Sepulveda 1

Sarai Sepulveda

Professor McCann

English 1302.203

7 March 2022

Annotated Bibliography

Alvin, Rebecca M. "PINK-SLIPPED: WHAT HAPPENED TO WOMEN IN THE SILENT FILM

INDUSTRIES?" Journal of Film and Video, vol. 72, no. 1, 2020, pp. 94-95. ProQuest,

https://tamiu.idm.oclc.org/login?url=https://www.proquest.com/scholarly-journals/pink-slipped-

what-happened-women-silent-film/docview/2622817136/se-2?accountid=7081.

The film industry on its own can be divided into multiple genres as previously seen within other

sources, and this text, which presents a new genre: the silent film. The silent film industries are

often associated as things of the past but in this article, Rebecca M. Alvin dissects the book

“Pink-Slipped” written by Jane M. Gaines who questions the lack of female participation in the

silent film industry. Alvin uses this to recognize that one cannot always attribute the absence of

women to the worst possible case. As she details how Gaines never settles on one particular

theory, Alvin also emphasizes the idea that when one looks back on the past, they will never be

able to truly understand what happened. Still, the article hints at the notion that individuals tend

to only scratch the surface of the past and as one digs deeper, they find themselves layers of

misogyny and prejudice. This novel perspective changes up the research as it focuses on the

silent film industry and female interaction, rather than all film genres as a whole.

Baer, Hester. “Feminist Film and Media.” The German Quarterly, vol. 91, no. 2, [American Association

of Teachers of German, Wiley], 2018, pp. 213–16, http://www.jstor.org/stable/44974037.

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Frequently, the ways in which the patriarchy unites women who are impacted by this systemized

discrimination exhibit stronger effects as discussed by Hester Baer in “Feminist Film and

Media”. In this article, cinema is seen as a source of strength for women in the German film

industry. Baer points out that while women have been no stranger to the patriarchy, they still

continue to mold the film industry through their feminist values. By tracing back the role of

women in cinema to the 1890s and bringing it back up to today, one is able to understand how

the feminist film movement has changed over time in Germany but continues to be a permanent

force today. Baer also points out that when the MeToo movement reached Germany, it brought a

lot of women in the film industry together to fight against the institutionalized sexism within the

film industry. This important detail is able to connect with other sources whose perspectives

align with the idea that the MeToo movement was a powerful way of activism on the behalf of

women. This article provides yet another cultural perspective to the research, as one is able to get

an inside look at the misogyny within the German film industry and how the females there do not

sit down and allow for others to walk over them.

Brower, Sue. “Reclaiming the Archive: Feminism and Film History.” Journal of Film and Video, vol.

64, no. 3, 2012, pp. 69–71., https://doi.org/10.5406/jfilmvideo.64.3.0069.

In “Reclaiming the Archive: Feminism and Film History”, Sue Browser breaks down the

thoughts of author Vicki Callahan, writer of the book “Reclaiming the Archive”. Browser is able

to touch base on all of the ideas Callahan presents within her book, where she wrote about

“feminist film theory” and the many misogynistic constraints certain female figures in the film

industry faced. In this article, Browser strives to shine some light on the essays that hold an

important meaning to the film industry, some of which focus on certain stars of different

ethnicities and others that detail the influence that female screenwriters were able to have on the
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industry despite the very apparent sexism that would linger throughout every interaction. This

multicultural perspective supports the research analysis topic in contrasting ways that still

contribute to the overall idea of the research. The first goes back to the multicultural perspective

that will be able to provide new insight on other ethnicities that also have marginalized females

in the film industry. The second offers the relevant idea that there have been continuous efforts

on the behalf of women in the film industry that are often seen through their relentlessness in

working in roles that are not just in front of the camera. 

Daniels, Dayna B. "You Throw Like a Girl: Sport and Misogyny on the Silver Screen." Film & History,

vol. 35, no. 1, 2005, pp. 29-38. ProQuest, https://tamiu.idm.oclc.org/login?url=https://www-

proquest-com.tamiu.idm.oclc.org/scholarly-journals/you-throw-like-girl-sport-misogyny-on-

silver/docview/214055154/se-2?accountid=7081.

This article was written by Dayna B. Daniels focuses on the use of language towards men in

sports-related films and how it directly reflects the way women are treated in the same genre.

Sport goes way back in history as does the interactions between men and women, consequently

providing multiple historical events and popular sport-related films that are used to guide the

misogynistic notions that resulted from them. In many of these films, women become mere side

characters who are not given any real value, they simply all have the same purpose: to be paired

alongside the man. Furthermore, the films also tend to make similar comments when women

make appearances in them. These are comments that often are objectifying, or jokes intended to

embarrass the woman in the film. While the text primarily stays within American culture, it

demonstrates the customary beliefs multiple individuals have regarding women in sports. This

can be seen as a genre-based perspective, as well as one that focuses on the specific characters

women play in sports films, characters that are often subject to misogynistic commentary.
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Lakkimsetti, Chaitanya. “Stripping Away at Respectability: #MeToo India and the Politics of Dignity.”

Feminist Formations, vol. 33, no. 3, 2021, pp. 303–317., https://doi.org/10.1353/ff.2021.0052.

This article follows the protests of Indian actress Sri Reddy, who boldly pointed her finger at the

film industry for its sexist practices and the misogynistic politics that appear to dominate the

Indian film industry. Lakkimsetti uses the MeToo movement which overtook India to show the

different ways misogyny has overtaken the film industry in India. The author discusses the

origins of the MeToo movement and how it also ties in with the political undertones that the

movement was burdened with, instead of recognizing it as a real and upfront issue. The MeToo

movement represents the tragic side of misogyny in the film industry that is often seen through

sexual assault. By continuing to expand on Reddy’s protest and her experience at standing up to

the industry which reduces women to objects, Lakkimsetti is able to represent the modern and

Indian perspective of misogyny. The article correlates with the research because it shows how

women are often painted as selfish and greedy individuals when they are trying to expose the

reality they face every day.

Lee, Yun-Jong. “Woman in Ethnocultural Peril: South Korean Nationalist Erotic Films of the 1980s.”

Journal of Korean Studies, vol. 21, no. 1, 2016, pp. 101–135.,

https://doi.org/10.1353/jks.2016.0005. 

After having observed one of the ways misogynies mistreats women, this article presents yet

another view that South Korean women were subject to in the 1980s and its influence that still

lingers to this day. Yun-Jong Lee uses his article to discuss how the popular film genres of this

time often violated South Korean women by portraying under the light of the male savior that

fueled a toxic sense of masculinity in South Korean men. Through the analysis of different films

that were popularized during this time, Lee compares the roles of women to that of men and how
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they are often seen as submissive or weak figures. One of the most crucial parts of this article is

how on top of the sexism, women also had to carry a twisted and ethnocentric South Korean

view. The text provides a South Korean perspective on how women are looked through a sexual

and objectifying lens by men. A lens that belittles women into objects of entertainment instead of

real people with real lives as the research will preach.

Mathew, Jimin S, and Alna Mariya Isac. “From Resistance to Leadership: The Role of the Women in

Cinema Collective (WCC) in ‘Voicing the Women’ in the Malayalam Film Industry.” Journal of

International Women's Studies, vol. 22, no. 6, June 2021, pp. 150–156.,

https://tamiu.idm.oclc.org/login?url=https://www-proquest-com.tamiu.idm.oclc.org/scholarly-

journals/resistance-leadership-role-women-cinema/docview/2550694615/se-2. Accessed 7 Mar.

2022. 

In this article, Jimin S. Mathew and Alna Mariya Isac explain the ways in which misogyny has

gotten a hold on the Malayalam film industry. Similar to other sources, the recurring theme

throughout this text is that women should not be subjected to pretty faces in front of the camera

but should also be given the chance to work in other roles within the film industry. The WCC,

Women in Cinema Collection, is a guiding association that resists the abuse thrown at women

daily. The description of the WCC simultaneously provides information on how women in the

Malayalam film industry have been breaking free from the discrimination they are accustomed to

facing. An interesting and unseen approach that the WCC takes is by utilizing the same medium

that made them victims of sexism to erase it and replace it with female representatives to

showcase the strength they have as a union. This article provides another cultural perspective

that is seen from the Malayalam point of view but also compares to the research topic through its

discussion of the mistreatment women face and their attempts to raise awareness on this issue.
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Onyenankeya, Kevin Uwaecheghi, et al. “Sexism and Gender Profiling: Two Decades of Stereotypical

Portrayal of Women in Nollywood Films.” Journal of International Women's Studies, vol. 20,

no. 2, Jan. 2019, pp. 73–90. ProQuest,

https://tamiu.idm.oclc.org/login?url=https://www.proquest.com/scholarly-journals/sexism-

gender-profiling-two-decades-stereotypical/docview/2186187587/se-2. Accessed 7 Mar. 2022. 

The authors of this article discuss the ways in which the women of Nollywood, the Nigerian film

industry, were depicted over the course of twenty years. The main idea that Kevin Uwaecheghi

Onyenankeya, Oluwayemisi Mary Onyenankeya, and Oluyinka Osunkunle try to reach is that the

film industry should put an end to the female stereotypes and start emphasizing the true

successes of women in the industry. Through the analysis of different films that were popular

during the “video film era” of Nigeria, the different and sexist roles in which women were often

left to play. Each film that was analyzed was broken down into certain content categories that

reflected the four main characteristics of the parts women often played. The results of this

analysis coincide with the topic of misogyny in the film industry as it demonstrates that females

are frequently left out from playing the more important, dominant, and leading roles within the

Nigerian film industry. The article provides accurate information on the percentages of women

playing leading roles in the films that were analyzed and also reflects the high number of women

who play sexualized roles in those very same films. This information will contribute to the

research on the topic of misogyny in the film industry as it will support the idea that this

prejudice exists from the Nigerian perspective.

Sellier, Geneviève. “André Bazin, Film Critic for Le Parisien Libéré (1944–1958): An Enlightened

Defender of French Cinema.” Paragraph, vol. 36, no. 1, 2013, pp. 118–132.,

https://doi.org/10.3366/para.2013.0081. 
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France in the mid-20th century was experiencing various changes as it began to tackle new and

revolutionary ideas, one of which is women in cinema. In this article, Geneviève Sellier studies

the critiques of French film critic André Bazin, a man who was infamously blind to the

misogyny that would overtake his reviews. Bazin’s writings from the newspaper he wrote for are

used to examine his hidden and sexist views. It is noted that he was often blind to the

misogynistic messages of multiple films during this time and would simply paint it as a new style

that was beginning to emerge within the film industry. Sellier also points out that Bazin was not

the only one who was missing all of the sexist cues of French films, an idea that was noted after

the publishing of a book that explored male domination. This article provides a French

perspective to the research on how misogyny in the film industry has been around for a long

period of time and that not even people whose job is to analyze all details can catch the blatant

misogyny of the film industry.

Wang, Lingzhen. “Wang Ping and Women’s Cinema in Socialist China: Institutional Practice, Feminist

Cultures, and Embedded Authorship.” Signs: Journal of Women in Culture and Society, vol. 40,

no. 3, 2015, pp. 589–622., https://doi.org/10.1086/679522. 

This article takes on double-sided perspectives as it revolves around culture and politics, similar

to other sources previously discussed. Socialist China was at its peak during the 1980s when

cinema was also becoming popularized but female participation in it was greatly marginalized.

Wang takes on a new approach as they discuss the reality of socialist feminism and cultural

production in China. The Story of Liubao Village is the film that is analyzed throughout the text

because the female who directed it revealed the relationship between women and the Chinese

film industry. In addition, it is also noted that Western ideology caused a great impact on the

notions of gender in China. During this time, China associated gender relations with system
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characteristics such as class, nation, economic system, and more. The article contributes to the

research topic as it demonstrates the Chinese perspective on women’s role in the film industry

through the means of politics and gender.