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Beyond sexual and reproductive health, African-Americans and Hispanics bear a greater disease burden than whites across a range of important health indicators. Blacks, for example, are almost twice as likely as whites to have diabetes. New cases of colorectal, pancreatic and lung cancer occur more often in African-American women than in any other group. There is a higher incidence of stomach and liver cancer among Hispanics, male and female, than among whites and a higher mortality rate from these cancers as well.

Seeing a doctor is particularly important if the cause is an STI. Young people assigned female at birth (AFAB) are especially at risk for developing serious long-term health complications from untreated STIs, according to the Centers for Disease Control and Prevention (CDC).

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The long-term outlook depends on the cause. In many cases, female genital sores can be cured with treatment. However, some conditions, such as genital herpes or chronic skin issues, can be lifelong, leading to recurring sores.

Our Violence and Harassment Against Women in the News Media report offers the first comprehensive picture of the dangers faced by many women working in news media around the world. It describes the types of violence and threats female journalists encounter and considers how these incidents affect their ability to conduct their work. We also identify trends among reported incidents, with the hope of improving the ways in which the safety concerns of women journalists are addressed.

Rosie the Riveter was the star of a campaign aimed at recruiting female workers for defense industries during World War II, and she became perhaps the most iconic image of working women. American women entered the workforce in unprecedented numbers during the war, as widespread male enlistment left gaping holes in the industrial labor force. Between 1940 and 1945, the female percentage of the U.S. workforce increased from 27 percent to nearly 37 percent, and by 1945 nearly one out of every four married women worked outside the home.

By 1945, there were more than 100,000 WACs and 6,000 female officers. In the Navy, members of Women Accepted for Volunteer Emergency Service (WAVES) held the same status as naval reservists and provided support stateside. The Coast Guard and Marine Corps soon followed suit, though in smaller numbers.

Not an STD itself, pelvic inflammatory disease (PID) is a serious complication of untreated STDs, especially chlamydia and gonorrhea. It happens when bacteria spread to infect the uterus and other female reproductive organs. Prompt treatment is essential to prevent damage to a woman's fertility.

The male monarch butterfly has a black spot on each hind wing that is made up of specialized scales. In other butterflies, similar spots emit pheromones to attract females, but scientists are not sure what function these spots serve for monarch males.

"Such blatant falsehoods being published exemplify the character of a candidate. As I've learned more about Gabrielle Hanson and her views, such an egregious attempt to show diverse female support is disgusting.

"I would encourage her to go meet genuine friends so she can take photos with those folks if she's looking for supporters," she said. "There's no need to comb pictures on the Internet to make up a story. None of us need that."

The woman's film is a film genre which includes women-centered narratives, female protagonists and is designed to appeal to a female audience. Woman's films usually portray stereotypical women's concerns such as domestic life, family, motherhood, self-sacrifice, and romance.[2] These films were produced from the silent era through the 1950s and early 1960s, but were most popular in the 1930s and 1940s, reaching their zenith during World War II. Although Hollywood continued to make films characterized by some of the elements of the traditional woman's film in the second half of the 20th century, the term itself disappeared in the 1960s. The work of directors George Cukor, Douglas Sirk, Max Ophls, and Josef von Sternberg has been associated with the woman's film genre.[3] Joan Crawford, Bette Davis, and Barbara Stanwyck were some of the genre's most prolific stars.[4]

The themes in woman's and male-oriented films are often diametrically opposed: fear of separation from loved ones, emphasis on emotions, and human attachment in women's films, as opposed to fear of intimacy, repressed emotionality, and individuality in male-oriented movies.[19] The plot conventions of woman's films revolve around several basic themes: love triangles, unwed motherhood, illicit affairs, the rise to power, and mother-daughter relationships.[23] The narrative pattern depends on the activity engaged in by the heroine and commonly includes sacrifice, affliction, choice, and competition.[24] The maternal melodrama, the career woman comedy, and the paranoid woman's film, a subgenre based on suspicion and distrust, are the most frequent subgenres.[25] Female madness, depression, hysteria, and amnesia were frequent plot elements in Hollywood's woman's films of the 1940s. This trend took place when Hollywood tried to incorporate aspects of psychoanalysis. In the medical discourse in films like Now, Voyager (1942), Possessed (1947) and Johnny Belinda (1948), mental health is visually represented by beauty and mental illness by an unkept appearance; health was restored if the female protagonist improved her appearance.[26] Friendship among women was fairly common,[27] although the treatment was superficial and focused more on women's dedication to men and female-male relationships than on their friendships with each other.[28]

The female protagonist is portrayed as either good or bad.[30] Haskell distinguishes three types of women that are particularly common to woman's films: the extraordinary, ordinary and the "ordinary woman who becomes extraordinary". The extraordinary women are characters like Scarlett O'Hara and Jezebel who are played by equally extraordinary actresses like Vivien Leigh and Bette Davis. They are independent and emancipated "aristocrats of their sex" who transcend the limitations of their sexual identities. The ordinary women, in contrast, are characters like Lara Antipova, who are bound by the rules of their respective societies because their range of options is too limited to break free of their limitations. The ordinary woman who becomes extraordinary is a character (like, for an example more recent than Haskell's classification, Katniss Everdeen) who "begins as a victim of discriminatory or economic circumstances and rises, through pain, obsession, or defiance, to become mistress of her fate."[31] Depending on the type of heroine a film champions, a film can be either socially conservative or progressive.[32] Certain archetypal characters appear in many woman's films: unreliable husbands, the other man, a female competitor, the reliable friend, usually an older woman, and the sexless male, frequently depicted as an older man who offers the protagonist security and luxury but makes no sexual demands on her.[33]

A common motif in Hollywood's woman's films is that of the doppelgnger sisters (often played by the same actress), one good and one bad who vie for one man as Bette Davis in her double role in A Stolen Life (1946) and Olivia de Havilland in The Dark Mirror (1946).[34] The good woman is portrayed as passive, sweet, emotional, and asexual whereas the bad woman is assertive, intelligent, and erotic. The conflict between them is resolved with the defeat of the bad woman.[35] A central element of the 1980s British woman's film is the motif of escape. Woman's films allow their respective female protagonists to escape their everyday lives and their socially and sexually prescribed roles. The escape can take the form of a journey to another place such as the USSR in Letter to Brezhnev (1985) and Greece in Shirley Valentine (1989) or education as in Educating Rita (1983) and sexual initiation as in Wish You Were Here (1987).[13]

The genre was revived in the early 1970s.[44] Attempts to create modern versions of the classic woman's film, updated to take account of new social norms, include Martin Scorsese's Alice Doesn't Live Here Anymore (1974), An Unmarried Woman (1978) by Paul Mazursky, Garry Marshall's Beaches (1988), and Fried Green Tomatoes (1991) by Jon Avnet. Similarly, the 2002 films The Hours and Far from Heaven took their cues from the classic woman's film.[45] Elements of the woman's film have reemerged in the modern horror film genre. Films such as Brian De Palma's Carrie (1976) and Ridley Scott's Alien (1979) subvert traditional representations of femininity and refuse to follow the traditional marriage plot. The female protagonists in these movies are driven by something other than romantic love.[46]

Within British cinema, David Leland returned to the formula of the 1980s woman's film in The Land Girls (1998). The film tells the story of three young women during World War II and offers its heroines the opportunity to escape their old lives. Bend It Like Beckham (2002) emphasizes the key generic theme of female friendship and casts the heroine in a conflict between the restrictions of her traditional Sikh upbringing and her aspirations to become a football player. Lynne Ramsay's Morvern Callar is based on the woman's film tradition; a young woman escapes to Spain and pretends to be the author of her boyfriend's novel. While Morvern's journeys and transformations allow for liberation, she ends up where she started.[47]

Jeanine Basinger notes that woman's films were often criticized for reinforcing conventional values, above all, the notion that women could only find happiness in love, marriage and motherhood. However, she argues that they were "subtly subversive". They implied that a woman could not combine a career and a happy family life, but they also offered women a glimpse of a world outside the home, where they did not sacrifice their independence for marriage, housekeeping, and childrearing. The pictures depicted women with successful careers as journalists, pilots, car company presidents, and restaurateurs.[4] Similarly, Simmon notes that the genre offered a mixture of repression and liberation, in which repressive narratives are regularly challenged, partly via mise-en-scne and acting but also by conflicts within the narratives themselves. He further states that such resistances were present in some of the earliest woman's films and became the rule with Douglas Sirk's postwar American woman's films.[48] Others have argued, however, that the narratives of these films offer only the repressive perspective and that viewers must read the texts "against the grain" to be able to find a liberating message.[49] Critics such as Haskell have criticized the term "woman's film" itself. She writes: ff782bc1db