Let’s discuss the giant elephant in the corner of the room, or more specifically in the corner of the movie theatre – women are massively under represented in the film industry but audiences are blindly ignoring the fact. In the top 500 films from 2007-2012 just over only 30% of speaking characters were women.
In the same time frame 26% of women onscreen got partially naked as opposed to 9% of men. Women on screen are being seen but not heard, fact, so start talking about it, blog about it, tweet about it, shed light on the industry’s prejudices to bring about a change.
Part of the problem is the lack of women succeeding in the big-budget film making industry. Women comprised just 16% of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 (U.S.) grossing films of 2013. This dramatic under-representation of women filmmakers inevitably leads to a lack of females on screen. Last year, females accounted for just 15% of protagonists and 29% of major characters.
There was also a lack of strong characterisation for female parts. Female characters were younger than their male counterparts, they were less likely to have any clear identifiable goals and were more likely than males to have an identifiable marital status – what message is this sending out to our audiences?
We need do to increase women’s exposure and power in the movie industry. Launched in Sydney in 2009, Seen and Heard is as a non-profit film festival, which helps to bring to light prejudices in the film business. Through screening women’s films, the festival promotes the message that films made by women are not just for women: they are wonderfully rich films that should be seen by everyone. For the first time this year, the festival is coming to Melbourne.
Film Festival Guide talked to Melbourne festival director, Mia Falstein-Rush about the dramatic under-representation of women amongst both cast and crew in the film industry, how this is an impoverishment to our culture, and what we can do about ending inequality in the industry.
How did you become involved in Seen & Heard?
I became friends with Lucy Randall, who started Seen & Heard in Sydney in 2009. I was so inspired by her commitment to women in film and her dedication to showcasing their art, that I approached her about doing the same in Melbourne. She was naturally very excited!
What has the response to the Melbourne festival been like; can you tell me a bit about the submissions you have received so far?
The responses from individuals, community art organisations, major governmental establishments and, of course, filmmakers have all been overwhelmingly positive. The Australian Centre for the Moving Image (ACMI), our venue for 2014, have been tremendously supportive – I think the public is definitely ready to see and hear the other side of the story. As for submissions – well, we’re still accepting them until August 1, so I can’t give away too much. The team has a lot of watching to do, but from the small subsection I have seen thus far, I can definitely say there will be something for everyone in there!
In 2013, females accounted for 15% of protagonists, 29% of major characters, and 30% of all speaking characters – women on film are being seen but not heard, what effect do you think this is having on audiences and our culture?
Marie Wilson, founder of The White House Project, put it perfectly when she said “You cannot be what you cannot see”. So much is lost by limiting the voices and stories of women; when your gender accounts for more than half the world’s population but only 15% of film protagonists, you start to accept this arbitrary limitation from a young age. A woman can’t be a superhero. A woman can’t be President. A woman can’t exist in film without being girlfriend, sister, or mother. How can we claim that our culture is an evolved or enlightened one if we preference the voice of one section of society over another? Our society is indeed impoverished when one half of it is reduced to uninspired, tedious tropes.
When Kathryn Bigelow won the Oscar for best director in 2010 for the Hurt Locker she said ‘That barrier’s down now,’ referring to the 82 years it had taken for a woman to take the best director crown. Do you feel the barrier is down?
It is but one of many barriers. Undoubtedly she is not the first noteworthy woman in film and indeed The Oscars are not the summit of critical worth, however she is a female filmmaker defying industry bias and there is definitely inspiration to be taken from that.
How accurately do you think these major award ceremonies represent the talent that is out there?
Major award ceremonies represent very little of the talent out there! They are primarily the domain of films that benefit from the financial backing of major studios, and those are typically run by wealthy businessmen who have no interest in anything but the status quo. The big studio heads are invested in what they presume will make them money (however inaccurately!), and not the merit-based recognition of its artists.
What can the public do to help tackle the under-representation of women in production roles in mainstream media?
The best way to communicate with the studios and challenge their hegemony is through your wallet – support female filmmakers by paying to see their films at your local cinema, or support any film that doesn’t shy away from having females in major production roles. The only way we, as a society, can see and hear female filmmakers, is to watch for and listen to them.
Who are your favourite female–identifying filmmakers in Australia today?
Jennifer Kent, Rachel Perkins, and Cate Shortland are a few that come to mind. And of course Tracey Moffatt and Jane Campion will always be on my list of favourites.
Seen and Heard is coming to Melbourne’s ACMI from November 13 – 16. They are currently taking film submissions from any female-identifying filmmaker (including directors, producers, editors, cinematographers, screenwriters, and production designers), applications close August 1st.http://www.shmelb.com/submissions/
