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World Cinema Topics: Empowering Women | Pumzi (2009)

Rob Miller | Friday September 09, 2016

Categories: A Level, EDUQAS A Level, EDUQAS A2, FM4, Section A: World Cinema, Analysis, Film Analysis, Films & Case Studies, World Cinema, Pumzi, Genres & Case Studies, Science Fiction

WJEC A2 Film Studies FM4 Section A World Cinema: Empowering Women

Empowering Women Past Exam Questions:

  1. Discuss how persuasive you have found the different films you have studied for this topic in promoting female empowerment.
  2. In the films you have studied for this topic, how far can it be said that central characters and their situations are represented in similar ways?
  3. Discuss how far men are represented as enemies of female empowerment in the films you have chosen for this topic.
  4. Explore some of the ways in which film techniques are used to position audiences to identify with female characters in the films you have chosen for this topic.
  5. How far do the films you have studied for this topic employ mainstream narrative and genre features to communicate their themes and ideas?
  6. ‘Female empowerment is actually difficult to define or measure’. Has this been your experience in the films you have studied for this topic?

This resource seeks to offer an in-depth analysis of one film to add to resources available here. Stronger exam responses focus on a comparative analysis of two films, for example comparing the more mainstream Pan’s Labyrinth (del Toro, 2006) with Cleo from 5 to 7 (Varda, 1962) – a left bank nouvelle vague production and very much a challenge to the formalism of mainstream cinema.

Pumzi (Wanuri Kahiu, Keyna 2009)

Click here for a link to the film or see below.

Pumzi is a Kenyan science fiction film short written and directed by Wanuri Kahiu, evidencing female authorship. The film is in English but the title is Swahili for ‘breath’ and focuses on female protagonist Asha who lives in a post apocalyptic, futuristic community. Nature no longer exists, water is scarce and recycled from sweat and urine while the outside is both forbidden and ‘dead’.  Typewriter font titles indicate the narrative diegesis is ‘35 Years after WWIII: ‘The Water War’.

When a sample of fresh soil mysteriously ends up in her...

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