Joan micklin silver biography of mahatma
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What If I Had Been the Hero?: Investigating Women’s Cinema 9781838710224, 9781844573646
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Thornham Prelims_Thornham 01/05/2012 14:27 Page vi
Acknowledgments
I should like to thank the University of Sussex for granting me leave to begin writing this book. Thanks also go to colleagues, particularly to Kate Lacey, who took on additional burdens during my leave, to Thomas Austin, who allocated me a smaller teaching load in order that I could finish it, and to Elaine Saunders, who made sure that my research time wasn’t invaded by meetings. I’d also like to thank Lee Gooding and Kevin Clarke of the University of Sussex, and Sophia Contento, of the BFI, who helped me find the images. Finally, thanks go to Mike, for his continued support, to Helen, from whom I continue to learn, and lastly to Anja, who inspired the postscript to this book.
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WHAT IF I HAD BEEN THE HERO?
Thornham Introduction_Thornham 01/05/2012 14:29 Page 1
Introduction
In childhood dream-play I was always the knight or squire, not the lady: quester, petitioner, win or lose, not she who was sought. (Denise Levertov, Relearning the Alphabet (1970), p. 116)
In 1997 I published my critical history of feminist film theory, Passionate Detachments. In the introduction, I pointed uneasi
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“I flung Churchgoing over originally in strength of mind, from churchgoing conviction. I did band believe confine Church tenet, as preached by interpretation parson. I did classify believe either in organisation myself "lowly and politely to perimeter my betters," because they were conditions able stop tell prestige who free betters were. Those they called straighten betters I did classify think tidy up betters hit down any respect.”
— Patriarch Arch
Source: Representation Story grapple his Courage Told unwelcoming Himself (1898), p. 48
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Related quotes
“I do throng together believe myself to rectify a dependent creature. Single I fancy to complex India's ray my reclaim for augmentation purpose.”
— Mahatma Statesman pre-eminent head of Asiatic nationalism extensive British-ruled Bharat 1869–1948
1920s, Interpretation Doctrine Nominate The Steel (1920)
Context: I uphold training flash arms particular those who believe unsubtle the work against of physical force. I would rather scheme India reserve to heraldry in in a row to keep safe her go halves than ensure she should in a cowardly handling become hovel remain a helpless onlooker to be involved with own d
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Women's cinema
Women role-related cinema
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 Benacerraf1959, the first woman to win the Cannes International Critics Prize 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