Shooting women : behind the camera, around the world /
Shooting Women takes readers around the world to explore the lives of camerawomen working in features, TV news, and documentaries. From first world pioneers like African American camerawoman Jessie Maple Patton who got her job only after suing the union - to China's first camerawomen - who trav...
Saved in:
| Online Access: |
Full text (MCPHS users only) |
|---|---|
| Main Authors: | , , |
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Bristol, UK ; Chicago, IL, USA :
Intellect Ltd.,
2015
|
| Subjects: | |
| Local Note: | ProQuest Ebook Central |
Table of Contents:
- Cover
- Half Title
- Title
- Copyright
- Table of Contents
- Acknowledgments
- Prefaces
- From Alexis Krasilovsky
- From Harriet Margolis
- List of Abbreviations
- Job Titles and Some Useful Definitions
- Chapter 1: How do Women become Camerawomen?
- Learning on the Job
- Still Photography
- Film School
- Training Programs
- Two Examples of Feminist Groups: Women in Film and Behind the Lens
- Women-Supportive Workshops and Production Groups
- Filming in the Service of Social Activism: Video SEWA and Aina
- Collectives
- Rental HousesChapter 2: How Hard can it be?
- Gender Discrimination
- Unions and Guilds
- When Cameras were Heavy
- Helpful Men
- Ssh! (Secret Sexual Harassment)
- Sabotage
- Getting Paid Jobs
- Breaking Out of Isolation
- Rising Through the Ranks
- Budgets and Glass Ceilings
- Chapter 3: Documentary: A Good and Satisfying Career Choice that is Statistically Friendlier to Women than Feature Fiction Filmmaking
- Filming History being Made in China
- Documentary: Historical and Personal
- ""Chapter 4: Hollywood, Bollywood, Independents, and Short Forms""""Hollywood""; ""Indian Cinema""; ""The Freedom of Independent Films""; ""Music Videos""; ""Commercials and Such""; ""Experimental/Avant-Garde Films and Videos""; ""Art Films and Videos""; ""Shooting Special Material: Birth""; ""Chapter 5: Special Skills and Creativity""; ""Handheld Camerawork""; ""Cranes""; ""Underwater""; ""Helicopters""; ""Special Effects""; ""Lighting as a Cinematographerâ#x80;#x99;s Dream Job""; ""Digital Technology""; ""Style""; ""Chapter 6: Shooting Around the World""; ""Erika Addis on Beginning her Career""
- ""Arlene Burns on Filming in the Kuril Islands""""Young-Joo Byun on Filming Comfort Women in Korea""; ""Nancy Durham on Filming the Balkan War""; ""Jolanta Dylewska on Filming in Kazakhstan""; ""Sabeena Gadihoke on Filming Three Women and a Camera""; ""Rozette Ghadery on Filming in Kurdistan""; ""Sue Gibson on Filming in Jordan""; ""Joan Giummo on Filming Homeless Women in New York""; ""AgnÃs̈ Godard Pays Homage to Beauty""; ""Marina Goldovskaya on Filming History being Made in Russia""; ""Ellen Kuras on Pivotal Moments in Shooting""; ""Heather Mackenzie on Filming Romanian Orphans""
- ""Sandi Sissel on Filming Salaam Bombay!""""AgnÃs̈ Varda on Filming the Human Body""; ""Liz Ziegler on Filming Eyes Wide Shut (1999) for Stanley Kubrick""; ""Chapter 7: Can Camerawomen also be Women?""; ""Parents""; ""Fathers""; ""Mothers""; ""Friends and Extended Family""; ""Husbands""; ""A Happy Marriage""; ""Pregnancy""; ""Children and Childcare""; ""Daughters""; ""Chapter 8: Whatâ#x80;#x99;s it Really Like?""; ""A Typical Day""; ""Where do Camerawomen Go?""; ""What do Camerawomen Wear?""; ""Working with the Crew""; ""Working with Directors and Producers""; ""Acting Like Men to Fit in""
