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This book investigates women's work in Italy between 1945 and 1965 using films, original oral history interviews, and archival sources. It focuses on three sectors: agriculture (rice weeders), fashion (seamstresses), and religious work (nuns) and compares women's own words with their representation in film. 20 b/w illus.

Motion pictures. --- Motion pictures

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Economics in motion pictures. --- Motion pictures

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Political Economy Goes to the Movies provides an introduction to political economy using a wide range of popular films and documentaries as the objects of analysis. The work helps readers to understand and analyze the economic and related political, cultural, and ecological relationships depicted in selected films.

Economics in motion pictures.

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Long description: Digitales Kapital spielt auf Gewinne an, die Großkonzerne im Spätkapitalismus aus personenbezogenen Daten und deren algorithmisch operierenden Verarbeitungsfunktionen erwirtschaften. Darauf bauen neue Geschäftsmodelle einer new economy unter Mitarbeit von clickworkern. Diese werden über Rekrutierungsplattformen angeheuert, ohne Kosten innerbetrieblicher Integration zu verursachen. Sie verbinden Produzenten und Konsumenten weltweit digital in Bruchteilen von Sekunden und bedienen Bedürfnisse, die dem Konsumenten zugerechnet werden. Diese Zurechnung erfolgt sobald der Konsument selbst sein Nutzerprofil preisgibt, indem er den Aufruf zugespielter Seiten mit adressierten Ikons bedient. Andererseits hat das digitale Kapital das Potential, individuellen Nutzen daraus ziehen zu können, wenn es gelingt, den Kapitalbegriff an das Versprechen individueller und politischer Souveränität zu binden, wie wir es seit der neuzeitlichen Aufklärung kennen. Dieses Versprechen ist dann eingelöst, wenn die Verfügungsmacht über digitales Kapital -- im Gleichzug mit ökonomischem, sozialem, kulturellem und symbolischem Kapital -- den Individuen nach Maßgaben ausgleichender Gerechtigkeit übereignet und am Wohl Aller ausgerichtet wird.

Motion pictures --- History.

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"Indian cinema is the only body of world cinema that depicts courtesans as important characters. In early films courtesan characters transmitted Indian classical dance, music and aesthetics to large audiences. They represent the nation's past, tracing their heritage to the fourth-century Kamasutra and to nineteenth-century courtly cultures, but they are also the first group of modern women in Hindi films. They are working professionals living on their own or in matrilineal families. Like male protagonists, they travel widely and develop networks of friends and chosen kin. They have relations with men outside marriage and become single mothers. Courtesan films are heroine-oriented and almost every major female actor has played this role. Challenging received wisdom, Vanita demonstrates that a larger number of courtesans in Bombay cinema are Hindu and indeterminate than are Muslim, and that films depict their culture as hybrid Hindu-Muslim, not Islamicate. Courtesans speak in the ambiguous voice of the modern nation, inviting spectators to seize pleasure here and now but also to search for the meaning of life. Vanita's groundbreaking study of courtesans and courtesan imagery in 235 films brings fresh evidence to show that the courtesan figure shapes the modern Indian erotic, political and religious imagination."--Bloomsbury Publishing.

Motion pictures --- Actresses --- Courtesans --- Sex role in motion pictures.