Women's cinema primarily describes cinematic works directed (and optionally produced too) by women filmmakers. The works themselves do not have to be stories specifically about women, and the target audience can be varied.
It is also a variety of topics bundled together to create the work of women in film. This can include women filling behind-the-scenes roles such as director, cinematographer, writer, and producer while also addressing the stories of women and character development through screenplays (on the other hand, films made by men about women are instead called Woman's film).
Renowned female directors include Alice Guy-Blaché, film pioneer and one of the first film directors, Agnès Varda, the first French New Wave director, Margot Benacerraf, the first woman to win the Cannes International Critics Prize in 1959 and be nominated for the Palme D'Or, Yulia Solntseva, the first woman to win the Best Director Award at Cannes Film Festival (1961), Lina Wertmüller, the first woman nominated for the Academy Award for Best Director (1977), Barbra Streisand, the first woman to win the Golden Globe Award for Best Director (1983), Jane Campion, the first woman to win the Palme D'Or at Cannes Film Festival (1993), and Kathryn Bigelow, the first woman to win the Academy Award for Best Director (2009), along with many other female directors from around the world such as Dorothy Arzner, Ida Lupino, Lois Weber, Leni Riefenstahl, Mary Harron, Sofia Coppola, Kira Muratova, Claire Denis, Chantal Akerman, Catherine Breillat, Aparna Sen, Lucrecia Martel, Lynne Ramsay, Céline Sciamma, Claudia Weill, and Julie Dash. Many successful cinematographers are also women, including Margarita Pilikhina, Maryse Alberti, Reed Morano, Rachel Morrison, Halyna Hutchins, Autumn Durald Arkapaw, and Zoe White.
Women's cinema recognizes women's contributions all over the world, not only to narrative films but to documentaries as well. Recognizing the work of women occurs through various festivals and awards, such as the Cannes Film Festival, for example.
"Women's cinema is a complex, critical, theoretical, and institutional construction," Alison Butler explains. The concept has had its fair share of criticisms, causing some female filmmakers to distance themselves from it in fear of being associated with marginalization and ideological controversy.
Famous women in film history Silent films Alice Guy-Blaché was a film pioneer and the first female director. Working for Gaumont in France at the time that the cinema was being invented, she created La Fée aux Choux (1896). The dates of many early films are speculative, but La Fée aux Choux may well be the first narrative film ever released. She served as Gaumont's head of production from 1896 to 1906 and ultimately produced hundreds of silent films in France and the United States.
In Sweden, Anna Hofman-Uddgren was that country's first female film maker—producing the silent film Stockholmsfrestelser in 1911. She also acted in the film. However, Ebba Lindkvist directed the short drama, Värmländingarna, which premièred in Sweden on 27 October 1910, thus technically making her the first woman film maker, and chronologically, the second ever female feature film director in the world, after Alice Guy-Blaché.
Luise Fleck was an Austrian film director, and has been considered the second ever female feature film director in the world, after Alice Guy-Blaché. In 1911 Luise Fleck directed Die Glückspuppe.
Elvira Notari is the first Italian woman director to make a film. Notari's first films are Maria Rosa di Santa Flavia, Carmela la pazza, Bufera d'anime, all made in 1911.
Helen Gardner, a Vitagraph Studios player who had won acclaim for her portrayal of Becky Sharp in the 1910 version of Vanity Fair, was the first film actor, male or female, to form her own production company, The Helen Gardner Picture Players. Gardner's first production was Cleopatra (1912), one of the first American full-length films.
In 1913 Russian filmmaker Olga Preobrazhenskaya began directing films in the "Timan and Reingardt" studio. She is the first Russian woman director. Her first work as a director was the 1916 film Miss Peasant based on the work of the same name by Aleksandr Pushkin.
American-born director, Lois Weber was coached and inspired by Guy-Blaché and found success in creating silent films. Weber is well known for her films Hypocrites (1915), The Blot (1921), and Suspense (1913). Weber's films often focus on difficult social issues. For instance, her film Where Are My Children? (1916) addresses the controversial issues of birth control and abortion. And she questioned the validity of capital punishment in The People vs. John Doe (1916).
Mabel Normand was another significant early female filmmaker. She started as an actress and became a producer-writer-director in the 1910s, working on the first shorts Charlie Chaplin did as The Tramp at Mack Sennett's Keystone Studios. She further collaborated with Sennett on other Keystone films and, during the late 1910s and early 1920s, she had her own movie studio and production company. Other notable actresses who became directors include Grace Cunard and Nell Shipman. The first documented Asian woman director, producer and actress is Marion E. Wong, who created the Mandarin Film Company in 1916. She wrote, directed, produced and acted in The Curse of Quon Guon.
Women screenwriters were highly sought after in the early years of the cinema. Frances Marion, Anita Loos, and June Mathis all had successful careers in the silent and early-sound eras. Mathis was also the first female executive in Hollywood.
See Mary Pickford.
Classical Hollywood As the American cinema became a highly commercialized industry in the 1920s and its content became more and more conventionalized, the opportunities for women producers and directors became fewer and fewer. By the time sound arrived in the US in 1927 and the years immediately after, women's roles behind the camera were largely limited to scriptwriters, costume designers, set decorators, make-up artists, and the like. And the industry's implementation of self-censorship in the form of the Hays Code in 1934 meant that topics such as birth control and abortion were taboo. Dorothy Arzner was the only woman director to survive in this unfriendly environment. She did so by producing well made but formally rather conventional films. Nevertheless, it is possible to trace feminist elements in her films. Film critics find her film, Dance, Girl, Dance, about two women struggling to make it in show business, to be particularly interesting from a feminist perspective. When the film was selected for inclusion in the National Film Registry, it was noted that "The dancers, played by Maureen O'Hara and Lucille Ball, strive to preserve their own feminist integrity, while fighting for their place in the spotlight and for the love of male lead Louis Hayward."Librarian of Congress Announces National Film Registry Selections for 2007, from the Library of Congress website Beyond Dance, Girl, Dance, Arzner also worked with some of Hollywood's most formidable actresses—including Katharine Hepburn in Christopher Strong (1933) and Joan Crawford in The Bride Wore Red (1937).
First woman to direct a film noir, Ida Lupino, is widely regarded as the most prominent female filmmaker working in the 1950s during the Hollywood studio system. She is best known for directing The Hitch-Hiker. Ida Lupino is also famous for her work as an actress.
Experimental and avant-garde cinema The experimental and avant-garde cinema is the genre considered to be closer to women filmmakers and one that also advances women themes. Annette Kuhn, for instance, noted such special affinity by citing that low investments of money and 'professionalism' have meant that it is more open than the mainstream film industry for women. Both Pam Cook and Laura Mulvey also noted an alignment and alliance of experimental and avant-garde cinema with feminist interest and feminist politics. Specifically, Mulvey explained that mainstream or Hollywood films are unable to provide the experience of contradiction, reinforcing anti-realism and, this is where the avant-garde cinema is useful for women and feminism because they share "a common interest in the politics of images and problems of aesthetic language."
Women's involvement in the experimental and avant-garde cinema started in the early twentieth century, although it was limited due to the constraints of the social conventions of this period. It was only after the war when women became actively involved in this cinematic genre. Germaine Dulac was a leading member of the French avant-garde film movement after World War I. There is also the case of Maya Deren's visionary films, which belonged to the classics of experimental cinema and focused on the North-American avant-garde. The contemporaneous trend did not oppose the female filmmakers' entry into avant-garde filmmaking although, in its early years, they did not receive as much critical acclaim as their male counterparts.
Shirley Clarke was a leading figure of the independent American film scene in New York in the fifties. Her work is unusual, insofar as she directed outstanding experimental and feature films as well as documentaries. Joyce Wieland was a Canadian experimental film maker. The National Film Board of Canada allowed many women to produce non-commercial animation films. In Europe women artists like Valie Export were among the first to explore the artistic and political potential of videos. Her art works incited controversy due to sexual and feminist qualities.
Impact on society
Impact of second-wave feminism In the late sixties, when the second wave of feminism started, the New Left was at its height. Both movements strongly opposed the 'dominant cinema', i.e. Hollywood and male European bourgeois auteur cinema. Hollywood was accused of furthering oppression by disseminating sexist, racist and imperialist stereotypes. Women participated in mixed new collectives like Newsreel, but they also formed their own film groups. Early feminist films often focused on personal experiences.
Second-wave feminism would reveal itself in different forms in films in the latter part of the 20th century such as with the idea of "sisterhoods" in movies (however many of these movies were made by men). Other concepts of second-wave feminism in films involved women's oppression and the difficulty in identifying with the idea of femininity. During this time, feminism in movies would also be represented as a counter-cinema whereby filmmakers would attempt to intentionally deconstruct the model of the classical film. This style of feminist counter-cinema can be seen in the works of artists such as Sally Potter's Thriller in 1979.
Representing sexuality Resisting the oppression of female sexuality was one of the core goals of second-wave feminism. Abortion was still very controversial in many western societies and feminists opposed the control of the state and the church. Exploring female sexuality took many forms: focusing on long-time censured forms of sexuality (lesbianism, sado-masochism) or showing heterosexuality from a woman's point of view. Liliana Cavani, Birgit Hein, Elfi Mikesch, Nelly Kaplan, Catherine Breillat and Barbara Hammer are some of the directors to be remembered.