Your SlideShare is downloading. ×
Criterion one essay
Criterion one essay
Criterion one essay
Criterion one essay
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×
Saving this for later? Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime – even offline.
Text the download link to your phone
Standard text messaging rates apply

Criterion one essay

107

Published on

Published in: Entertainment & Humor
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
107
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
1
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. Criterion OneWhy is directing perceived to be a male pursuit?In March 2011, an article in the main section of the Observer had the headline,“Where are all the women film directors?” The writer of the article, actress KerryFox, explained, “I think it is a lack of confidence that stops women directing, the needfor a strong sense of self and an innate sense of the right to be a director.” Nicola Leesof Women in Film and Television (WFTV) agrees. She runs a mentoring programmefor women, set up when Skillset research in 2009revealed5000 women had left UKmedia industry employment since the recession, compared to just 750 men. Theresearch also confirmed that women were over-qualified, overworked and underpaidin comparison to their male counterparts. Nicola says the number of women leavingthe industry in their early 30s and the shortage of female directors is often attributedto childcare but that‟s not always the case. “I have 20 women on the WFTVmentoring scheme. Some have children. Some don‟t. It‟s about women lackingconfidence. Women need to look at their achievements and experience. Men don‟tfeel that they don‟t deserve to be there.”Skillset‟s UK findings are reflected in the research of Professor Martha Lauzen of SanDiego State University. She carries out an annual “Celluloid Ceiling” study of womenworking behind the scenes on the top 250 domestic grossing films. Her 2010 findingsshow women comprised 16% of all directors, executive producers, producers, writers,cinematographers and editors. Women accounted for just 7% of directors in 2010, thesame percentage as in 2009 and a decline of two percentage points from 1998. Lauzenhas also cited confidence as a reason. She says reporters have told her that, “whenthey talk to the guys, they can‟t shut „em up. But when they talk to the women, it‟slike pulling teeth…. Women have to promote themselves, but when they do, it‟s seenas being unfeminine.” (quoted in KiraCohrane article)The idea that behaviour is either „feminine‟ or „masculine‟ can be linked to howpeople have come to see the role of the director on a film set. The director isconsidered to be the boss and when the boss is male it seems very natural that heshould lead. In her 1992 speech for Women in Film Crystal Awards, Barbara
  • 2. Streisand made reference to the inequalities in the industry and in particular howlanguage is used to transform traits seen as positive in a male director into negativeswhen displayed by his female counterpart. She says for example a male is“uncompromising” while a femaleis a “ball breaker”, a man is “assertive” yet afemale is “aggressive” and when a male is said to have demonstrated “greatleadership” a female will be described as “controlling.” (We are the Girlz in theHood, Premier…..1993)Also consider for example the coverage given to the winner of the Oscar for BestDirector in 2010, Kathyrn Bigelow. It is quite a challenge to find press coveragewhichdoesn‟t mention her gender yet we don‟t hear or read about the „male director‟because the role of the director is gendered as male. Streisand was presenting theaward for Best Director at the Oscars in 2010 and her first sentence was, “Fromamong the five gifted nominees tonight, the winner could be, for the first time, awoman.” On opening the envelope she announced, “Well the time has come. KathrynBigelow!” Bigelow does not refer to gender in her acceptance speech and insteadsaid, “I think the secret to directing is collaborating and I had truly an extraordinarygroup of collaborators.” This comment is of particular interest when compared to thecomments made by Brad Pitt about Quentin Tarantino as part of his nomination clip.Pitt said, “It‟s a director‟s medium. It starts with the director and ends with thedirector. The set is church, he is God and no heretics allowed.”Pitt‟s comments reflect the idea of the director as „author‟ of a film. Film is one of thefew art forms which is not the work of a single author but the result of thecollaborative efforts of a very large team. As the main collaborators, the scriptwriter,producer and the director of photography are often given some credit in Oscaracceptance speeches and during a film‟s promotion but it is the director to whomauthorship is attributed. This idea of director as author can be traced back to theFrench film critics of the late 1940s and 50s and their debates in French and laterBritish and American magazines about the artistic value of cinema. Critic PeterGraham suggests that an article by AlexandreAstruc, „The birth of a new avant-garde: La caméra-stylo‟ (ÉcranFrançais 144, 1948), is the first to suggest that thedirector should be the author and the artist. Astruc writes, “Direction is no longer ameans of illustrating or presenting a scene, but a true act of writing. The film-
  • 3. maker/author writes with his camera and as a writer writes with his pen.” (Graham(ed), The New Wave, p.15.)This idea was taken up by the young French film critics writing for the magazineCahiers du Cinema as a way to revive French mainstream cinema which they felt hadbecome stale and uncinematic. They enjoyed the films of Alfred Hitchcock, HowardHawks and John Ford and used these directors as examples of artists who couldachieve a distinct personal style while working within the constraints of a studiosystem. The idea was first referred to as a theory by American film critic AndrewSarris in 1962. In his article, “Notes on the Auteur Theory”, he sets down the criteriafor the auteur. A director had to possess a certain degree of technical competence, apersonal style and what Sarris termed an interior meaning or „subtext‟ to qualify as anauteur. These criteria laid the foundations for what would be one of the most debatedtheories in the academic study of film for the next few decades. The issue for youngwomen now is that female directors were excluded from these debates. They were notdiscussed as auteurs and as a result of not being part of the most debated theory asfilm studies as an academic discipline developed; they were hardly discussed at all.This presents a problem in 2011 because young women seem to have no femalesin thehistory of film to look to for inspiration. They seem to accept that directing is a jobfor men and personally I‟ve never heard a female student say, “I want to be adirector.” They are influenced by the statistics because they see the industry as maledominated and as Lees and Lauzen stated, they lack the confidence to visualisethemselves in that role and buck the trend. They need roles models and they need toknow they have the qualities and the skills needed to make it as a director. As KateKinninmont of WFTV says, “Films should be made about people and the best personshould be doing the job whether a man or a woman. It doesn‟t make sense that only afraction of women are good enough to be at the top – look at school and collegeresults.”The artefact I produce will introduce the statistics for female directors and willsuggest a link between these statistics and auteur theory. The main point I want themto take away is that there have been and there are female film directors, they just don‟tknow about them. I also want them to see the connection between the exclusion of
  • 4. females in the development of auteur theory and the perception of directing as a jobfor men. The artefact must be limited to making this one point even though the topicis vast and has many possibilities for exploration. This artefact aims to be aconversation starter for students and while primarily aimed at a female audience Ibelieve young females will also benefit from male students being part of the audiencebecause as the title of this essay suggests, it is all about perception. They need to seewomen as equals when it comes to leadership roles in the industry. This is also whyI‟ve chosen to feature the Oscar win of Kathryn Bigeow in the film. She is only oneof a number of great female directors but she will stand out for students because shehas directed successful films in the action genre as opposed to drama or romanticcomedy. While equality can only really ever be achieved when female directors areno longer referred to as female directors, it‟s fairly impossible to make a shift in theperception of young people without an exploration of the past. That is what thisartefact sets out to do.References here……

×