALIA
Summary: Reports on the gender balance of filmmaking in Australia and how recent measures put into place by Screen Australia have helped equalise opportunities for women and men filmmakers. However there is still some way to go before women have achieved equal opportunity

Call No: SUBJECT CLIPPINGS FILE; GENDER MATTERS
Author: Ritchie, Emily
PhysDes: Clippings File Article
Subject: GENDER MATTERS; SCREEN AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; WOMEN DIRECTORS. AUSTRALIA; WOMEN TV WORKERS. AUSTRALIA; BARTON, DEL KATHRYN
Summary: Report on the new Screen Australia funding initiative for women filmmakers, TV and online creators called Gender Matters. Quotes from Del Kathryn Barton, Nakkiah Lui and Liz Doran

Call No: 721-02 ERH
Author: Erhart, Julia
Source: UK
Place: London
Publisher: I.B. Tauris & Co. Ltd.
PubDate: 2018
Series: Library of gender and popular culture
Subject: FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN FILMMAKERS; LEAGUE OF THEIR OWN, A (US, Penny Marshall, 1992); MONSTER (US, Patty Jenkins, 2003); IRON LADY, THE (UK, Phyllida Lloyd, 2011)
Notes: Includes bibliographical references (pages 159-195), filmography (pages 197-200), and index.
ISBN: 978784535285
Contents: Introduction; Chapter Summary --1 Women Writing History Through Film; Women Writing History: Contexts and Opportunities; Performative Authorship; History on Film: from Robert Rosenstone to A League of Their Own; 'Citable in all its Moments': In-between Spaces and Sewing Machines; Conclusion --2 Reclaiming Undeserving Women: Contemporary Female Biopics. From Positive Images to Undeserving Subjects: A Place for Women?; Oppositional Medicine: The Case of Augustine; Class and Voice: Ambiguity in Monster; Affect and Ageing: The Iron Lady --3 Feminist First-Person Documentaries: Migration, Internment, Reconciliation; First-Person Documentary: Terms and Terrain; First-Person Documentary: Women Directors; Performing Memory --4 Revisiting Resistance and Occupation in Holocaust Films; Complicating Collaboration; Europeanising the Holocaust; Reconfiguring Resistance; Women and Resistance; Mimicry and Doubling; Vergangenheitsbewa¨ltigung.--5 Gendering Iraq and Afghanistan War Movies; The Paradox of Exceptionalism; Gendering the War 'Back Home'; Movies from the Periphery: Occupation; Conclusion --Conclusion

Call No: SUBJECT CLIPPINGS FILE; WOMEN FILMMAKERS. AUSTRALIA
Author: Hawker, Philippa
PhysDes: Clippings File Article
Subject: WOMEN FILMMAKERS. AUSTRALIA; WOMEN DIRECTORS. AUSTRALIA; FESTIVALS. MELBOURNE; CAREY, MICHELLE; HELLER-NICHOLAS, ALEXANDRA
Summary: Interview with Michelle Carey and Alexandra Heller-Nicholas about their co-curation of the Pioneering Women season at the 2017 Melbourne International Film Festival that features films made by Australian women in the 1980s and 1990s

Call No: SUBJECT CLIPPINGS FILE; SCREEN NSW
Author: Bodey, Michael
PhysDes: Clippings File Article
Subject: SCREEN NSW; WOMEN FILMMAKERS. AUSTRALIA; WOMEN DIRECTORS. AUSTRALIA
Summary: Report on Screen NSW adopting a 50-50 gender equity for funding development and production

Call No: SUBJECT CLIPPINGS FILE; SCREEN AUSTRALIA
Author: Quinn, Karl
PhysDes: Clippings File Article
Subject: SCREEN AUSTRALIA; WOMEN DIRECTORS. AUSTRALIA; WOMEN FILM WORKERS. AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; DRESSMAKER, THE (AT, Jocelyn Moorhouse, 2015)
Summary: Report on the new Screen Australia initiative to encourage funding of films made by and for women. Quotes from the producer of the film THE DRESSMAKER, Sue Maslin, who talks of the difficulty to obtain funding for the film due to the large female presence and themes in the film

Call No: SUBJECT CLIPPINGS FILE; WOMEN DIRECTORS. AUSTRALIA
Author: Maddox, Garry
PhysDes: Clippings File Article
Subject: QUOTA. AUSTRALIA; WOMEN DIRECTORS. AUSTRALIA; WOMEN FILM WORKERS. AUSTRALIA; FUNDING. AUSTRALIA; SCREEN AUSTRALIA
Summary: Snippet on the Australian Directors Guild's push to get Screen Australia to enforce a quota on film funding that makes it 50 percent for female and male filmmakers

Call No: 81COP BAC
Author: Backman Rogers, Anna
Source: US
Place: New York; Oxford
Publisher: Berghahn Books
PubDate: [2019]
PhysDes: 177 pages : illustrations ; 23 cm
Subject: WOMEN, FILMS MADE BY; WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN IN FILMS; FEMINISM AND THE CINEMA; CRITICISM; USA; COPPOLA, SOFIA; VIRGIN SUICIDES, THE (US, Sofia Coppola, 2000); BEGUILED, THE (US, Sofia Coppola, 2017); LOST IN TRANSLATION (US, Sofia Coppola, 2003); SOMEWHERE (US/UK/IT/JA, Sofia Coppola, 2010); MARIE ANTOINETTE (US, Sofia Coppola, 2006); BLING RING, THE (US/UK/G/FR, Sofia Coppola, 2013)
Summary: "All too often, the movies of Sofia Coppola have been dismissed as "all style, no substance." But such an easy caricature, as this engaging and accessible survey of Coppola's oeuvre demonstrates, fundamentally misconstrues what are rich, ambiguous, meaningful films. Drawing on insights from feminist philosophy and psychology, the author here takes an original approach to Coppola, exploring vital themes from the subversion of patriarchy in The Virgin Suicides to the "female gothic" in The Beguiled. As Rogers shows, far from endorsing a facile and depoliticized postfeminism, Coppola's films instead deploy beguilement, mood, and pleasure in the service of a robustly feminist philosophy." - taken from back cover.
ISBN: 9781785339752
Contents: Introduction : the surface of the image is political -- Part I. Imaging absence as abjection and imaging the female gothic as rage. Chapter 1. The Virgin Suicides (1999) -- Chapter 2. The Beguiled (2017) -- Part II. Empty subjectivities and masculinity as void. Chapter 3. Lost in Translation (2003) -- Chapter 4. Somewhere (2010) -- Part III. The female body as patriarchal currency and the commodification of female identity. Chapter 5. Marie Antoinette (2006) -- Chapter 6. The Bling Ring (2013) -- Conclusion : On Beguilement.

Call No: 81DUN KEA
Author: Keane, Michael
Source: AT
Place: South Yarra, Vic
Publisher: Macmillan
PubDate: 2011
PhysDes: 223 p. : ill., facsims., ports. ; 24 cm
Subject: WOMEN DIRECTORS; DUNCAN, CATHERINE
Summary: This is the remarkable and revealing story of Catherine Duncan, a leading Australian actress and playwright during the golden years of radio, the winner - along with Peter Finch - of the 1947 Macquarie Award and Australia's first official female film director: a woman with such belief in herself that she could begin a radio talk with the statement, "History begins with me!" Replete with romance and adventure, this biography traces her early years in Melbourne, her association with the radical New Theatre, her several marriages and ultimate decision to spend more than half her life in Paris where she joined the vibrant literary and artistic circles of those decades.
ISBN: 9781921394577
Contents: -- acknowledgements -- introduction -- childhood -- melbourne -- shock the bourgeoise! -- censorship -- the new theatre -- 'till the day I die' -- Wonthaggi -- 'the sword sung' -- the Marie Ney company -- the outback -- acting and writing -- homelife -- Peter, the orientalist -- documentary & the joys of food -- 'Indonesia Calling' -- to Europe -- London -- Prague -- Albert and the burrow -- marching for peace -- the crazy, lazy Midi -- alone -- on the wharf -- Henri Langlois and the FIAF -- amateur dramatics -- Peter in Paris -- the first return -- the pigeon loft -- the utopians -- Roger's last voyage -- the visitors -- Carry Le Rouet -- adrift -- rupture -- a grand passion -- Sahara -- new music -- New York -- the third dimension -- collage -- shadow of light -- the poet of Marseilles -- reconcilliation -- the workshops -- the Paul Strand exhibitions -- the camera -- farewell to this world -- personal memories -- epilogue -- index --

Call No: 721-02 THO
Author: Thornham, Sue
Source: UK
Place: London
Publisher: Palgrave macmillan [on behalf of the] bfi
PubDate: 2012
PhysDes: vi, 236 p. : ill., ports. ; 24 cm
Subject: WOMEN AND THE CINEMA; WOMEN DIRECTORS; WOMEN FILMMAKERS; WOMEN IN FILMS; FEMINISM AND THE CINEMA; WOOLF, VIRGINIA; ARMSTRONG, GILLIAN
Summary: "What happens when women tell their own stories in film? In What If I Had Been the Hero?, Sue Thornham addresses this question through an exploration of a wide range of films, from experimental feminist film to mainstream Hollywood, and from the 1970s to the present day, by film-makers including Sally Potter, Jane Campion, Deepa Mehta, Patricia Rozema and Lynne Ramsay. Her discussion takes in films from India and Argentina as well as Europe, Canada, Australia and the US. Drawing on a wide range of feminist theoretical sources, What If I Had Been the Hero? makes an important intervention into contemporary debates, situating film-making within a rich history of female creativity, and insisting on the continuing importance of feminist theory." -- BOOK BLURB
Notes: Includes bibliographic references and index; Includes filmography
ISBN: 9781844573639
Contents: Part One: Questions -- Chapter One: 'What If I Had Been The Hero?' -- Chapter Two: Women's Liberation Cinema? -- Chapter Three: Unexplored Territories --; Part Two: Explorations -- Chapter Four: Heroes and Writers -- Chapter Five: Landscapes and Stories -- Chapter Six: Bodies and Passions -- Conclusion: Unfinished Business

Call No: SUBJECT CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: WOMEN DIRECTORS
ID2: 13
URL status: URL: 'http://file://Q:/S/WOMEN_DIRECTORS.zip' Checked: 31/08/2021 1:20:42 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 626:396 WHI
Author: White, Patricia
Source: UK
Place: Durham; London
Publisher: Duke University Press
PubDate: c2015
PhysDes: ix, 270 pages : illustrations ; 24 cm
Subject: WOMEN DIRECTORS; WOMEN FILM WORKERS; WOMEN FILMMAKERS; WOMEN IN FILMS; WOMEN, FILMS MADE BY; FEMINISM AND THE CINEMA; WOMEN AND THE CINEMA
Summary: "In Women's Cienma, World Cinema the author explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women's Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture." -- BACK COVER BOOK BLURB
Notes: Formerly CIP; Also issued online; Includes filmography; Includes bibliographical references (pages 235-246) and index
ISBN: 9780822358053
Contents: -- acknowledgments -- introduction -- To each her own cinema : world cinema and the woman cineaste : Jane Campion's Cannes connections; Lucrecia Martel's vertiginous authorship; Samira Makhmalbaf's sororal cinema -- Framing feminisms : women's cinema as art cinema : Deepa Mehta's elemental feminism; Iranian diasporan women directors and cultural capital -- Feminist film in the age of the chick flick : global flows of women's cinema : engendering new Korean cinema in Jeong Jae-eun's Take care of my cat; Nadine Labaki's celebrity -- Network narratives : Asian women directors two-timing the system in Nia Dinata's Love for share -- Zero Chou and the spaces of Chinese lesbian film -- Is the whole world watching? Fictions of women's human rights : Sabiha Sumar's Democratic cinema; Jasmila Zbanic´'s Grbavica and Balkan cinema's incommensurable gazes; Claudia Llosa's Trans/national address -- afterword -- notes -- bibliography -- filmography -- index --