Titlebook: British Women Film Directors in the New Millennium; Stella Hockenhull Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Briti

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https://doi.org/10.1007/978-3-8349-9298-7s have been financially profitable on an international scale, whether their output consists of bio-pics or comedies. The bio-pics discussed here either hinge on a female central character (., .), or offer prominence to female characters as in Taylor-Wood’s .. However, the category that dominates is

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https://doi.org/10.1007/978-3-8349-9298-7ress societal concerns has proven available and beneficial. Financial support for higher budget and more mainstream filmmaking tends to be derived from Hollywood and, sadly, only a minority of women make blockbusters, particularly in the action and fantasy genres. Britain’s long-standing tradition o

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Women Directors and Documentary Cinema, about climate change and environmental issues do so with a personal conviction, sometimes, as with Franny Armstrong, continuing to create awareness beyond the original project, or similarly, as in Penny Woolcock’s mentoring enterprise, maintaining support for their projects. When women filmmakers p

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Book 2017 The second part of the book examines the innovation, creativity and resourcefulness of British female film directors, as well as the considerable variety of films that they produce, selecting specific examples for analysis in the process. ? ?

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