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Movie Title Year Distributor Notes Rev Formats Best of VCX Classics 2 2005 VCX 1 DO Blue Vanities 197 1994 Blue Vanities DRO Blue Vanities 46 1988 Blue Vanities DO Blue Vanities 53 1988 Blue Vanities D Blue Vanities 56 1988 Blue Vanities Facial DO Bucky Beaver's Triple XXX Rated Stags, Loops and Peeps 193 1999 Something Weird Video MastOnly Feels Like Silk 1983 Essex Video / Electric Hollywood DRO Golden Girls 2 1981 Vidco Entertainment Facial DR Golden Girls 2 1982 Caballero Home Video Facial DR Golden Girls Film 14 1981 Caballero Home Video Facial Golden Girls Film 2 1981 Caballero Home Video Facial Kiss and Tell 1980 Caballero Home Video Bald DO Lust Weekend 1980 Gourmet Video Collection DRO Menage-a-trois 1981 TGA Video 1 DO Mixed Bag 1981 TGA Video Sexboat 1980 VCX 5 DRO Suze's Centerfolds 2 1979 Caballero Home Video Facial DO Suze's Centerfolds 2 (new) 1979 Caballero Home Video Facial 1 O Therapist 1983 Gourmet Video Collection Facial DRO TLI Video Tape 1 1984 Latent Image Bald MastOnly
New York Women in Film & Television New York Women in Film & Television is a nonprofit membership organization for professional women in film, television and digital media. It works for women's rights, achievements and points of view in the film and television industry. It also educates media professionals and provides a network for the exchange of information and resources. It was founded in 1977 and brings together more than 2,000 professionals, including EMMY and Academy Award winners, who work in all areas of the entertainment industry. It is part of a network of 40 international Women in Film chapters, representing more than 10,000 members worldwide. It produces over 50 programs and special events annually; advocates for women in the industry; and, recognizes and encourages the contributions of women in the field. Women Film Critics Circle The Women Film Critics Circle is an association of 64 women film critics and scholars nationally and internationally, who are involved in print, radio, online and TV broadcast media. They united to form the first women critics organization in the United States, in the belief that women's perspectives and voices in film criticism would be recognized fully. The organization was founded in 2004. The Circle has made annual awards, the Women Film Critics Circle Awards, since 2004.



Women in Film Women in Film (WIF) is "a non-profit organization dedicated to helping women achieve their highest potential within the global entertainment, communications and media industries and to preserving the legacy of women within those industries. Founded in 1973, Women In Film and its Women In Film Foundation provide for members an extensive network of contacts, educational programs, scholarships, film finishing funds and grants, access to employment opportunities, mentorships and numerous practical services in support of this mission."[61] WIF is a huge organization, offering bi-monthly networking breakfasts for women in the industry, internships, classes, competitions, a PSA production program, scholarships, and much more.[62] The Crystal and Lucy Awards were first presented in 1977 by the Women in Film organization. The awards include the Crystal Award, the Lucy Award, the Dorothy Arzner Directors Award, the MaxMara Face of the Future Award, and the Kodak Vision Award. The Crystal Award was established in 1977 to honor outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. Dorothy Arzner was the first woman member of the Directors Guild of America. This award was established in her honor to recognize the important role women directors play in both film and television. The MAXMARA Face of the Future award was inaugurated at the 2006 Crystal+Lucy Awards, this award is given to an actress who is experiencing a turning point in her career through her work in the entertainment industry and through her contributions to the community at large. The Kodak Vision award is presented to a female filmmaker with outstanding achievements in cinematography, directing and/or producing, who also collaborates with and assists women in the entertainment industry. The Founder's award was established in 1996 at the Lucy Awards and was first presented to Tichi Wilkerson Kassel. The award is given in recognition of distinguished service to Women In Film. The Nancy Malone Directors Award recognizes emerging women directors who have demonstrated a passionate commitment to filmmaking. The Women of Courage award was established in 1992 to recognize women who persevere through adverse conditions and circumstances in their quest for the rights of all women in the entertainment industry and society at large. Women in Film and Television International Women in Film and Television International (WIFTI) is a "global network comprised of over forty Women In Film chapters worldwide with over 10,000 members, dedicated to advancing professional development and achievement for women working in all areas of film, video and digital media."[63] The organization was founded in 1973 in Los Angeles by Tichi Wilkerson Kassel and grew quickly worldwide, hosting their first Women in Film and Television International World Summit in New York City in September 1997.[64] Women's International Film and Arts Festival The Women's International Film & Arts Festival (WIFF)is a "unique, cultural event featuring films, visual and performance arts and other artistic expressions by women." "Designed to promote women in the film industry and celebrate women’s accomplishments, the festival consists of panel discussions, workshops, and symposia. WIFF’s goals include empowering women of all ages to see themselves in a broader context."[65] WITASWAN and International SWAN Day In 2002, Jan Lisa Huttner began an organization known as WITASWAN – Women in the Audience Supporting Women Artists Now, a grassroots movement to eliminate the celluloid ceiling. Combining efforts with the WomenArts Network, WITASWAN hosts and promotes International SWAN (Supporting Women Artists Now) Day annually, beginning in 2008. Over 700 celebrations worldwide take place on the last Saturday of March, bringing people together to celebrate women artists and filmmakers. The event is designed to promote awareness of women in film and the ways that people can support them by being educated film consumers. Women Make Movies Women Make Movies (WMM) is a “non-profit media arts organization which facilitates the production, promotion, distribution and exhibition of independent films and videotapes by and about women” based in New York City. WMM is a feminist media organization that focuses especially on the work of women of color.[66] It is independent, receiving less than $100,000 a year from the government, and with its films all made by independent women artists.[67] Founded in 1969 by Ariel Dougherty and Sheila Page, WMM's first aimed to teach women about filmmaking. In 1972, it established training workshops in New York to introduce women to filmmaking, especially documentary. According to B. Ruby Rich, director of the film program at the New York State Council on the Arts (NYSCA) in 1981, “Documentary was the preferred mode for its ability to focus attention directly on issues of importance to women.” Rich says that the organization emerged to help combat the problem of women's lives being misrepresented in films of the time.[68] In the late 1970s and early 1980s, WMM's focus shifted more toward the distribution of films made by women rather than just training. This change was led by Debra Zimmerman, the executive director of WMM since 1983.[68] It came in response to the lack of distribution and presentation of films made by women in a male dominated field. Additionally, the organization was losing funding, but they were able to regain it through the help of Rich and the NYSCA with their new distribution program.[68] The program originally focused on screenings in New York and the foundation of women's films festivals. Today, the distribution program is their primary work. WMM distributes its collection of more than 500 films to institutions such as colleges, galleries, museums, etc.[66] The program “has been able to influence university curricula deeply and to advance the careers of women filmmakers whom it has taken under its wing.”[68] As part of the distribution program, WMM is involved with international women's films festivals. It distributes films to countries that wish to exhibit women's films, which has helped start festivals in six to eight countries such as Monaco and Sierra Leone.[67] Along with the distribution program, WMM also has a production program that offers resources and training to independent women filmmakers – they reach more than 400 filmmakers in 30 countries.[66] WMM's collection of films has grown from around 40 to now more than 500. It includes films and videos of diverse subject matter and often represents women of minorities such as lesbians or women with disabilities.[66] Overall, the goal of WMM is and has always been to represent independent women filmmakers as a response to the lack of women directors and filmmakers in Hollywood. It aims to combine politics and social problems with film theory to accurately depict the lives of women.[67] Studio D In the early 1970s the National Film Board of Canada established Studio D, which was the first ever publicly funded female film production studio in the world. Studio D became the home, accommodating around six staff directors and home to many other producers and support staff. Approximately half of the studio's films were helmed by independent female directors from around the country. Over the next couple of decades, the filming studio would rise to success, earning three Academy Awards over that period.[69] Historians have stated that despite the studio's success, women were still typically discouraged from making films or told that not thinking like a woman was best for making films. Women were also still paid significantly less than male counterparts. The studio also experienced issues with funding during the 1980s, as there were more women coming to the studio to look for work than the studio could afford to hire.[70] Feminist film theory Feminist film theory is theoretical film criticism derived from feminist politics and feminist theory. Feminists have many approaches to cinema analysis, regarding the film elements analyzed and their theoretical underpinnings. The development of feminist film theory was influenced by second wave feminism and the development of women's studies in the 1960s and 1970s. Feminist scholars began taking cues from the new theories arising from these movements to analyzing film. Initial attempts in the United States in the early 1970s were generally based on sociological theory and focused on the function of women characters in particular film narratives or genres and of stereotypes as a reflection of a society's view of women. Studies analyzed how the women portrayed in film related to the broader historical context, the stereotypes depicted, the extent to which the women were shown as active or passive, and the amount of screen time given to women.[71] In contrast, film theoreticians in England began integrating perspectives based on critical theory and drawing inspiration from psychoanalysis, semiotics, and Marxism. Eventually these ideas gained hold within the American scholarly community in the later 1970s and 1980s. Analysis focused on they ways "cinematic production affect the representation of women and reinforce sexism".[72] In considering the way that films are put together, many feminist film critics have pointed to what they argue is the "male gaze" that predominates in classical Hollywood filmmaking. Budd Boetticher summarises the view thus: "What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance."[73] Laura Mulvey's influential essay "Visual Pleasure and Narrative Cinema"[74][75] (written in 1973 and published in 1975) expands on this conception to argue that in cinema women are typically depicted in a passive role that provides visual pleasure through scopophilia,[76] and identification with the on-screen male actor.[76] She asserts: "In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness,"[73] and as a result contends that in film a woman is the "bearer of meaning, not maker of meaning."[73] Mulvey argues that the psychoanalytic theory of Jacques Lacan is the key to understanding how film creates such a space for female sexual objectification and exploitation through the combination of the patriarchal order of society, and 'looking' in itself as a pleasurable act of voyeurism, as "the cinema satisfies a primordial wish for pleasurable looking."[76] Coming from a black feminist perspective, American scholar bell hooks put forth the notion of the "oppositional gaze," encouraging black women not to accept stereotypical representations in film, but rather actively critique them.[77] Janet Bergstrom's article "Enunciation and Sexual Difference" (1979) uses Sigmund Freud's ideas of bisexual responses, arguing that women are capable of identifying with male characters and men with women characters, either successively or simultaneously.[78] Miriam Hanson, in "Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship" (1984) put forth the idea that women are also able to view male characters as erotic objects of desire.[78] In "The Master's Dollhouse: Rear Window," Tania Modleski argues that Hitchcock's film, Rear Window, is an example of the power of male gazer and the position of the female as a prisoner of the "master's dollhouse".[79] In films, there are power levels between male and female characters, and according to Jean-Anne Sutherland, a Sociology professor at UNCW, there are specific types of power structures in film. The different types are; power-over, power-to, and power-with. Power-over, when referring to a female character having “power-over,” a male character, has the female character being portrayed as having more “masculine,” in their physical appearance or interactions. This can be shown more in social class and race, and most of the time this is seen in “working class black and white women.” Power-to, or “empowerment and resistance,” can be seen in films mainly about overcoming obstacles and going against “social norms.” Films that display “power-to,” mostly have middle and working class white women at the center of the story. Power-with, show an equal balance of power, or male and female characters working with each other rather than against each other.[80] Actress Christina Hendricks, who is best known for her TV roles where she portrayed femme fatale Joan Holloway in Mad Men, a period drama that prominently featured sexism and feminism, and Beth Boland in Good Girls, a crime comedy-drama that focuses on the victimization of her character alongside the other two female protagonists, specifically Ruby Hill and Annie Marks starring Retta and Mae Whitman, respectively, attributed her lack of success into sexualization and excessive attention to her bra size.[81] Bechdel test The Bechdel test, originating in 1985 from the comic strip "Dykes to Watch Out For" by Allison Bechdel, is an approach to observing the representation of women in popular film. Bechdel attributes the idea to Liz Wallace and has said the test should be called the "Bechdel-Wallace test.[82] To pass the test, films must have at least two women who talk to each other, and the women must talk about something other than a man. The requirement that the two women must be named characters, rather than generic stock characters (e.g., "girlfriend", "groupie", etc.) is sometimes added. Only about half of all films meet these requirements, according to user-edited film databases and media industry press. The test is used as an indicator for the active presence of women in films and other fiction, and to call attention to gender inequality in fiction due to sexism.[83] A study of gender portrayals in 855 of the most financially successful U.S. films from 1950 to 2006 showed that there were, on average, two male characters for each female character, a ratio that remained stable over time. Female characters were portrayed as being involved in sex twice as often as male characters, and their proportion of scenes with explicit sexual content increased over time. Violence increased over time in male and female characters alike.[84] According to a 2014 study by the Geena Davis Institute on Gender in Media, in 120 films made worldwide from 2010 to 2013, only 31% of named characters were female, and 23% of the films had a female protagonist or co-protagonist. 7% of directors are women.[85] Another study looking at the 700 top-grossing films from 2007 to 2014 found that only 30% of the speaking characters were female.[86] In 2013, four Swedish cinemas and the Scandinavian cable television channel Viasat Film incorporated the Bechdel test into some of their ratings, a move supported by the Swedish Film Institute.[87] In 2014, the European cinema fund Eurimages incorporated the Bechdel test into its submission mechanism as part of an effort to collect information about gender equality in its projects. It requires "a Bechdel analysis of the script to be supplied by the script readers".[88] The website bechdeltest.com is a user-edited database of some 4,500 films classified by whether or not they pass the test, with the added requirement that the women must be named characters. As of April 2015, it listed 58% of these films as passing all three of the test's requirements, 10% as failing one, 22% as failing two, and 10% as failing all three.[89] According to a study by Andrew M. Linder of Skidmore College, and Melissa Lindquist and Julie Arnold of Concordia College, they researched how well movies that pass the Bechdel Test, do in the box office. In this study they discovered that, of most of the popular movies from 2000–2009, a little less than half passed the Bechdel Test. These films also didn't make as much money as more male dominated films or films that failed the Bechdel Test. Although, they don't believe it's because people don't want to see female characters at the center of feature films, but rather because the films that do pass the Bechdel Test have a lower budget. Because of their lower production budget, they earn quite a bit less in the box office


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