Even if women become more involved in the aspects of film that make the most important decisions about the film that doesn�t mean that they will make change in the role of women in film. As Keough points out �as more and more women have taken on positions of authority in the industry, no resistance in sensibility has followed.� He continues on �Women who become studio executives or producers change their own attitudes, it seems, not those of the studios, whose point of view remains mercenary, and shallow�.
The best hope for feminist film then is to continue doing what so many other social communities are. That is to hold independent film festivals, but even then the films will be restricted to those festivals and not see mainstream distribution. �In addition to producing films, feminist filmmakers created an alternate and relatively autonomous marker in which their films are distributed and screened.� (Rosenberg) Perhaps guilds can be formed that would insure certain feminist ideals. The struggle may be strong but if the fight is won then the benefits will be great.
The progression of story telling has changed forms from the spoken word to the images of the cinema, and as we can now see, the stories that are told in the eye of the camera has a larger effect on communities than we think about on a regular basis. We fall into categories of viewers and are told what we can watch by the mainstream movie production companies, while the struggle to be heard continues with the minority film and the documentary hangs in between trying to open our eyes to the world around us.  With out film we cannot see a reflection of what is truly going on in our world. Then power struggle in the world of the cinema is very similar to the power struggle that all communities in out society face. The evolution of film has come far with in the past century. From black and white silent film (The Birth of a Nation) to full color musicals (Singing in the Rain) to film where color is a privilege to see and to have (Pleasantville). Films have moved us in a very personal level and inspire us to take action, make change or just to purchase merchandise. The art of film has given us the gift of looking at ourselves through a different set of eyes. What do we want to do when we see ourselves? Do we want to make changes for the better or do we want to close our eyes and tell ourselves it is not real? What every way you choose to answer these questions, the evolution of film will keep changing with the society and communities that make them. If by any chance you have had enough of the stereotypical film the main stream pushes out in font of you, then you can seek out the alternative film. You just may expand your mind and way of thinking. At this moment in time the sky is the limit in the possibilities of film. Whether you decide to expand your mind with alternative film or documentaries or continue to buy into the fascist film, I will join you in the seats in the dark. Together we shall see, hear, and feel the story presented to us.
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Katz,  Stuart,  John.  Kramer,  Robert.  Perspectiveson the Study of Film.  Boston:  Little,  Brown.  1971.

Keough,  Peter.  Flesh and Blood.  San Francisco:  Mercury House,  1995.

Lemert,  Charles.  Social Theory: The Multicultural and Classic Readings, 2nd Edition.  Oxford:  Westview, 

Miller,  Lynn  Fieldman.  The Hand That Holds the Camera.  London:  Garland Publishing,  1988.

Palmer,  Barton  R.  Hollywood�s Dark Cinema.  New York:  Twayne,  1994.

Pietropaolo,  Laura.  Testaferri,  Ada.  Feminisms in the Cinema.  Indianapolis:  Indiana University,  1995.

Rose,  Jacqueline.  Sexuality in the Field of Vision.  London:  Verso,  1986.

Rosenberg,  Jan.  Women�s Reflections: The Feminist Film Movement.  Ann Arbor:  UMI Research Press,  1983.

Telotte,  J.  P.  Voices in the Dark.  Champaign:  University of Illinois,  1989.

Wood,  Robin.  Sexual Politics and Narrative Film: Hollywood and Beyond.  New York:  Columbia University,  1998.
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