WAVE-ing Goodbye to the Women? Explaining Gender Segregation in the Audio Video Industries (original) (raw)
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2020
This thesis examines several studies on gender equality in audiovisual production (Film, Television and Streaming) in different national contexts like Europe (Germany, Sweden, United Kingdom, France, Croatia, Italy and Austria) [EWA Report], Chile [Women's Participation in the National Film Industry] and the United States [Annenberg Inclusion Initiative, The Celluloid Ceiling]. The first objective of this research is to understand the design of studies related to gender and media, to eventually conduct surveys in audiovisual digital production. A second objective is to establish, through the analysis of the quantitative studies, the inequalities of gender that exist in the cinematographic ecosystem, mainly in the top of the most important departments (direction, production, script) and to understand how these results could directly affect the creation of a more diverse content in the different audiovisual media. A third and last objective is to present a source of strategies, actions and good practices that have emerged from these same studies and also from cinematographic or women's organizations and in some cases from governments, all aiming to address the lack of equality in audiovisual production.
Continuum, 2014
In the Australian audiovisual industries, women are a minority of the personnel in a large number of key creative roles and have considerably lower representation than in the Australian workforce generally. Despite the decline in their participation across several fields, the under-representation of women is not being addressed by these industries. Using findings from current research that includes a major survey of Victorian activity, this article engages with the urgent need for new approaches to thinking about the contribution and innovation of women: culturally, creatively and economically. Benchmarked against the last major study in 1992 (Cox and Laura), pivotal issues examined include barriers to progression, representation by job type and workplace/organizational cultures, along with a consideration of the current successes (relative to other areas) of women in television. Business, cultural and social arguments are made for the importance of gender equity, and an understanding of the contribution and value of women to these industries. French, L. 2014. ‘Gender then, gender now: surveying women's participation in Australian film and television industries’. Continuum: Journal of Media & Cultural Studies, pp. 188-200. DOI: 10.1080/10304312.2014.888040 To link to this article: http://dx.doi.org/10.1080/10304312.2014.888040
Women in the International Film Industry
In the Australian film, television and audio-visual industries, as in other Western countries, women have not achieved equality to participate and express themselves as key creatives or in key decision-making positions. This matters not just because equity and social inclusion are essential for ethical civil society but because the implications of a lack of diversity are that the industry potentially misses out on innovation by only including half the population (thus providing a business case for inclusion). It also matters because of the broader range of experiences and perspectives women offer to society and culture. As a response to this problem, in 2015, the federal government agency Screen Australia established the Gender Matters Taskforce, a five-million-dollar strategy to address gender imbalance in the Australian screen industry. This policy intervention had a focus on project development and career progress for women. • French, L., ‘Gender Still Matters: Towards Sustainable Progress for Women in Australian Film and Television Industries’ in Susan Liddy (ed.) Women in the International Film Industry: Policy, Practice and Power, Palgrave Macmillian, UK, 2020, pp. 271-291.
Women in Audio: contributions and challenges in music technology and production
141st Audio Engineering Society Convention
Even though there is a persistent gender gap, the impact of women in audio continues to grow. The achievements of pioneering women in audio go back to the mid-twentieth century. Their accomplishments in the entertainment and academic sectors have helped pave the way for a record number of women in the next generation of women in audio. This paper presents recent contributions as well as discusses the representation of women in audio, the gender gap and challenges women face in this field. Various options, policies and initiatives are also proposed with the goal towards gender parity. The authors hope to provide a valuable contribution to the research on women in audio, and in particular women's representation in audio engineering, production and electronic music.
2008
Established in 2004 and funded by DIUS, to support the Government's ten-year strategy for Science and Innovation, the UKRC works to improve the participation and position of women in SET across industry, academia and public services in the UK. The UKRC provides advice and consultancy on gender equality to employers in industry and academia, professional institutes, education and Research Councils. The UKRC also helps women entering into and progressing within SET careers, through advice and support at all career stages, training, mentoring and networking opportunities.
Women in the audiovisual industry. The case of Spain as the new hub of European production
Cogent Arts & Humanities, 2022
The new public plans and the economic injection from international production companies have converted Spain into an important center of audiovisual creation. Taking advantage of this new scenario, an analysis is made which focuses on the current situation of this industry with respect to gender. Most of the research studies that associate gender and audiovisual production focus on the representation of women in plots and characters, but not their professional work in this sector. The present study seeks to address this matter with a triple methodology: first, a descriptive study is presented to contextualize the object of study; then, the European and Spanish sectoral studies are compared, and a catalogue of profiles is extracted which will be utilized in the third phase, which is based on the focus group technique. Twelve professionals participated in the third phase, representing the following categories: director, screenwriter, producer, composer, actress, cinematographer, sound engineer, editor, make-up artist-hairdresser, special effects, art director, and wardrobe. We observed that the gender gap is still present; most of the professions are still male-oriented, and only wardrobe, make-up, and hairdressing, escape from this discrimination. The least female representation was detected in music composition, cinematography, sound, and direction. Also, a vertical segregation was observed which removes women from decision making processes. The female experts demand opportunities and gender education, to promote the inclusion of women into the audiovisual sphere. The privileged situation that Spain is experiencing favors the women’s incorporation into new projects, and therefore this country could become an example of change.
Time for a change: women, work, and gender equality in TV production
Media, Culture & Society, 2021
This article uses Acker’s concept of inequality regimes to analyze qualitative research findings on work-life balance and gender equality for women in British television production. Female survey respondents, focus group participants, and interviewees spoke of their subjective experience of gendered work practices which disadvantage women as women. These findings build on existing research showing gender disadvantage in the industry, leading to loss of human capital and a narrowing of the range of creative experience. They also show that growing numbers of women are seeking alternative modes of production, at a time of increased awareness of inequality. Such alternatives suggest that change is possible, although it is strongly constrained by organizational logics and subject to continued resistance, in line with Acker’s framework of analysis. Visibility of inequalities is the key to supporting change.
Alphaville: Journal of Film and Screen Media
After a period of unprecedented change, this article provides a snapshot of the Irish screen production sector in 2021 from the perspective of female practitioners, defined here as those who work in production roles, above and below the line, in the screen industries. Between 2016 and 2021 there has been a shift from an industry that was gender blind and unquestioningly male dominated to one in which industry discourse is imbued with the importance of achieving gender equality, diversity and inclusion. A range of targeted initiatives have been implemented to achieve that goal. The key question in this article is whether and to what extent, in 2021, practitioners are now experiencing concrete change on the ground, in their day-to-day working lives. This was explored by means of a series of interviews and questionnaires in which three themes emerged: “continuity and change”, “resistance and lip service”, and “the road ahead”. Ultimately, practitioners do not identify any seismic shift...