CELLULOID CEILING
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More About This Title CELLULOID CEILING
- English
English
Now Kathryn Bigelow has made history as the first woman to win an Oscar for directing, is this a new era for women filmmakers? The figures suggest otherwise. Seeking to redress the imbalance between male and female film directors, Celluloid Ceiling explores inspiring new work appearing in the USA, the UK and globally. Highlighting emerging women directors alongside ground-breaking pioneers, this is a one-stop guide to the leading women film directors in the 21st century and those who inspired them.
From Oscar-winning action director Kathryn Bigelow to emerging strong voices from Saudi Arabia, Pakistan and Laos, particular attention is paid to women making films in traditionally male-dominated areas such as action, sci-fi and fantasy and to works with a new take on the violence and pornography of the horror genre. This book shows that the changes overturning current business and artistic processes are opening up new opportunities for women film directors who are determined make the most of these.
With contributions ranging from Africa, Latin America, Europe, USA, Asia and India to new voices in Japanese and Middle Eastern cinema, and covering women directors working in TV, as well as the first woman director Alice Guy Blache, the rise of the independent and the horror aficionados the Soska Sisters, Celluloid Ceiling includes numerous interviews and b/w photographs.
From Oscar-winning action director Kathryn Bigelow to emerging strong voices from Saudi Arabia, Pakistan and Laos, particular attention is paid to women making films in traditionally male-dominated areas such as action, sci-fi and fantasy and to works with a new take on the violence and pornography of the horror genre. This book shows that the changes overturning current business and artistic processes are opening up new opportunities for women film directors who are determined make the most of these.
With contributions ranging from Africa, Latin America, Europe, USA, Asia and India to new voices in Japanese and Middle Eastern cinema, and covering women directors working in TV, as well as the first woman director Alice Guy Blache, the rise of the independent and the horror aficionados the Soska Sisters, Celluloid Ceiling includes numerous interviews and b/w photographs.
- English
English
Aside from correcting discrimination, the call for equality is timely: in troubled economies, the editors note, any less would be 'a waste of a country's human resources'. -- **** Total Film
Every aspiring film-maker, every aspiring woman film-maker should delve into this book. Its panoramic view of film-making can only propel you forward. - Stage, Screen and Radio Magazine
After 50 years when women directors are still a minority in Japan, it is inspiring to read a book about female filmmakers around the world and to understand why we need them. --Yukie Kito, Japanese producer whose work includes NAMESAKE by Mira Nair and TOKYO SONATA by Kiyoshi Kurosawa
'This is a book to smack down on the desk of Thierry Fremaux, the director of the Cannes Film Festival (or any programmer, professor or snotty cinemagoer who claims women aren't as good at making films, or
aren't interested in making them), as abundant evidence not only of international female filmmaking, but its dynamism, ambition and complexity.' The F Word
Every aspiring film-maker, every aspiring woman film-maker should delve into this book. Its panoramic view of film-making can only propel you forward. - Stage, Screen and Radio Magazine
After 50 years when women directors are still a minority in Japan, it is inspiring to read a book about female filmmakers around the world and to understand why we need them. --Yukie Kito, Japanese producer whose work includes NAMESAKE by Mira Nair and TOKYO SONATA by Kiyoshi Kurosawa
'This is a book to smack down on the desk of Thierry Fremaux, the director of the Cannes Film Festival (or any programmer, professor or snotty cinemagoer who claims women aren't as good at making films, or
aren't interested in making them), as abundant evidence not only of international female filmmaking, but its dynamism, ambition and complexity.' The F Word
