{"product_id":"shooting-women-behind-the-camera-around-the-world-9781783205066","title":"Shooting Women: Behind the Camera, Around the","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eShooting Women\u003c\/em\u003e takes readers around the world to explore the lives of camerawomen working in features, TV news, and documentaries. From pioneers like African American camerawoman Jessie Maple Patton who got her job only after suing the union – to China’s first camerawomen – who travelled with Mao – to rural India where women in poverty have learned camerawork as a means of empowerment, \u003cem\u003eShooting Women\u003c\/em\u003e reveals a world of women working with courage and skill in what has long been seen as a male field.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003e'Shooting Women: Behind the Camera, Around the World offers a comprehensive look at the rich and largely unexplored history of camerawomen from all across the globe. In addition, Krasilovsky, Margolis, and Stein provide a detailed account of how unions have often failed to recognize discrimination against women in the workplace—and even within the union itself. Historical overviews as well as first-hand accounts of these women working behind the scenes make for a book that is both educational and engaging.'\u003c\/em\u003e\u003c\/p\u003e -- Melissa Silverstein - Founder and Editor of Women and Hollywood\u003cbr\u003e\u003cp\u003e\u003cem\u003e'If you are looking for an invaluable gift to give a woman interested in film-making or already working in the industry, this book could transform her life and career. I took two days this week and read \"Shooting Women\" cover-to-cover. I was fascinated and very moved by it. What a gift these three authors have given to women filmmakers everywhere. This book is not just for women interested in cinematography, it's truly a must-read for anyone interested in women in film, film-making, and working in this industry. When I put the book down I felt like I had spent two days at a retreat with a big, wonderful group of women filmmakers who deeply care about each other, and who really want to help support each others' careers. It is easy to read, and phenomenally rich in information and wisdom. A priceless book that should be included in the curriculum of every film school around the world. “Shooting Women” belongs on the bookshelf of anyone interested in film-making or women in film.'\u003c\/em\u003e \u003c\/p\u003e -- Maria Giese - Writer\/Director, Hunger\u003cbr\u003e\u003cp\u003e\u003cem\u003e'For any young woman contemplating a career in film production… this book will help to provide a clear-eyed view of what that career may look like.'\u003c\/em\u003e \u003c\/p\u003e -- Cynthia Close - Documentary Magazine\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eAcknowledgements\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003ePrefaces\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eFrom Alexis Karsilovsky\u003c\/p\u003e  \u003cp\u003eFrom Harriet Margolis\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eList of abbreviations\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eJob titles and some useful definitions\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 1: How do women become camerawomen?\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eLearning on the job\u003c\/p\u003e  \u003cp\u003eStill Photography\u003c\/p\u003e  \u003cp\u003eFilm School\u003c\/p\u003e  \u003cp\u003eTraining Programs\u003c\/p\u003e  \u003cp\u003eTwo Examples of Feminist Groups: Women in Film and Behind the Lens\u003c\/p\u003e  \u003cp\u003eWomen-Supportive Workshops and Production Groups\u003c\/p\u003e  \u003cp\u003eFilming in the Service of Social Activism: Video SEWA and Aina\u003c\/p\u003e  \u003cp\u003eCollectives\u003c\/p\u003e  \u003cp\u003eRental Houses\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 2: How hard can it be?\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eGender Discrimination\u003c\/p\u003e  \u003cp\u003eUnions and Guilds\u003c\/p\u003e  \u003cp\u003eWhen Cameras Were Heavy\u003c\/p\u003e  \u003cp\u003eHelpful Men\u003c\/p\u003e  \u003cp\u003eSsh! (Secret Sexual Harassment)\u003c\/p\u003e  \u003cp\u003eSabotage\u003c\/p\u003e  \u003cp\u003eGetting Paid Jobs\u003c\/p\u003e  \u003cp\u003eBreaking Out of Isolation\u003c\/p\u003e  \u003cp\u003eRising through the Ranks\u003c\/p\u003e  \u003cp\u003eBudgets and Glass Ceiling\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 3: Documentary: A good and satisfying career choice that is statistically friendlier to women that feature fiction filmmaking\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eFilming History Being Made in China\u003c\/p\u003e  \u003cp\u003eDocumentary: Historical and Personal\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 4: Hollywood, Bollywood, independents, and short forms\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eHollywood\u003c\/p\u003e  \u003cp\u003eIndian Cinema\u003c\/p\u003e  \u003cp\u003eThe Freedom of Independent Films\u003c\/p\u003e  \u003cp\u003eMusic Videos\u003c\/p\u003e  \u003cp\u003eCommercials and Such\u003c\/p\u003e  \u003cp\u003eExperimental \/ Avant-Garde Films and Video\u003c\/p\u003e  \u003cp\u003eArt Films and Videos\u003c\/p\u003e  \u003cp\u003eShooting Special Material: Birth\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 5: Special skills and creativity\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eHandheld Camerawork\u003c\/p\u003e  \u003cp\u003eCranes\u003c\/p\u003e  \u003cp\u003eUnderwater\u003c\/p\u003e  \u003cp\u003eHelicopters\u003c\/p\u003e  \u003cp\u003eSpecial Effects\u003c\/p\u003e  \u003cp\u003eLighting as a Cinematographer’s Dream Job\u003c\/p\u003e  \u003cp\u003eDigital Technology\u003c\/p\u003e  \u003cp\u003eStyle\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 6: Shooting around the world\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eErika Addis on Beginning her Career\u003c\/p\u003e  \u003cp\u003eArlene Burns on Filming in the Kuril Islands\u003c\/p\u003e  \u003cp\u003eYong-Joo Byun on Filming Comfort Women in Korea\u003c\/p\u003e  \u003cp\u003eNancy Durham on Filming the Balkan War\u003c\/p\u003e  \u003cp\u003eJolanta Dylewska on Filming in Kazakhstan\u003c\/p\u003e  \u003cp\u003eSabeena Gadihoke on Filming Three Women and a Camera\u003c\/p\u003e  \u003cp\u003eRozette Ghadery on Filming in Kurdistan\u003c\/p\u003e  \u003cp\u003eSue Gibson on Filming in Jordan\u003c\/p\u003e  \u003cp\u003eJoan Giummo on Filming Homeless Women in New York\u003c\/p\u003e  \u003cp\u003eAgnès Godard Pays Homage to Beauty\u003c\/p\u003e  \u003cp\u003eMarina Goldovaskaya on Filming History Being Made in Russia\u003c\/p\u003e  \u003cp\u003eEllen Kuras on Pivotal Moments in Shooting\u003c\/p\u003e  \u003cp\u003eHeather Mackenzie on Filming Romanian Orphans\u003c\/p\u003e  \u003cp\u003eSandi Sissel on Filming Salaam Bombay!\u003c\/p\u003e  \u003cp\u003eAgnès Varda on Filming the Human Body\u003c\/p\u003e  \u003cp\u003eLiz Ziegler on Filming Eyes Wide Shut (1999) for Stanley Kubrick\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 7: Can camerawomen also be women?\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eParents\u003c\/p\u003e  \u003cp\u003eFathers\u003c\/p\u003e  \u003cp\u003eMothers\u003c\/p\u003e  \u003cp\u003eFriends and Extended Family\u003c\/p\u003e  \u003cp\u003eHusbands\u003c\/p\u003e  \u003cp\u003eA Happy Marriage\u003c\/p\u003e  \u003cp\u003ePregnancy\u003c\/p\u003e  \u003cp\u003eChildren and Childcare\u003c\/p\u003e  \u003cp\u003eDaughters\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 8: What’s it really like?\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eA Typical Day\u003c\/p\u003e  \u003cp\u003eWhere Do Camerawomen Go?\u003c\/p\u003e  \u003cp\u003eWhat Do Camerawomen Wear?\u003c\/p\u003e  \u003cp\u003eWorking with the Crew\u003c\/p\u003e  \u003cp\u003eWorking with Directors and Procedures\u003c\/p\u003e  \u003cp\u003eActing Like men to Fit In\u003c\/p\u003e  \u003cp\u003eThe Advantages of Being Female\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eChapter 9: Magic moments, worst moments\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eSatisfactions\u003c\/p\u003e  \u003cp\u003eWorst Moments, Dangers, and Risking One’s Life\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 10: What do Camerawomen see?\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eRepresentation and Gender\u003c\/p\u003e  \u003cp\u003eEthics\u003c\/p\u003e  \u003cp\u003eCamerawomen Teaching\u003c\/p\u003e  \u003cp\u003e“Just Do It”\u003c\/p\u003e  \u003cp\u003eAspirations for the Future\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eList of camerawomen whose interviews are included in this book\u003cbr\u003e \u003cbr\u003e Bibliography\u003cbr\u003e \u003cbr\u003e Index\u003c\/strong\u003e\u003c\/p\u003e","brand":"Intellect Books","offers":[{"title":"Default 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