{"id":164,"date":"2021-07-23T20:46:59","date_gmt":"2021-07-23T20:46:59","guid":{"rendered":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/?post_type=chapter&p=164"},"modified":"2021-07-23T20:47:32","modified_gmt":"2021-07-23T20:47:32","slug":"6-2-2-the-female-gaze-a-look-into-the-realities-of-women-filmmakers-synthesis","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ulib.csuohio.edu\/understanding-literacy-in-our-lives\/chapter\/6-2-2-the-female-gaze-a-look-into-the-realities-of-women-filmmakers-synthesis\/","title":{"rendered":"6.2.2 The female gaze: A look\u00a0into\u00a0the realities of women filmmakers (synthesis)"},"content":{"raw":"

English 102, September 2020<\/h3>\r\nWhen you are watching a movie, the proper thing to do is give it your full attention. However, even with the utmost attention, there are many things that we fail to consider upon viewing. Some things are more apparent, such as stereotypes, but others,\u00a0like themes, are hidden underneath, and require a type of literacy\u202fin order to\u202funderstand.\r\n\r\nFirstly, we must define some important concepts.\u202fIn linguist John Gee\u2019s essay titled \u201cWhat is\u202fLiteracy?,\u201d he introduces a concept that many of us live without considering. This concept is literacy. Although it sounds like it, literacy is not just something you learn in school.\u202fLiteracy is the knowledge of the specific language and behavior of a social group or community\u202f(Gee 18). For example, if I\u202fwere\u202fa film director,\u202fI would know\u202fall of\u202fthe specific terms, technology, and proper etiquette that comes with the job. If I had to explain the job to someone who is not a director, I would essentially have to teach them a whole new language. This is an example of a discourse.\u202fA discourse refers to a certain type of speaking, thinking, and behaving that is distinguishable of a community or social group and its members.\u202fAn \"identity kit\" is a metaphor that can be used to explain discourses. We can imagine a discourse as a \"kit\" that contains the tools and instructions to embody a persona\u202f(Gee 18). It can also be compared to being in a play.\u202fIn a play, you have a costume and a script which help you take on a specific role.\u202fBut we do not all have one single role to play in our lives, we have a multitude. Therefore, literacy is\u202falso\u202fthe ability to switch back and forth between different discourses and knowing\u00a0when to do so.\u202fFor\u202fexample, when you are a child, you are taught to act a specific way at home and a specific way at school.\u202fHow\u202fwe are raised can be referred to as our \u201cprimary discourse,\u201d whereas everything outside of our initial understanding of the world can be considered as \u201csecondary discourses\u201d\u202f(Gee\u202f22).\u202fThere are two ways that we are introduced to secondary discourses: learning, and acquisition. Learning is a more formal, analytic based way of understanding that we are often taught at school. Acquisition is knowledge that we acquire subconsciously\u202ffrom our real-life experiences\u202f(Gee\u00a020).\r\n\r\nNow, we can get on to the main topic that I will be discussing: the relationship between womanhood and film, and how it is affected by female directors. The Sundance Institute and Women in Film Los Angeles Filmmakers Initiative produced a study on women in the film industry, specifically\u00a0those participating\u00a0in the Sundance Film Festival.\u202fIn their case statement, Sylvia L. Smith Ph.D., the head of the research study and a renowned journalism professor, introduces\u202fan important statement to us, that\u202fhaving a female director and\/or producer can influence the content of the film. Furthermore, Smith states, female producers and directors affect the representation of girls and women in film through their storytelling (Smith 3). In short, Smith explains that a film directed and\/or produced by a woman can be inherently different than a film created by men.\u202fThis has been proven in studies, one of which found that films with female directors\/producers\u202fof all genres\u202fare less likely to convey acts of violence, and that they are more likely to contain\u202fintellectually provocative topics (Smith 3). This is by no means saying that all films created by men are terribly violent and unintelligent\u2014this is simply a critique between two secondary discourses,\u00a0male\u00a0filmmakers\u00a0and female filmmakers,\u00a0that are distinguishably different.\u202fWhat Smith is trying to get across through this study is that being\u00a0a\u202ffemale\u202fdirector\/producer\u202fis more than simply a job to perform, that it is much more than the sum of its parts. It is an experience that affects every aspect of its production.\r\n\r\nWomen filmmakers have been slowly rising to the surface in the past 60 years. In France, several female directors\u202fhave become\u202fpopular for their works centered around womanhood.\u202fOne filmmaker\u202fin particular had\u202fa massive impact on gender in French films.\u202fAgnes Varda is credited as pioneering the French New Wave movement that defined an era in French history.\u202fHer films centered around the realism of life as a woman and made commentary on the traditional stereotypes of women.\u202fFor example, in\u00a0Cleo from\u00a05\u00a0to\u00a0<\/em>7, perhaps her most well-known film,\u00a0Varda\u00a0shows us a day in the life of\u00a0famous pop singer\u00a0Cleo\u00a0as she waits for the results of her biopsy,\u00a0which will tell her whether or not she has cancer. As the viewer, we come along with\u00a0Cleo on her\u00a02-hour\u00a0journey of self-reflection as she awaits her impending\u00a0diagnosis.\u00a0In this film, Varda explores the way women\u00a0are often only appreciated for their beauty, and how this affects\u00a0a woman\u2019s\u00a0psyche\u00a0(Cleo from 5 to 7<\/em>).\u00a0Emma\u00a0Wilson, an academic and writer specializing in French literature and cinema, discusses in her essay \u201cEtat Present: Contemporary French Women Filmmakers\u201d the common theme of intimacy and family in\u202fwomen\u2019s\u2019 film.\u202fThese films\u202fare seen as\u202fdifferent from\u202fmen\u2019s\u2019, but many of the French female directors do not want to be singled out as a separate category.\u202fWilson quotes author Rene\u202fPredal\u202fexplaining how he disagrees with the concept of \u201cwomen\u2019s\u2019 film\u201d because he believes that women filmmakers have become so prevalent in the industry that they no longer need to be set apart\u202f(Wilson 218).\u202fPredal\u202fis arguing that filmmakers should all be part of one secondary discourse,\u00a0that is filmmakers\u00a0in general,\u00a0because he believes there are no longer gendered differences in film.\u202fHowever,\u202fPredal\u202fdoes note that\u202ffilms directed by women have a \u201ctone sometimes far removed from that of filmmakers\u201d (Wilson 218). In this essay, Wilson argues that women have\u202fintroduced\u202fmany innovative\u00a0and\u202fthought-provoking\u202fthemes to the film industry that had not been explored before, drawing from their understandings of womanhood at its core.\r\n\r\nThe history of\u202fwomen\u2019s\u2019 filmmaking is important to know\u202fin order to\u202funderstand the secondary discourse, and to be able to critique it. During the Victorian era, scholars\u00a0have\u00a0discovered that there were many women who worked behind the camera.\u202fThis was not seen as offensive or shocking because the film industry was still unpopular and did not have a favorable reputation in the first place. This gave women the freedom to explore filmmaking, and they were known to be very proficient at their jobs\u202f(Kaplan 16).\u202fDuring this period, there was a strong emphasis on\u202fseparating men and women into different categories. Women stayed in the home,\u202fwhereas men were the ones who did all the work.\u202fWomen working with advanced technologies, and even just having jobs in the first place,\u202fwent completely against the dogma of society. Inspired by the suffragette movement, women felt empowered and excited to be working with film\u202f(Kaplan 16). By 1914, Alice Guy\u202fBlache\u202fhad directed hundreds of films and owned her own studio\u202f(Kaplan 16).\u202fWhile her films still adhered to gender norms, she gave her lead women a certain strength and wit that stands out in comparison to the common idea of women as docile and complacent. Lois Weber, another female director, went as far as to make a film about abortion, titled\u202fWhere Are My\u202fChildren?<\/em>,\u202f<\/em>and\u202fin this film,\u202fmakes the case for legalizing abortion\u202f(Kaplan 17). This was an insanely radical idea for her time, demonstrating her courage to branch out into\u202funcharted territories.\u202fThese films expressed the emotions and frustrations of fulfilling the role of wife, mother, home keeper, etc. Many of these films were lost, and soon women would be pushed back in front of the camera, essentially erasing the beginnings of women\u2019s\u2019 film\u202f(Kaplan 17). But this history goes to show how women\u2019s\u2019\u202funique\u202frelationship\u00a0with film was born, and how it was used as a tool for expressing emotions and desires specifically related to womanhood.\r\n\r\nOne\u00a0does not have to be a woman to notice the subtleties\u00a0of female directing and producing. And not every\u00a0movie by a woman filmmaker will adhere to a specific guideline that makes it identifiable as a \u201cwoman\u2019s film.\u201d That is not what I am trying to\u00a0show you. In fact, what I am trying to show you is the opposite: women filmmakers have\u00a0broadened the perspective\u00a0of the viewer, not\u00a0minimize it to fit one common storyline.\u00a0Though I have discussed some themes that\u00a0have been present in women\u2019s\u2019\u00a0films, such as\u00a0intimacy and\u00a0motherhood, these are in no way\u00a0only in films with a female director or producer.\u00a0There are certainly movies nowadays that are directed or produced by men that explore the themes\u00a0present in many women\u2019s\u2019 films. And there are certainly movies\u00a0by female filmmakers that do not explore the\u00a0themes\u00a0associated with womanhood. To\u00a0disagree with\u00a0that would be\u00a0putting men and women into completely different boxes, to say that there is no possibility for overlap\u00a0or inspiration between the two secondary discourses.\r\n\r\nSomewhat like\u00a0Predal,\u00a0I believe women\u2019s\u2019 and men\u2019s\u2019 films should not\u00a0be seen as\u00a0completely separate\u00a0(Wilson 218).\u00a0That is just playing into the gender roles that\u00a0are expected of us;\u00a0it says that we think that\u00a0women\u00a0only\u00a0make films about\u00a0the feminine, and men\u00a0only\u00a0make films about\u00a0the masculine.\u00a0However, I do not believe that both discourses should be simply grouped into one.\u00a0Women\u2019s\u2019 films\u00a0should not only\u00a0be seen as\u00a0films for women, but\u00a0we also shouldn\u2019t erase everything that makes\u00a0these movies unique and individual.\u00a0There is an in-between, where we can agree that\u00a0female directors and producers\u00a0and their works\u00a0are\u00a0part of the larger community of filmmaking in general, but\u00a0also celebrate the complexities and\u00a0different perspectives that have been introduced through women\u2019s\u2019 films.\r\n\r\nWorks Cited\r\n\r\nCleo from 5 to 7<\/em>. Directed by Agnes Varda,\u00a0Cine-tamaris\u00a0\/\u00a0Rome Paris Films, 1962.\r\n\r\nGee, James Paul. \"What is literacy?\"\u202fNegotiating academic literacies: Teaching and learning across languages and cultures<\/em>\u202f(1998), pp.\u00a051-59.\r\n\r\nKaplan, E. Ann. \u201cWomen, Film, Resistance: Changing Paradigms.\u201d\u202fWomen Filmmakers: Refocusing<\/em>, edited by Jacqueline Levitin et al., London, Routledge, 2003.\r\n\r\nSmith, Stacy L., et al. \u201cExploring the Barriers and Opportunities for Independent Women\u00a0Filmmakers.\u201d\u202fSundance Institute and Women\u202fIn\u202fFilm Los Angeles Women Filmmakers Initiative<\/em>, 1 Jan. 2013, pp. 1\u201343.\r\n\r\nWilson, Emma. \u201cContemporary French Women Filmmakers.\u201d\u202fFrench Studies<\/em>, vol. 59, no. 2, 2005, pp. 217\u2013223., doi:10.1093\/fs\/kni132.\r\n\r\n ","rendered":"

English 102, September 2020<\/h3>\n

When you are watching a movie, the proper thing to do is give it your full attention. However, even with the utmost attention, there are many things that we fail to consider upon viewing. Some things are more apparent, such as stereotypes, but others,\u00a0like themes, are hidden underneath, and require a type of literacy\u202fin order to\u202funderstand.<\/p>\n

Firstly, we must define some important concepts.\u202fIn linguist John Gee\u2019s essay titled \u201cWhat is\u202fLiteracy?,\u201d he introduces a concept that many of us live without considering. This concept is literacy. Although it sounds like it, literacy is not just something you learn in school.\u202fLiteracy is the knowledge of the specific language and behavior of a social group or community\u202f(Gee 18). For example, if I\u202fwere\u202fa film director,\u202fI would know\u202fall of\u202fthe specific terms, technology, and proper etiquette that comes with the job. If I had to explain the job to someone who is not a director, I would essentially have to teach them a whole new language. This is an example of a discourse.\u202fA discourse refers to a certain type of speaking, thinking, and behaving that is distinguishable of a community or social group and its members.\u202fAn “identity kit” is a metaphor that can be used to explain discourses. We can imagine a discourse as a “kit” that contains the tools and instructions to embody a persona\u202f(Gee 18). It can also be compared to being in a play.\u202fIn a play, you have a costume and a script which help you take on a specific role.\u202fBut we do not all have one single role to play in our lives, we have a multitude. Therefore, literacy is\u202falso\u202fthe ability to switch back and forth between different discourses and knowing\u00a0when to do so.\u202fFor\u202fexample, when you are a child, you are taught to act a specific way at home and a specific way at school.\u202fHow\u202fwe are raised can be referred to as our \u201cprimary discourse,\u201d whereas everything outside of our initial understanding of the world can be considered as \u201csecondary discourses\u201d\u202f(Gee\u202f22).\u202fThere are two ways that we are introduced to secondary discourses: learning, and acquisition. Learning is a more formal, analytic based way of understanding that we are often taught at school. Acquisition is knowledge that we acquire subconsciously\u202ffrom our real-life experiences\u202f(Gee\u00a020).<\/p>\n

Now, we can get on to the main topic that I will be discussing: the relationship between womanhood and film, and how it is affected by female directors. The Sundance Institute and Women in Film Los Angeles Filmmakers Initiative produced a study on women in the film industry, specifically\u00a0those participating\u00a0in the Sundance Film Festival.\u202fIn their case statement, Sylvia L. Smith Ph.D., the head of the research study and a renowned journalism professor, introduces\u202fan important statement to us, that\u202fhaving a female director and\/or producer can influence the content of the film. Furthermore, Smith states, female producers and directors affect the representation of girls and women in film through their storytelling (Smith 3). In short, Smith explains that a film directed and\/or produced by a woman can be inherently different than a film created by men.\u202fThis has been proven in studies, one of which found that films with female directors\/producers\u202fof all genres\u202fare less likely to convey acts of violence, and that they are more likely to contain\u202fintellectually provocative topics (Smith 3). This is by no means saying that all films created by men are terribly violent and unintelligent\u2014this is simply a critique between two secondary discourses,\u00a0male\u00a0filmmakers\u00a0and female filmmakers,\u00a0that are distinguishably different.\u202fWhat Smith is trying to get across through this study is that being\u00a0a\u202ffemale\u202fdirector\/producer\u202fis more than simply a job to perform, that it is much more than the sum of its parts. It is an experience that affects every aspect of its production.<\/p>\n

Women filmmakers have been slowly rising to the surface in the past 60 years. In France, several female directors\u202fhave become\u202fpopular for their works centered around womanhood.\u202fOne filmmaker\u202fin particular had\u202fa massive impact on gender in French films.\u202fAgnes Varda is credited as pioneering the French New Wave movement that defined an era in French history.\u202fHer films centered around the realism of life as a woman and made commentary on the traditional stereotypes of women.\u202fFor example, in\u00a0Cleo from\u00a05\u00a0to\u00a0<\/em>7, perhaps her most well-known film,\u00a0Varda\u00a0shows us a day in the life of\u00a0famous pop singer\u00a0Cleo\u00a0as she waits for the results of her biopsy,\u00a0which will tell her whether or not she has cancer. As the viewer, we come along with\u00a0Cleo on her\u00a02-hour\u00a0journey of self-reflection as she awaits her impending\u00a0diagnosis.\u00a0In this film, Varda explores the way women\u00a0are often only appreciated for their beauty, and how this affects\u00a0a woman\u2019s\u00a0psyche\u00a0(Cleo from 5 to 7<\/em>).\u00a0Emma\u00a0Wilson, an academic and writer specializing in French literature and cinema, discusses in her essay \u201cEtat Present: Contemporary French Women Filmmakers\u201d the common theme of intimacy and family in\u202fwomen\u2019s\u2019 film.\u202fThese films\u202fare seen as\u202fdifferent from\u202fmen\u2019s\u2019, but many of the French female directors do not want to be singled out as a separate category.\u202fWilson quotes author Rene\u202fPredal\u202fexplaining how he disagrees with the concept of \u201cwomen\u2019s\u2019 film\u201d because he believes that women filmmakers have become so prevalent in the industry that they no longer need to be set apart\u202f(Wilson 218).\u202fPredal\u202fis arguing that filmmakers should all be part of one secondary discourse,\u00a0that is filmmakers\u00a0in general,\u00a0because he believes there are no longer gendered differences in film.\u202fHowever,\u202fPredal\u202fdoes note that\u202ffilms directed by women have a \u201ctone sometimes far removed from that of filmmakers\u201d (Wilson 218). In this essay, Wilson argues that women have\u202fintroduced\u202fmany innovative\u00a0and\u202fthought-provoking\u202fthemes to the film industry that had not been explored before, drawing from their understandings of womanhood at its core.<\/p>\n

The history of\u202fwomen\u2019s\u2019 filmmaking is important to know\u202fin order to\u202funderstand the secondary discourse, and to be able to critique it. During the Victorian era, scholars\u00a0have\u00a0discovered that there were many women who worked behind the camera.\u202fThis was not seen as offensive or shocking because the film industry was still unpopular and did not have a favorable reputation in the first place. This gave women the freedom to explore filmmaking, and they were known to be very proficient at their jobs\u202f(Kaplan 16).\u202fDuring this period, there was a strong emphasis on\u202fseparating men and women into different categories. Women stayed in the home,\u202fwhereas men were the ones who did all the work.\u202fWomen working with advanced technologies, and even just having jobs in the first place,\u202fwent completely against the dogma of society. Inspired by the suffragette movement, women felt empowered and excited to be working with film\u202f(Kaplan 16). By 1914, Alice Guy\u202fBlache\u202fhad directed hundreds of films and owned her own studio\u202f(Kaplan 16).\u202fWhile her films still adhered to gender norms, she gave her lead women a certain strength and wit that stands out in comparison to the common idea of women as docile and complacent. Lois Weber, another female director, went as far as to make a film about abortion, titled\u202fWhere Are My\u202fChildren?<\/em>,\u202f<\/em>and\u202fin this film,\u202fmakes the case for legalizing abortion\u202f(Kaplan 17). This was an insanely radical idea for her time, demonstrating her courage to branch out into\u202funcharted territories.\u202fThese films expressed the emotions and frustrations of fulfilling the role of wife, mother, home keeper, etc. Many of these films were lost, and soon women would be pushed back in front of the camera, essentially erasing the beginnings of women\u2019s\u2019 film\u202f(Kaplan 17). But this history goes to show how women\u2019s\u2019\u202funique\u202frelationship\u00a0with film was born, and how it was used as a tool for expressing emotions and desires specifically related to womanhood.<\/p>\n

One\u00a0does not have to be a woman to notice the subtleties\u00a0of female directing and producing. And not every\u00a0movie by a woman filmmaker will adhere to a specific guideline that makes it identifiable as a \u201cwoman\u2019s film.\u201d That is not what I am trying to\u00a0show you. In fact, what I am trying to show you is the opposite: women filmmakers have\u00a0broadened the perspective\u00a0of the viewer, not\u00a0minimize it to fit one common storyline.\u00a0Though I have discussed some themes that\u00a0have been present in women\u2019s\u2019\u00a0films, such as\u00a0intimacy and\u00a0motherhood, these are in no way\u00a0only in films with a female director or producer.\u00a0There are certainly movies nowadays that are directed or produced by men that explore the themes\u00a0present in many women\u2019s\u2019 films. And there are certainly movies\u00a0by female filmmakers that do not explore the\u00a0themes\u00a0associated with womanhood. To\u00a0disagree with\u00a0that would be\u00a0putting men and women into completely different boxes, to say that there is no possibility for overlap\u00a0or inspiration between the two secondary discourses.<\/p>\n

Somewhat like\u00a0Predal,\u00a0I believe women\u2019s\u2019 and men\u2019s\u2019 films should not\u00a0be seen as\u00a0completely separate\u00a0(Wilson 218).\u00a0That is just playing into the gender roles that\u00a0are expected of us;\u00a0it says that we think that\u00a0women\u00a0only\u00a0make films about\u00a0the feminine, and men\u00a0only\u00a0make films about\u00a0the masculine.\u00a0However, I do not believe that both discourses should be simply grouped into one.\u00a0Women\u2019s\u2019 films\u00a0should not only\u00a0be seen as\u00a0films for women, but\u00a0we also shouldn\u2019t erase everything that makes\u00a0these movies unique and individual.\u00a0There is an in-between, where we can agree that\u00a0female directors and producers\u00a0and their works\u00a0are\u00a0part of the larger community of filmmaking in general, but\u00a0also celebrate the complexities and\u00a0different perspectives that have been introduced through women\u2019s\u2019 films.<\/p>\n

Works Cited<\/p>\n

Cleo from 5 to 7<\/em>. Directed by Agnes Varda,\u00a0Cine-tamaris\u00a0\/\u00a0Rome Paris Films, 1962.<\/p>\n

Gee, James Paul. “What is literacy?”\u202fNegotiating academic literacies: Teaching and learning across languages and cultures<\/em>\u202f(1998), pp.\u00a051-59.<\/p>\n

Kaplan, E. Ann. \u201cWomen, Film, Resistance: Changing Paradigms.\u201d\u202fWomen Filmmakers: Refocusing<\/em>, edited by Jacqueline Levitin et al., London, Routledge, 2003.<\/p>\n

Smith, Stacy L., et al. \u201cExploring the Barriers and Opportunities for Independent Women\u00a0Filmmakers.\u201d\u202fSundance Institute and Women\u202fIn\u202fFilm Los Angeles Women Filmmakers Initiative<\/em>, 1 Jan. 2013, pp. 1\u201343.<\/p>\n

Wilson, Emma. \u201cContemporary French Women Filmmakers.\u201d\u202fFrench Studies<\/em>, vol. 59, no. 2, 2005, pp. 217\u2013223., doi:10.1093\/fs\/kni132.<\/p>\n

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