WFTHN Members Win Prestigious BAFTSS Awards

WFTHN congratulate our members Mary Harrod, Katarzyna Paszkiewicz, Melanie Bell and Isabel Seguí on their well-deserved success at the BAFTSS 2019 awards.  The full list of awards and comments can be found here.  

Mary Harrod

According to Mary, their collection Women Do Genre in Film and Television was born at the Doing Women’s Film and Television History Conference, at UEA in 2014. She and Kata met on a panel, along with fellow contributor Deborah Jermyn. The collection also features a preface by WFTHN founder Christine Gledhill. The publication which arose was described by BAFTSS as containing ‘nuanced, thoughtful essays’ and is ‘vital in its approach to genre.’

Katarzyna Paszkiewicz

The judges noted that the writing moved on from the notion of subversion in women’s production and specifically worked ‘with the force of genre and the many questions around it.’ The collection features essays on authorship, romcoms and Melissa McCarthy to name just a few of the topics covered. Read more about the project’s evolution in Kata’s post, published last year.

Melanie Bell

Melanie Bell’s winning journal article,  Learning to Listen: Histories of Women’s Soundwork in the British Film Industry’ published in Screen, was anticipated by her presentation at Women Breaking the Sound Barrier, held at the BFI, London in June 2016.  Exploring the contributions of women behind the camera and their technical expertise, the judges described the article as ‘an outstanding piece of historiographical filmic research’ based on ‘painstaking’ research.  Its scholarly importance was acknowledged, namely its restoration of the ‘overlooked’ work of women in a ‘timely […] feminist reworking.’ Melanie is delighted that her win means the study of feminist film history is receiving greater publicity and new audiences.  A WFTHN review of the sound event itself can be read here.

Isabel Seguí

Isabel Seguí has won the Best Doctoral Student Article or Chapter 2019 for her article which challenges established authorship approaches:Auteurism, Machismo-Leninismo, and Other Issues: Women’s Labor in Andean Oppositional Film Production’.   According to BAFTSS, Isabel succeeded in constructing ‘new paradigms for historiographic methodologies in screen industries research’. Isabel wrote the article in between WFTHN’s biannual conferences and credits their influence as inspiring, describing the 2016 conference as ‘life-changing’ since ‘I felt that I found a community of like-minded researchers.’ Specifically Isabel states that her WFTHN conference experiences enabled her ‘to write the article in those terms.’

Alongside congratulations, we send a huge thank you to all of the winners.  Their success reaffirms all of our academic members’ commitment to recover and reassess women’s work in film and television through exceptional scholarly effort. And, thereby, to place it at the centre of the film academy debates where it belongs.    


Bell, Melanie (2017). ‘Learning to Listen: Histories of Women’s Soundwork in the British Film Industry’ Screen, 58: 4, pp. 437-57.

Harrod, M. And Paszkiewicz, K. (2018). Women Do Genre in Film and Television. New York and London: Routledge.

Seguí, I. (2018). ‘Auteurism, Machismo-Leninismo, and Other Issues Women’s Labor in Andean Oppositional Film Production’, Feminist Media Histories, 4:1, pp.11-36. 

CfP: Feminism and Sound, Feminist Media Histories

Commentary and Criticism Call for Papers
16.6 Feminism and Sound 
Feminist analysis of media is a field that has arguably been dominated by the visual. From selfies to music videos to films, feminist media scholars have done important work to unpack the way representations of gender look. But how does gender sound in contemporary media? How are femininity, masculinity, and other expressions of gender represented sonically across media platforms? Podcasts, Instagrams, Vines, streaming music, and traditional formats such as radio, television, and film, all present a rich ground for the study of sound from a feminist perspective. This issue of Commentary and Criticism invites essay contributions specifically on feminist approaches to sound in relation to a range of media. We are particularly interested in submissions from beyond North America and the UK.


Possible paper topics include, but are certainly not limited to, the following:
  • Gendered soundscapes
  • Gender and speech
  • Gender and sound art
  • Feminist approaches to sound design in screen cultures
  • Women’s production of sound media
  • Feminist radio studies
  • Feminist readings of podcasts
  • Sonic performances of gender in popular music
The Commentary and Criticism section of Feminist Media Studies aims to publish brief (~1000 words), timely responses to current issues in feminist media culture, for an international readership. Submissions may pose a provocation, describe work in progress, or propose areas for future study. We will also consider book and event reviews, as well as contributions that depart from traditional academic formats. We encourage all submissions to strategically mobilize critique to also offer a productive contribution to both feminist politics and media studies. Submissions must go beyond mere description in order to be considered for publication in Commentary and Criticism.
Please submit contributions by 22nd July 2016, via email to guest editor, Philippa Lovatt ( as well as standing editors, Susan Berridge ( and Laura Portwood-Stacer ( Questions and expressions of interest can also be addressed to Drs. Lovatt, Berridge and Portwood-Stacer in advance of the deadline.
Email submissions directly to Philippa Lovatt, Susan Berridge and Laura Portwood-Stacer, as submissions for Commentary and Criticism will not be correctly processed if submitted through the main Feminist Media Studies site. 
Please be sure to follow the Feminist Media Studies style guide, which can be found here.