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Gender inequality in the movie industry
Gender inequality in the film industry
Sexism in the film industry essay
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The glamorous lifestyle of a movie star is an aspiration of thousands of young actors and actresses, only for women it isn’t equally as glamorous. “Very similar to the prison system in this country, where over the years we've put Band-Aids on something that needs surgery, in the film industry, we've often done cosmetic changes to something that needs structural reconstruction.”(Hollywood Reporter, oscars gender divide) The Film Industry is a divided workforce that only cares about equality when the cameras shine on it. Performing arts regardless of the progress it has made over the years still falls victim to gender inequality and an actor's gender should not reflect how good their performance is or their filmmaking ability. In the film …show more content…
“When I'm asked if I feel additional pressure because I'm a filmmaker who is female, I say that I think it's important, but there's really nothing you can do about it.”(Patty Jenkins, My wonder woman 2017; vulnerable not lesser.) Patty Jenkins director of the upcoming Wonder Woman movie has received harsh criticisms on her film before her movie has been released. “It's been incredible to make something about a superhero that stands for a message of fighting for a loving, thoughtful government, especially in this current climate.”(Patty Jenkins, My wonder woman 2017; vulnerable not lesser.) Patty jenkins latest project on female empowerment with a lead female director and actress shows that some studios can make a step forward, DC entertainment has already put together such a diverse cast and crew together and regardless of some bad reviews, it still manages to bring a more diverse group of men and …show more content…
“Lack of parity for women--behind the camera, in the front office, on the payroll--long has been one of Hollywood's most intractable obstacles.”(Hollywood Reporter, This is bigger than the bullshit) Even though there is an opportunity for women in hollywood now, the window is still ridiculously small. "Can we do basically what men have been doing in the system, which is, you're a young filmmaker, somebody gives you a movie beyond your capacity and you learn on the job?" says director Kimberly Peirce. "That never happens to women, who are not chosen above their experience level."(Hollywood Reporter, This is bigger than the bullshit) Studios make the mistake of hiring men who are underqualified for a specific job, of course everyone has their own vision, but for some reason women have little chance of having their vision
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
Film making has gone through quite the substantial change since it’s initial coining just before the turn of the 19th century, and one would tend argue that the largest amount of this change has come quite recently or more so in the latter part of film’s history as a whole. One of the more prominent changes having taken place being the role of women in film. Once upon a time having a very set role in the industry, such as editing for example. To mention briefly the likes of Dede Allen, Verna Fields, Thelma Schoonmaker and so forth. Our female counterparts now occupy virtually every aspect of the film making industry that males do; and in many instances excel past us. Quite clearly this change has taken place behind the lens, but has it taken
Since many of the roles are given to white actresses, actresses of color are underrepresented in the industry. Only six out of the top 500 box office films feature a woman of color as their protagonist, none which are at the top 200. This only leaves it to around 1% of the protagonist to be a woman of color. As we head towards a better society, more and more examples of media that challenge these statements are being created.
Mainstream movies are about men’s lives, and the few movies about women’s lives, at their core, still also revolve around men (Newsom, 2011). These female leads often have male love interests, looking to get married or get pregnant. Strong independent female leads are still exist for the male view, as they are hypersexualized, or the “fighting fuck toy,” (Newsom, 2011). This depiction has created a culture where women are insecure and waiting for a knight on a horse to come rescue and provide for her as well as the acceptance of women
The Sundance Film Associations luncheon celebrating Women in Film in January of 2017 was covered by various news outlets, but with headlines that were not praising the speeches made there. Rather The Los Angeles Times characterized it as a triggered and heated debate, Mashable as uncomfortable, and Indiewire as actresses speaking over one another and thoughts going to sets of deaf ears. The main women in the debate were actresses Shirley MacLaine, Salma Hayek, and Jessica Williams, who are incredibly different from the others in many aspects, but most notably, in age, race and their stances on identity and victimhood. The debate began with how to handle maintaining and promoting a woman’s voice and identity in the face of the often sexist
...n American woman to be awarded the Sundance Film Festival’s best director prize in 2012 for her film “Middle of Nowhere” (Keegan). In the interview of DuVernay, she explains how even though only 9.9% of speaking characters are black, with a black director that percentage rises to 52.6% of black speaking characters (Keegan). This explains a lot of why there are is such a small amount of minority speaking roles in movies. This means that because of the majority of the directors being white, they therefore want to hire and have more whites speak in their movies rather than minorities. At the end of the article, Keegan elaborates on how people are now noticing this race and gender inequality in films and are trying to improve it. For example, as stated in the article, the Motion Picture Academy is working on making their company more diverse and not merely white males.
natural form isn’t good enough to play their roles. Women in movies discuss how finding a
Diversity has always been one of Hollywood’s greatest weaknesses. For the most part, the industry absolutely strives with its rich narratives, beautiful cinematography, and moving performances but it fails when it comes to diversity. The representation of both women and people of colour have been lacklustre, often with poor characterisations and distasteful stereotypes and character tropes.
Like actresses, female film executives are also paid less than their male colleagues, although they are doing the same job. Female film executives work behind the scenes on a movie and television set. An example of how female film executive are paid less is when “The studio[Colombia Pictures] paid Michael De Luca $2.4 million a year but only paid Hannah Minghella $1.5 million a year — or 37 percent less than De Luca” (Khon). This show how not only actresses, but how women in Hollywood are undervalued compared to their male colleagues. Instead of setting an example for the gender pay gap Hollywood should have to set an example for other job occupations. If women in Hollywood, a billion dollar industry, can not get equal pay than female teachers and female engineers do not have a chance to fight for equal
In today’s society, pre-existing assumptions and stereotypes of other ethnicities and individuals play a large part in the way we see others. This social construct of stereotypes has placed restrictions on many people’s lives which ultimately limits them from achieving certain goals. In this sense, stereotypes misrepresent and restrict people of colour to gain casting within the Hollywood film industry. The issue of how casting actors to certain roles and how these actors are forced to submit and represent these false stereotypes is one worthy of discussion. White Chicks (2004), directed by Keenan Wayans, illustrates this issue through the performance of Latrell, performed by Terry Crews, and his performance of the hyper-sexualised “buck” will be a prime example in this essay to discuss the racial politics and stereotypes in Hollywood casting.
In the past forty years, there have been fifteen movies in total that feature either Batman or Superman, grossing a total of $6 billion worldwide, while Wonder Woman has only appeared in the movie Batman vs. Superman: Dawn of Justice. A Wonder Woman movie has been twenty-six years in the making and had gone through three different directors before 2005. Around that time, Elektra and Catwoman were released in theaters but did not perform very well, grossing only $57 million and $82 million worldwide, respectively. This lead Hollywood to believe that nobody wanted to see a female-lead action movie until the success of the Hunger Games films, while pulled in about $3 billion worldwide. After the success of the Marvel Cinematic Universe, which had brought in $11 billion and still counting, Warner Brothers decided to do something similar with DC’s Justice League, which included the Wonder Woman film that we have waited seventy-six years
The gender pay gap was a problem in the past and it is now. Hollywood has a gender pay gap and that came to my surprise. I would of never thought the industry that makes billions of dollars through movies and television shows would pay women less than men. Actresses and film executives are paid less than their male colleagues (Khon). It is absurd that women in Hollywood do not have equal pay.
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...
Erik Kain discusses the blatant sexism involved with superhero franchise merchandise. He points out how sexism within the superhero franchise extends outside of their home medium. For example, one of the toys from Marvel’s the Avengers: Age of Ultron movie replaced the only female member of the Avengers with Captain America. The scene from the movie, upon which this toy is based, depicts the heroine, Black Widow, being launched from the quinjet (the Avengers primary mode of transportation) on a motorcycle. The irony of this is that Black Widow rescued Captain America by returning his shield to him in time to fight off the titular villain (Kain). In addition, no Black Widow action figures were created which tied into the movie at all. There was absolutely no reason to exclude Black Widow from production, except maybe gender bias and the stereotype that boys
Women have made progress in the film industry in terms of the type of role they play in action films, although they are still portrayed as sex objects. The beginning of “a new type of female character” (Hirschman, 1993, pg. 1). 41-47) in the world of action films began in 1976 with Sigourney Weaver, who played the leading role in the blockbuster film ‘Aliens’ as Lt. Ellen Ripley. She was the captain of her own spaceship, plus she was the one who gave out all the orders. Until then, men had always been the ones giving the orders; to see a woman in that type of role was outlandish.