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Showing 1 through 5 of 65 records.
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2008 - NCA 94th Annual Convention Pages: 21 pages || Words: 5423 words || 
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1. Richter, Nicole. "A History of Black Women Voices in Filmmaking" Paper presented at the annual meeting of the NCA 94th Annual Convention, TBA, San Diego, CA, Nov 20, 2008 Online <PDF>. 2019-04-24 <http://citation.allacademic.com/meta/p260652_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Abstract: A historical overview of Black women using the medium of film as an instrument of expression in the United States. Industry discrimination has prevented many Black women from gaining access to the American film industry. A select group has been successful in creating their visions on film and it is those women who are discussed and documented in this article.

2013 - Ninth Annual Congress of Qualitative Inquiry Words: 127 words || 
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2. Haig-Brown, Celia. and Haig-Brown, Helen. "“Moving” Pictures: Collaborative Filmmaking and Indigenous Thought" Paper presented at the annual meeting of the Ninth Annual Congress of Qualitative Inquiry, University of Illinois at Urbana-Champaign, Urbana, Illinois, <Not Available>. 2019-04-24 <http://citation.allacademic.com/meta/p643717_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Taking the notion of knowledge mobilization seriously, this larger project on the regeneration of Indigenous culture and language led the researchers to the medium of film as a way to reach audiences beyond the walls of academe. The children and grandchildren of former residential school students and their relationship to education broadly defined is the focus of the work. Over long days of editing and story-building and endless electronic communications of various forms from Skype to screen-sharing, the two “authors” collaboratively created their works. Final edits included the responses of all the participants who previewed the penultimate versions. Methodologically, the insights into interviewing and observing for ethnographic goals involving film as well as text led the first author to question some fundamental approaches she had assumed.

2015 - Pacific Sociological Association Annual Meeting Pages: unavailable || Words: unavailable || 
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3. Baker, Christina. "Daughters of the Cinema: The Contributions of Black Female Filmmakers" Paper presented at the annual meeting of the Pacific Sociological Association Annual Meeting, Hyatt Regency Long Beach, Long Beach, CA, Apr 01, 2015 Online <PDF>. 2019-04-24 <http://citation.allacademic.com/meta/p979994_index.html>
Publication Type: Research-in-progress presentation
Review Method: Peer Reviewed
Abstract: The primary question that I plan to address through my research is: In what ways have African American female filmmakers shaped the film industry? The mass media and film industry have, until recently, left out the complex and diverse perspectives and voices of African American women. When they have been included in film and media, African American women have primarily been portrayed using negative and controlling images, such as the subservient mammy, welfare mother, hypersexual jezebel and argumentative sapphire. I am interested in exploring how the introduction of a number of African American female filmmakers, beginning in the 1990s, have influenced the representation of women of color in film. My research on African American filmmakers is grounded in intersectionality theory, which emphasizes the importance of examining the complex positions and viewpoints of women of color. The intersectional framework initially grew out of the work of legal scholar, Kimberle Crenshaw. With Black women at the center of her analysis, Crenshaw challenged the tendency of feminist theory and racial politics to treat race and gender as mutually exclusive categories. In my proposed research, the intersectional approach places African American women (as filmmakers and actors) at the center of the analysis and provides insight into how black female filmmakers may incorporate more multidimensional images of women of color. The intersectional framework also allows us to critique the specific racialized and gendered ideologies that have been dominant in the mainstream media’s representation of women of color.

2016 - AAS-in-Asia, Kyoto Words: 232 words || 
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4. Ho, Joseph. "The Sign of the Cross: Hope, Nostalgia, and American Missionary Filmmaking in Postwar China, 1947-1949" Paper presented at the annual meeting of the AAS-in-Asia, Kyoto, Doshisha University, Kyoto, Japan, <Not Available>. 2019-04-24 <http://citation.allacademic.com/meta/p1100728_index.html>
Publication Type: Panel Paper
Abstract: This paper examines the filmmaking of American missionaries in North and East China between 1947 and 1949, looking at vernacular missionary films in conjunction with the Chinese Civil War and the post-1949 separation of local Chinese Christian communities from global church institutions. Drawing from recently rediscovered 16mm film footage in Catholic and Protestant collections in California, the paper argues that these vernacular visual materials represented nostalgic perceptions of lost possibilities for both missionary filmmakers and Chinese participants, while also embodying imagined hope for the survival of transnational religious communities split by Cold War realignments in East Asia. Produced by an American Jesuit order and a Presbyterian missionary family, these films will be examined alongside the filmmakers’ “on the ground” experiences, shifts in official perceptions of foreign missionaries from partners in "New China’s" development to "imperialist enemies,” and responses to the "loss of China" in the American domestic consciousness. Finally, the paper traces the films forward from the early postwar contexts of their creation to re-interpretations in renewed Cold War relationships between China and the US in the 1970s, concluding with their even later “disappearance” in changing historical and archival conditions. In addition to examining the films’ shifting cultural-religious meanings over time, the paper approaches them as mobile icons of loss and hope – as transnational, inherently “moving” visual materials produced and interpreted by similarly transnational historical actors in turbulent postwar East Asia.

2017 - Association for Asian Studies - Annual Conference Words: 206 words || 
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5. Hsieh, Hsin-Chin. "Unspoken Stories: Taiwanese Female Immigrants’ Documentary Filmmaking" Paper presented at the annual meeting of the Association for Asian Studies - Annual Conference, Sheraton Centre Toronto Hotel, Toronto, Canada, <Not Available>. 2019-04-24 <http://citation.allacademic.com/meta/p1195528_index.html>
Publication Type: Panel Paper
Abstract: This paper aims to examine how Taiwanese female immigrants represent their own gendered migratory experiences through documentary films. With the increasingly number of migrant brides arriving from Southeast Asia and mainland China since the 1990s, many Taiwanese filmmakers started recording their lives in documentary films. While many such stories romanticize the new migrants’ experience and tend to portray Taiwan as a harmonious home, social discrimination and domestic abuse suffered by these foreign brides remain invisible in media representation. This paper looks at the experience of Kim Hong Nguyen, a migrant bride from Vietnam who later became a documentary filmmaker. Nguyen’s experience with domestic violence and divorce motivate her to start filming other female migrants who share a similar fate with her. By allowing these women to speak for themselves, Nguyen’s works, especially her Love, Lost and Marriage, reveals the reality of transnational migration encountered by the foreign brides in Taiwan, as well as the gender inequality and domestic abuse resulted from such situations. Nguyen’s documentary filmmaking, and the other immigrant women’s participation in her films, not only enables this community to articulate their sufferings and demand social protection, but also proves themselves as rightful citizens who are capable of participating in the cultural production of Taiwan.

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