Abstract
Classical Hollywood's “woman's film” has evolved in the seven decades following the demise of the studio system subsequent to the 1948 Paramount Decree, during which period the importance of female audiences declined, and the tastes of young males, as young as 10, dominated theatrical release. Notwithstanding a number of cycles, largely mid‐tier films marked the development of the new woman's film, starting in the 1970s with the independent woman's film, followed by the female friendship film, and the chick flick or girly film. This genre survived into the first decade of the 21st century, after which theatrical releases directed at the female audience became increasingly rare. The emergence of a few blockbusters starring a female super‐hero is the exception to the rule; however, these films typically have a broad‐based audience and appeal to younger women as one segment of their audience. Contemporary women's films, usually low budget, or little movies, are more common and are diverse in terms of genre, budget, and nationality. Since the 1990s American independent film and arthouse cinema, historically male‐dominated, have become more responsive to the female audience and frequently provide vehicles for female stars. These productions are more likely to be directed by a woman than in the past and, with the development of streaming services with an international reach, they are also more likely to be watched at home rather than in a theater.