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• W101041482 abstract "Wendy Kolmar, with teaching guides by Caitlin Killian, Debra Liebowitz, Lynne Derbyshire, and Carot J. Pierman The most common and ubiquitous experience of film for women's studies students is the viewing of documentaries in core women's studies courses, particularly introductions to women's studies. Films and videos regularly supplement readings and discussion in introductory courses. Most women's studies faculty could make a long list of films used regularly in such courses, probably headed by Still Killing Us Softly and perhaps Rosie the Riveter While we as faculty are not unaware of the politics of representation and the complexities of taking such documentaries as transparent and nondistorting lenses into particular women's lives or experiences, we also understand the power of such films and videos to bring the faces, voices, and environments of their subjects into the classroom, especially for a generation of students raised, for the most part, in a highly visual and media-oriented culture. We do use these films with the sense that, as Tania Modleski suggests, they can bring real women into our classrooms and give our students some sense of experiences and lives that are different from their own, whether the distance is marked chronologically or by location, race, or sexuality. This use of film is an important component of women's studies teaching. And women's studies programs and faculty remain an important, large, and reliable audience and market for the work of documentary filmmakers interested in issues of gender and other, intersecting forms of difference. I'd like to think that the growth of women's studies programs had both encouraged the production of such films and helped to train and inform the thinking of the filmmakers creating them. In putting this WSQ issue together, it seemed to me important that this most common connection between film and women's studies be acknowledged and represented. In the short essays that follow, women's studies faculty in different fields responded to the following questions in relation to a film they teach and that is taught frequently in other programs as well: In what contexts do you teach this film? What readings do you use in conjunction with the film? What are the strengths of the film as a teaching tool? What are its drawbacks, or are there ways in which you feel you need to supplement the film in order to use it effectively? For those who have never taught these particular films, these short pieces will I hope offer a sense of the film and at least one way it has been taught. For those of us who use these films frequently, the essays may simply allow us to go back to the films next semester with a different perspective or to locate them differently in our syllabi and revitalize them for ourselves as teaching tools. Meeting these films again in the context of the other material in the issue may perhaps also remind us to ask our students to think about the ways in which the films we show function as films and to raise questions about how such films edit, control, or direct our attention as they re-present 'real' women's lives in the context of women's studies classrooms. The Life and Times of Rosie the Riveter Caitlin Killian The Life and Times of Rosie the Riveter explores the participation of women in the American labor force during World War II and the consequences of their exclusion from manufacturing work when the men came home.1 Interspersing interviews with five women employed in wartime industry jobs with shots of posters, songs, and film footage from the 1940s, the documentary is not simply entertaining but conveys a powerful message about the construction of gender roles. It provides an excellent example of how societal-level changes affect individuals and is an effective tool for provoking discussion of women's history, women and work, and gender role socialization. Students are frequently under the impression that before World War II all women were full-time homemakers. …" @default.
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• W101041482 date "2002-04-01" @default.
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• W101041482 title "The Films We Teach: Using Rosie the Riveter, Global Assembly Line, Dreamworlds II, and Fast Food Women in the Women's Studies Classroom" @default.
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