1) They have childcare responsibilities
2) It is a male dominated industry
3) Women are discouraged by so few other female directors
4) Women usually choose to conform to traditional gender roles
5) sexual discrimination within the industry
3 ways the number of female directors can be improved
1) To offer more media related subjects within schools
2) To give more media attention to female directors in order to motivate others
3) conjugal roles should be more equal within the household so that women can go out and pursue their careers while men lookafter the children and the house.
Tuesday, 16 December 2008
Female Film Directors
Anita W. Addison
Born in Greensboro, North Carolina, Addison began working as a journalist before embarking on a directing and producing career. In the late 1980s, she worked as a senior VP of drama development at Lorimar before working as a producer at Warner Bros. Television. In 1989, she earned an Academy Award nomination for directing the short film Savannah.
* Eva's Man (1976)
* Freddy's Nightmares (1 episode, 1990)
* Knots Landing (1 episode, 1991) * Sisters (1 episode, 1991)
* There Are No Children Here (1993) * ER (1 episode, 1995)
* EZ Streets (1 episode, 1997)
* Judging Amy (1 episode, 2000)
Gurinda Chada
Gurinder Chadha, OBE, (born 10 January 1960) is a British film director of Indian origin. Most of her films explore the lives of Indians living in the UK. She is most famous for the hit films Bhaji on the Beach (1993), Bend It Like Beckham (2002), Bride and Prejudice (2004) and Angus, Thongs and Perfect Snogging (2008).
* Angus, Thongs and Perfect Snogging (2008)
* Paris, je t'aime (2006) segment "Quais de Seine"
* The Mistress of Spices (2005) (screenplay only)
* Bride and Prejudice (2004)
* Bend It Like Beckham (2002)
* What's Cooking? (2000)
* Rich Deceiver (1995), BBC two-part drama
* A Nice Arrangement (1994)
* What Do You Call an Indian Woman Who's Funny? (1994)
* Bhaji on the Beach (1993)
* Acting Our Age (1992)
* Pain, Passion and Profit (1992) (V)
* I'm British But... (1990) (TV)
Nora Ephron
Nora Ephron (born May 19, 1941) is an American film director, producer, screenwriter, novelist, journalist, and blogger.
She is best known for her romantic comedies and is a triple nominee for the Academy Award for Writing Original Screenplay; for Silkwood, When Harry Met Sally... and Sleepless in Seattle. She sometimes writes with her sister, Delia Ephron.
Producer, director, and screenwriter
* (1996) Michael
* (1998) You've Got Mail
* (2005) Bewitched
* (2009) Julie & Julia
Director and screenwriter
* (1992) This Is My Life
* (1993) Sleepless in Seattle
* (1994) Mixed Nuts
Producer and screenwriter
* (2000) Hanging Up
* (1990) My Blue Heaven
Producer and director
* (2000) Lucky Numbers
Screenwriter
* (1983) Silkwood
* (1986) Heartburn
* (1989) Cookie (also executive producer)
* (1989) When Harry Met Sally... (also associate producer)
Leni Riefenstahl
Helene Bertha Amalie "Leni" Riefenstahl (August 22, 1902 – September 8, 2003) was a German film director, actress and dancer widely noted for her aesthetics and innovations as a filmmaker.
* Das Blaue Licht (The Blue Light, 1932) co-director: Bela Balazs
* Der Sieg des Glaubens (Victory of Faith, 1933)
* Triumph des Willens (Triumph of the Will, 1934)
* Tag der Freiheit: Unsere Wehrmacht (Day of Freedom: Our Armed Forces, 1935)
* Olympia (Part 1 known as Fest der Völker/Festival of the Nations, Part 2 as Fest der Schönheit/Festival of Beauty, 1938)
* Tiefland (Lowlands, 1954)
* Impressionen unter Wasser (Underwater Impressions, 2002)
Dorothy Arzner
Dorothy Arzner (January 3, 1897 – October 1, 1979) was a pioneering American film director. Her directorial career in feature films spanned from the late 1920s into the early 1940s, a time period in which there were very few—if any—other women working in the field.
* First Comes Courage (1943)
* Dance, Girl, Dance (1940)
* The Bride Wore Red (1937)
* The Last of Mrs. Cheyney (1937) (uncredited)
* Craig's Wife (1936)
* Nana (1934)
* Christopher Strong (1933)
* Merrily We Go to Hell (1932)
* Working Girls (1931)
* Honor Among Lovers (1931)
* Anybody's Woman (1930)
* Paramount on Parade (1930)
* Sarah and Son (1930)
* Behind the Make-Up (1930) (uncredited)
* The Wild Party (1929)
* Manhattan Cocktail (1928) (lost, except for the montage sequence by Slavko Vorkapić)
* Get Your Man (1927)
* Ten Modern Commandments (1927)
* Fashions for Women (1927)
* Blood and Sand (1922) (additional footage) (uncredited)
Born in Greensboro, North Carolina, Addison began working as a journalist before embarking on a directing and producing career. In the late 1980s, she worked as a senior VP of drama development at Lorimar before working as a producer at Warner Bros. Television. In 1989, she earned an Academy Award nomination for directing the short film Savannah.
* Eva's Man (1976)
* Freddy's Nightmares (1 episode, 1990)
* Knots Landing (1 episode, 1991) * Sisters (1 episode, 1991)
* There Are No Children Here (1993) * ER (1 episode, 1995)
* EZ Streets (1 episode, 1997)
* Judging Amy (1 episode, 2000)
Gurinda Chada
Gurinder Chadha, OBE, (born 10 January 1960) is a British film director of Indian origin. Most of her films explore the lives of Indians living in the UK. She is most famous for the hit films Bhaji on the Beach (1993), Bend It Like Beckham (2002), Bride and Prejudice (2004) and Angus, Thongs and Perfect Snogging (2008).
* Angus, Thongs and Perfect Snogging (2008)
* Paris, je t'aime (2006) segment "Quais de Seine"
* The Mistress of Spices (2005) (screenplay only)
* Bride and Prejudice (2004)
* Bend It Like Beckham (2002)
* What's Cooking? (2000)
* Rich Deceiver (1995), BBC two-part drama
* A Nice Arrangement (1994)
* What Do You Call an Indian Woman Who's Funny? (1994)
* Bhaji on the Beach (1993)
* Acting Our Age (1992)
* Pain, Passion and Profit (1992) (V)
* I'm British But... (1990) (TV)
Nora Ephron
Nora Ephron (born May 19, 1941) is an American film director, producer, screenwriter, novelist, journalist, and blogger.
She is best known for her romantic comedies and is a triple nominee for the Academy Award for Writing Original Screenplay; for Silkwood, When Harry Met Sally... and Sleepless in Seattle. She sometimes writes with her sister, Delia Ephron.
Producer, director, and screenwriter
* (1996) Michael
* (1998) You've Got Mail
* (2005) Bewitched
* (2009) Julie & Julia
Director and screenwriter
* (1992) This Is My Life
* (1993) Sleepless in Seattle
* (1994) Mixed Nuts
Producer and screenwriter
* (2000) Hanging Up
* (1990) My Blue Heaven
Producer and director
* (2000) Lucky Numbers
Screenwriter
* (1983) Silkwood
* (1986) Heartburn
* (1989) Cookie (also executive producer)
* (1989) When Harry Met Sally... (also associate producer)
Leni Riefenstahl
Helene Bertha Amalie "Leni" Riefenstahl (August 22, 1902 – September 8, 2003) was a German film director, actress and dancer widely noted for her aesthetics and innovations as a filmmaker.
* Das Blaue Licht (The Blue Light, 1932) co-director: Bela Balazs
* Der Sieg des Glaubens (Victory of Faith, 1933)
* Triumph des Willens (Triumph of the Will, 1934)
* Tag der Freiheit: Unsere Wehrmacht (Day of Freedom: Our Armed Forces, 1935)
* Olympia (Part 1 known as Fest der Völker/Festival of the Nations, Part 2 as Fest der Schönheit/Festival of Beauty, 1938)
* Tiefland (Lowlands, 1954)
* Impressionen unter Wasser (Underwater Impressions, 2002)
Dorothy Arzner
Dorothy Arzner (January 3, 1897 – October 1, 1979) was a pioneering American film director. Her directorial career in feature films spanned from the late 1920s into the early 1940s, a time period in which there were very few—if any—other women working in the field.
* First Comes Courage (1943)
* Dance, Girl, Dance (1940)
* The Bride Wore Red (1937)
* The Last of Mrs. Cheyney (1937) (uncredited)
* Craig's Wife (1936)
* Nana (1934)
* Christopher Strong (1933)
* Merrily We Go to Hell (1932)
* Working Girls (1931)
* Honor Among Lovers (1931)
* Anybody's Woman (1930)
* Paramount on Parade (1930)
* Sarah and Son (1930)
* Behind the Make-Up (1930) (uncredited)
* The Wild Party (1929)
* Manhattan Cocktail (1928) (lost, except for the montage sequence by Slavko Vorkapić)
* Get Your Man (1927)
* Ten Modern Commandments (1927)
* Fashions for Women (1927)
* Blood and Sand (1922) (additional footage) (uncredited)
Contemporary adverts
This advert illustrates the "female gaze" and how the man is objectified which shows a dramatic change in society compared to historical adverts such as galaxy. However the close up of the womens faces and the fact that they are all attractive still purports the idea that women are to be looked at despite the actual contents of the advert which supports Laura Mulvey's theory of the "male gaze" in the audience
This advert shows egalitarian roles in the household. However despite the fc that roles are shared equally, the woman still completes her task more fficiently thus suggesting that women's roles are in the kitchen and conforming to stereotypical views.
This advert heavily challenges the conventions of the historical adverts as the men are shown to be pleasing the women. The idea of men doing housework is something which could never be imagines back in the 70s. Despite being presented as "the new man" the main character still holds masculine attributes such as watching football.
Historical Adverts
Similar to the coffee advert, women are presented as housewives and "gossips" whose main aims are to keep the house clean, please their husbands and their children. Their facial expressions reveal aspects of "false consciousness" as they are happy yet unaware that they are somewhat being exploited by society and thus conform to the roles designated to them.
The women in the adverts are depicted to be the typical "madonna" stereotypes whose only aims are to please their husbands. The first advert which shows the man standing up and looking down at his wife illustrates his superiority in comparison to her inferiority thus conforming to traditional ideologies of the time, that women should be housewives and caregivers.
The advert portrays the woman as sexually provocative, due to her dark clothing and seductive facial expression. The galaxy chocolate can be considered as a phallic symbol which insinuates the theory that women's main job is to please men. The woman is a victim to the male gaze due to her attractive looks and the way in which she removes items of clothing and thus is perceived to be a "whore". The fact that she is receiving pleasure by eating the chocolate challenges stereotypes during the time which as women should not be able to give into temptation and indulge in things which pleasure them.
Tuesday, 9 December 2008
1990s...
Fatal Attraction
Basic Instinct (1992)
Both films see the evolution of the "dominant woman" originating from the 1940's genre of "film noir". The films portray sexually active females who will stop at nothing to get what they want, much like "Sunset Boulevard". However despite being portrayed as powerful it can be perceived that the only time women in film can be presented as more dominant is when they are playing negative rolls and stil sexually objectified due to their promiscuity. The films conform to the events transpiring in the 1990s where there was a male backlash according to "Susan Faludi", and men were against womens liberation and equality in the work place.
Basic Instinct (1992)
Both films see the evolution of the "dominant woman" originating from the 1940's genre of "film noir". The films portray sexually active females who will stop at nothing to get what they want, much like "Sunset Boulevard". However despite being portrayed as powerful it can be perceived that the only time women in film can be presented as more dominant is when they are playing negative rolls and stil sexually objectified due to their promiscuity. The films conform to the events transpiring in the 1990s where there was a male backlash according to "Susan Faludi", and men were against womens liberation and equality in the work place.
1980s...
Three Men and a Baby (1987)
This film highlights issues which are becoming more relevant in recent years as captures the zeitgeist of the time and the evolution of the "New Man" who is in touch with his feminine side. This thus challenges the dominant stereotypes that a man should be masculine and strong and repress his feelings much like "The Terminator".
The Terminator (1984)
"The Terminator" is a prime example of how the media portrays women to be in need of security and protection of a man. The terminator's strength and and power can be considered as a binary opposition compared to the womans susceptibility and vulnerability.
This film highlights issues which are becoming more relevant in recent years as captures the zeitgeist of the time and the evolution of the "New Man" who is in touch with his feminine side. This thus challenges the dominant stereotypes that a man should be masculine and strong and repress his feelings much like "The Terminator".
The Terminator (1984)
"The Terminator" is a prime example of how the media portrays women to be in need of security and protection of a man. The terminator's strength and and power can be considered as a binary opposition compared to the womans susceptibility and vulnerability.
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