Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 273-297). Available also in a digital version from Dissertation Abstracts.

Thesis (M.A.) - Carleton University, 2007. / Includes bibliographical references (p. 102-107). Also available in electronic format on the Internet.

Thesis (M.A.)--University of Hong Kong, 1995. / Includes bibliographical references (leave [46]). Also available in print.

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 48-49). Also available in print.

Undergraduate honors paper--Mount Holyoke College, 2005. Program in American Studies. / Includes bibliographical references (leaves [115]-122).

Thesis (M.Soc.Sc.)--University of Hong Kong, 1995. / Includes bibliographical references. Also available in print.

Thesis (M. A.)--University of the Philippines, April, 1991. / Typescript. Includes bibliographical references (leaves 196-205).

Thesis (M.A.)--Ohio University, June, 2003. / Title from PDF t.p. Includes bibliographical references (leaves 95-98)

The roles that women perform as depicted in African films are often dictated to by the type of society they find themselves in. At first glance traditional societies can be seen as oppressive because of the presence of certain cultural practices. Alternatively modern urban settings appear to offer women authority and empowerment through employment. However, with a closer examination one sees that the situation is not so simplistic. Such is the case when certain traditional practices that are deemed oppressive through a Western perspective, are still found in urban societies. Films on the subject of African women have to be cautious not place their characters in stereotypical roles. Therefore, it is not enough to merely portray African women as ‘oppressed’. African films that engage in a feminist critique need to present ‘realistic’ portrayals of African women. Such characters are layered and complex. The film Faat Kine (2000) depicts such a character in the authoritative protagonist Kine. The film La Vie est Belle (1987) examines the issue of polygamous marriages and patriarchy from the point of view of two African women living in France. Touki Bouki (1973) examines two young characters living in Senegal and questions the possibility of escape from ones circumstances. Traditional practices such as polygamous marriages are explored in Xala (1975), and Finzan (1989) explores cultural practices such as forced marriages and female circumcision. This treatise will consider women and work in both traditional society and urban settings. African feminism will also be investigated for the purpose of exploring common social perceptions of women in Africa.

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