POSTMODERN FEMINISM INSIGHT TOWARDS SUFFRAGETTE MOVIE

Feminist Legal Studies, 2016

Review of the film Suffragette (2015), written by Abi Morgan and directed by Sarah Gavron, considering its use of fiction to explore women's history, comparing it to other dramatic treatments of the suffrage campaign, its historical accuracy and its portrayal of the legal and social position of women, and wives, during the early twentieth century. Keywords Suffrage Á Suffragette Á Film Á Legal history Á Women's history Suffragette, written by Abi Morgan and directed by Sarah Gavron, deals with a subject close to the soul, as well as important to the academic interests, of many feminists and scholars of women and the law: the early twentieth century campaign for women's suffrage. In particular, it focuses on the militant campaign of the Pankhurst-led Women's Social and Political Union (W.S.P.U.) in 1912-1913, and on London. The main characters are fictitious, though they interact with the real historical cast in the shape of Emmeline Pankhurst, Emily Wilding Davison, David Lloyd George and King George V. We see the main character, East End laundry worker Maud Watts (Carey Mulligan), grow from uncomplaining exploited and apolitical young worker, wife and mother to observer of the suffrage campaign, then sympathiser and finally full participant in protest and militancy, and are shown both the cruel price she pays for her activism and also the positive side of her personal and intellectual growth and formation of deep friendships within the women's movement.

2020

This study aims to reveal the women struggle in fighting for human rights, especially for women done by women characters in a movie entitled Suffragette, directed by Sarah Gavron. As women who live the life whereas the government of the country is dominated by men, it is hard for women to participate in the government. Based on that, some research problems of this study are related to: (a) how society treat women especially related to women's working condition; (b) how is the oppression of women depicted in the movie; and (c) how is the First Wave of Feminism affects to the women movement. To analyze the movie, this study will use the conception of women's right by Mary Wollstonecraft and a perspective of First Wave of Feminism. The result of this study showed that the female characters want to shape women and men equality in the case of women’s right to vote as civil right. They wanted an equality between the men and the women, being appreciated, and had security from the c...

Amal International Journal of Economics &Social Science, 2015

In this paper, I propose to engage in formal theorizing of feminism thereby transcending its localized contexts. The postmodern anti-foundationalism stemming from the theses of death of man, history and metaphysics decentres feminism and threatens to flatten all experience as celebration as the disembodied 'view from everywhere'. is nihilistic and ultra-relativist position rejects the concept of a rational coherent subject and thus the enlightenment ideal of a rational pursuit of knowledge as no such knowledge is achievable; making the political project of universal emancipation an utopia. Feminism and postmodernism need not, however, be at loggerheads always as I try to argue hereby a process of strategic selection that suggests common grounds for the two to reconcile differences and certain theoretical stances that rather than deconstruct offer a reconstruction of new realities while acknowledging the need to accommodate alterity. This will include real time differences in ground realities and warrant the presence of feminisms rather than a monolithic tradition of Western feminism.

Green left weekly, 2016

Review(s) of: Suffragette, Directed by Sarah Gavron Starring Carey Mulligan, Helena Bonham Carter and Meryl Streep, Written by Abi Morgan.

Women's History Review, 1995

Recent work on the militant suffrage movement in Britain suggests that the Edwardian 'Votes for Women' campaign promoted in its participants a common identity forged through the experiences of the suffragette hunger strike and forcible feeding. Critical scrutiny of the texts upon which these analyses are based, however, reveals a more complex relationship between suffragettes' experiences and their representations of the same. In the 1920s and 1930s, a small group of former suffragettes created a highly stylized story of their participation in the Edwardian suffrage campaign that equated militancy with service to the nation during the First World War. While this story drew upon earlier representations of women's martyrdom and passivity, it more consistently promoted the agency and comradeship of women in the movement. This aspect of the narration of the subject of suffrage has played a significant, yet unexamined, role in the self-fashioning of British and American feminist scholars since the 1970s. In her introduction to the 1987 Cresset Library reissue of Christabel Pankhurst's 1959 memoir, Unshackled: the story of how we won the vote, Rita Pankhurst, daughter-in-law of Christabel's younger sister, Sylvia, observed that in contrast to the fate of the "constitutional" wing of the Edwardian women's suffrage movement, the "militant" wing "is alive in the popular memory and some meaning attaches to the word 'Suffragette' ... It would appear that the suffragettes have hijacked the movement's image as they hijacked the action at the time".[2] A glance across the historiography of the British women's suffrage movement would bear out this analysis.[3] Not only do suffragettes dominate discussions of the prewar women's suffrage movement, but the very definition of militancy with which historians and critics operate equates it with the material practices of window-breaking, arson, and hunger striking, associated with members of the Women's Social and Political Union under the leadership of Christabel and Emmeline Pankhurst. This remains the case, despite the presence of a vibrant and CREATING THE 'SUFFRAGETTE SPIRIT' 319

Pakistaniaat, 2013

Suffragette movement, 2023

The essence of this final paper is to analyze women's struggle for freedom and their right for voting, as well as approach the issue critically based on "Suffragette" movie. At this time, most women did not have the right to vote and the opportunity to work equally with men was unattainable. These women faced with numerous social obstacles and exploitation, including exclusion from political engagement. Incorporating evidence from reviews, personal correspondence and diaries this paper demonstrates that the fight for suffrage could easily have relied up people and seemed aggressive or radical to the audience. However, then, people congratulated feminists on the progress they have achieved in the end. It argues for the argumentation about the workings of patriarchal power, the complexity of political resistance and economic implications of the right to vote. These concerns are particularly evident that patriarchic society reinforces structural violence against female by spreading discrimination. Contrary to what has often been assumed, the rise of men's hegemony and their contribution to inequality is largely attributable to discrimination in the division of paid labor and gender roles in the political society. This final paper is consist of introduction, critical, conclusion part and reference. In the introduction part, I depicted a general view of the film, where as in the critical part how the film impressed at first glance and which parts were unacceptable in the film. It is well-known that in the conclusion part, I summarized the entire work.

Revue française de civilisation britannique, 2018

The 2015 film Suffragette grossed 4.7 million at the box office, was screened in cinemas across the UK and was awarded "Best Movie about Women" by the Women Film Critics Circle Awards. 1 Finally the subject of my own historical research had hit the mainstream, generating much debate not just among historians but also within activist circles and on social media. Yet not all the attention was positive, especially with regards to the race politics of both the film and the movement whose story it told. This posed some difficult questions for me as a historian and as a feminist committed to organising for radical social change. How should I best engage with the explicit politicisation of my academic research, and how could I use history to inspire present-day struggles without romanticising, demonising or oversimplifying the past? Directed by Sarah Gavon and written by Abi Morgan, Suffragette sets out to tell the story of the "foot soldiers" of the militant suffrage movement, rejecting a focus on the famous Pankhurst family to look instead at the working-class women active in the Women's Social and Political Union (WSPU). This was a refreshing take on a movement that is often represented, at least on screen and in the school room, as a story of posh and slightly unhinged ladies in impressive hats, to whom we all have to feel extremely grateful. The WSPU did indeed recruit among the wealthy, and was led mainly by middle-class women. Yet, as feminist historians have been arguing for decades, it also gained significant support from women workers-many of whom joined the fight, despite the difficulties of combining this with jobs in factories or domestic service and their responsibilities as wives and mothers. 2 While Suffragette was widely congratulated for its attention to working-class militants, 3 the most substantive and widely discussed critique was of its race politics. Kirsten West Savali and Sarah Kwei criticised the film not only for failing to cast actors of colour and represent suffragettes of different ethnicities, but also for its publicity photoshoot in Time Review article: The Politics of Remembering the Suffragettes Revue Française de Civilisation Britannique, XXIII-1 | 2018

Women's History Review, 2002

Revisioning Democracy and Women's Suffrage. Critical Feminist Interventions, 2024

Gender Studies developed alongside and emerged out of feminist movements and critical theorizing of the 20 th century. Today they are both recognized as a discrete teaching and research area and an integral part of various disciplines. Gender Studies analyze how gender constitutes social order and power relations past and present. It is in this respect that gender is not understood as a biological or natural constant but as a historically and culturally specific, life-long process of differentiation and becoming and as a way of existence. Gender is thus always also an effect of social and individual processes. The book series "Gender Issues" unites theoretical and empirical work in the field of Gender Studies in the humanities and the social sciences. The series is open to different disciplines and languages. It may thus be understood as bridging the gap between different research sensibilities and language cultures. The series "Gender Issues" is edited by the Swiss Association for Gender Studies. The series is peer-reviewed and open-access.