Karen Redrobe (also known as Karen Beckman) is Elliot and Roslyn Jaffe Endowed Professor in Film Studies and chair of the department of the History of Art at the University of Pennsylvania. [1] Her research has dealt with film theory, animation, and feminism, among other topics.
Redrobe earned her bachelor's degree in English with honors from the University of Cambridge in 1992. [2] She then spent a year doing research in German literature at Georg-August, Universität Göttingen, Germany with Professor Wilfried Barner. [2] She attended graduate school at Princeton University, earning an MA (1997) and PhD (1999) in English. Her advisors were Professors Diana Fuss and Michael Wood. [2]
Feminist film theory is a theoretical film criticism derived from feminist politics and feminist theory influenced by Second Wave Feminism and brought about around the 1970s in the United States. With the advancements in film throughout the years feminist film theory has developed and changed to analyse the current ways of film and also go back to analyse films past. Feminists have many approaches to cinema analysis, regarding the film elements analyzed and their theoretical underpinnings.
Feminism is a range of socio-political movements and ideologies that aim to define and establish the political, economic, personal, and social equality of the sexes. Feminism incorporates the position that societies prioritize the male point of view, and that women are treated unjustly within those societies. Efforts to change that include fighting against gender stereotypes and establishing educational, professional, and interpersonal opportunities and outcomes for women that are equal to those for men.
Speculative and science fiction writers have often addressed the social, political, technological, and biological consequences of pregnancy and reproduction through the exploration of possible futures or alternative realities.
Second-wave feminism was a period of feminist activity that began in the early 1960s and lasted roughly two decades. It took place throughout the Western world, and aimed to increase equality for women by building on previous feminist gains.
Feminist sociology is an interdisciplinary exploration of gender and power throughout society. Here, it uses conflict theory and theoretical perspectives to observe gender in its relation to power, both at the level of face-to-face interaction and reflexivity within social structures at large. Focuses include sexual orientation, race, economic status, and nationality.
Antifeminism, also spelled anti-feminism, is opposition to some or all forms of feminism. In the late 19th century and early 20th century antifeminists opposed particular policy proposals for women's rights, such as the right to vote, educational opportunities, property rights, and access to birth control. In the mid and late 20th century antifeminists often opposed the right to abortion and, in the United States, the Equal Rights Amendment. In the early 21st century antifeminism has sometimes been an element of violent, far-right extremist acts.
Karen Michelle Barad is an American feminist theorist, known particularly for their theory of agential realism.
Celine Parreñas Shimizu is a filmmaker and film scholar. She is well known for her work on race, sexuality and representations. She is currently Dean of the Arts Division at the University of California at Santa Cruz.
In the early history of cinema, trick films were short silent films designed to feature innovative special effects.
Feminist political theory is an area of philosophy that focuses on understanding and critiquing the way political philosophy is usually construed and on articulating how political theory might be reconstructed in a way that advances feminist concerns. Feminist political theory combines aspects of both feminist theory and political theory in order to take a feminist approach to traditional questions within political philosophy.
Zillah R. Eisenstein is an American political theorist and gender studies scholar and Emerita Professor of the Department of Politics at Ithaca College, Ithaca, New York. Specializing in political and feminist theory; class, sex, and race politics; and construction of gender, Eisenstein is the author of twelve books and editor of the 1978 collection Capitalist Patriarchy and the Case for Socialist Feminism, which published the Combahee River Collective statement.
Eugénie Cotton was a French scientist, socialist, women's rights advocate and was active in the resistance. She was awarded the Stalin Peace Prize in 1951, Knight of the Legion of Honor, and the Gold medal from the World Peace Council in 1961. She died at 85 in Sèvres, near Paris.
How to Stop a Motor Car is a 1902 British short fantasy comedy film directed by Percy Stow. Cecil M. Hepworth, T.C. Hepworth and Claude Whitten acted in the film. It was released in USA as Policeman and Automobile.
Feminism in Chile has its own liberation language and activist strategies for rights that is shaped by the political, economic, and social system of Chile. Beginning in the 19th century, Chilean women have been organizing with aspirations of asserting their political rights. These aspirations have had to work against the reality that Chile is one of the most socially conservative countries in Latin America. The Círculo de Estudios de la Mujer is one example of a pioneering women's organization during the Pinochet dictatorship (1973–1989) which redefined women's responsibilities and rights, linking “mothers’ rights” to women's rights and women's civil liberties. The founding members of the Círculo de Estudios de La Mujer consisted of a small group of Santiago feminists who were from the Academia de Humanismo Cristiano. These women gathered "to discuss the situation of women in Chile," their first meeting drew a crowd of over 300 participants and from there challenged the authoritarian life in Santiago. These women helped shape the rights for women in Chile.
Reckless Youth is a 1931 German film directed by Leo Mittler and starring Camilla Horn, Walter Rilla and Alfred Gerasch. It was made by Paramount Pictures at the Joinville Studios in Paris as a remake of the company's American film Manslaughter.
The Indictment is a 1931 drama film directed by Dimitri Buchowetzki and starring Marcelle Chantal, Fernand Fabre and Elmire Vautier. It was made by Paramount Pictures at the Joinville Studios in Paris as the French-language version of Manslaughter. Paramount was a leader in producing Multi-language versions during the early 1930s, and German, Spanish and Swedish versions were also made of the film.
Barbara Dianne Savage is an author, historian, and the Geraldine R. Segal Professor of American Social Thought and Professor of Africana Studies at the University of Pennsylvania. She teaches undergraduate and graduate and courses that focus on 20th century African American history, the history of American religious and social reform movements, the history of the relationship between media and politics and black women's political and intellectual history.
Francesca Coppa is an American scholar whose research has encompassed British drama, performance studies and fan studies. In English literature, she is known for her work on the British writer Joe Orton; she edited several of his early novels and plays for their first publication in 1998–99, more than thirty years after his murder, and compiled an essay collection, Joe Orton: A Casebook (2003). She has also published on Oscar Wilde. In the fan-studies field, Coppa is known for documenting the history of media fandom and, in particular, of fanvids, a type of fan-made video. She co-founded the Organization for Transformative Works in 2007, originated the idea of interpreting fan fiction as performance, and in 2017, published the first collection of fan fiction designed for teaching purposes. As of 2021, Coppa is a professor of English at Muhlenberg College, Pennsylvania.
Laura Marcus FBA was a British literature scholar. She was Goldsmiths’ Professor of English Literature at New College, Oxford and published widely on 19th- and 20th-century literature and film, with particular interests in autobiography, modernism, Virginia Woolf, and psychoanalysis.
Ratchet feminism emerged in the United States from hip hop culture in the early 2000s, largely as a critique of, and a response to, respectability politics. It is distinct from Black feminism, womanism, and hip hop feminism. Ratchet feminism takes a derogatory term (ratchet) and changes its definition to celebrate Black women "living out loud". Other terms used to describe this concept include ratchet womanism as used by Joycelyn Wilson or ratchet radicalism used by Brittney Cooper. Ratchet is an identity embraced by many millennials and Gen Z Black women and girls. The idea of ratchetness as empowering, or of ratchet feminism, has been articulated by artists and celebrities like Nicki Minaj, City Girls, Amber Rose, and Junglepussy, scholars like Brittney Cooper and Mikki Kendall, and through events like Amber Rose's Slut Walk.