Contemporary Women Filmmakers Research Articles

Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019

Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent filmmakers. The purpose of my visit was to begin the groundwork needed to answer basic questions: Who are the women making films in Myanmar today? Where are they trained? What are the conditions in which they work? What kind of films they make? How do they fund production? How do their films circulate? And finally: Is there a women’s cinema in Myanmar? What follows thus outlines the context in which women in Myanmar make films today and introduces the work of a small number of them. I conclude with reflections on three short films: A Million Threads (2006, by Thu Thu Shein), Now I am 13 (2013, by Shin Daewe), and Seeds of Sadness (2018, by Thae Zar Chi Khaing), two of which can be found online (at http://yangonfilmschool.org/___-free-yfs-film / and https://www.youtube.com/watch?v=vX0LUZQcMCQ ).

Les vélos libérateurs dans Whale Rider de Niki Caro et dans Wadjda de Haifaa Al Mansour

Susan B. Anthony declared in 1896 that the bicycle “has done more to emancipate women than anything else in the world.” The comparative study of Whale Rider (2002) and Wadjda (2012) demonstrates that this liberating effect of the basic tool of transportation is being reinforced in the new millennium. The analysis further situates two contemporary women filmmakers, Niki Caro from New Zealand and Haifaa Al Mansour from Saudi Arabia, within the growing global network Patricia White identifies, in Women’s Cinema, World Cinema (2015), as crucial for the improvement of female directors’ conditions in a global film industry.

Genre, Authorship and Contemporary Women Filmmakers, by Katarzyna Paszkiewicz

Genre, Authorship and Contemporary Women Filmmakers, by Katarzyna Paszkiewicz

Adaptação da Obra Literária ao Cinema: A Validação Autoral da Realizadora Mulher

Recensão do livro Adaptation, Authorship, and Contemporary Women Filmmakers, onde a Professora Auxiliar de Inglês e Cinema da Universidade de Southampton Shelley Cobb investiga o modo como várias mulheres cineastas de longas metragens de ficção adaptam a obra literária de autoras mulheres, num processo de duplicação da criação artística no feminino e de validação autoral.

Shelley Cobb,Adaptation, Authorship and Contemporary Women Filmmakers

Shelley Cobb,<i>Adaptation, Authorship and Contemporary Women Filmmakers</i>