Presentation at RC10 Participation, Organizational Democracy and Self-Management, ISA third Forum Vienna 2016

1. OCCUPATIONAL SEGREGATION
AND GENDER REPRESENTATIONS
AT CINEMA
MICHAEL TSANGARIS, UNIVERSITY OF PIRAEUS, GREECE
ILIANA PAZARZI, OKYPUS THEATRE COMPANY, GREECE
RC10 Participation, Organizational Democracy and Self-Management
ISA third Forum Vienna 2016
this presentation has been partly supported by the University of Piraeus Research Center

2. occupational segregation
and gender representations at cinema
• this is a survey of 60 top box office films, produced worldwide during the
last three decades that is 1990, 2000 and 2010
• the study deals with professional occupations of gender representations
in films
• the aim of the study is to examine ‘occupational gender segregation’ as
presented by worldwide and domestic film productions in comparison
with the actual labour environment in Greece

3. occupational segregation
and gender representations at cinema
• brief review on theory and research
• gender statistics in Greece
• presentation of our research
• discussion about the results of our investigation and the real world

4. media influence
• Lasswell (1927)
• Blumer (1933)
• Hovland et al. (1949), Katz & Lazarsfeld (1955), Klapper (1960)
• Adorno & Horkheimer (1947), Marcuse (1972)
• Bazin (1967-71), Deleuze (1986), Metz (1990)
• Bandura (1963)
• Ellul (1965), Herman & Chomsky (1988)
• Lippmann (1922), Lazarsfeld (1940), McQuail (1979), Zhao (2006), Supa (2009),
Lang (2013), Perloff (2013)

5. media representations and gender stereotyping
• Friedan (1963)
• Goffman (1979)
• Courtney & Whipple (1983)
• Barthel (1987)
• Kilbourne (1990)

6. feminist film theory
• Rosen 1973
• Haskell 1974
• Mulvey 1975
• Johnston 1975
• Kaplan 1983
• de Lauretis 1987

7. previous research on gendered employment
patterns in films
•Ceulemans & Fauconnier (1979)
•Signorelli (1997)
•Steinke (2005)
•Flicker (2006)
•Smith, Choueiti, Prescott & Pieper (2012)
•Lauzen (2015)
most past reviews emphasized the overall under-representation of women (3:1)
and sustained that women were typically under-represented as a labour force
‘horizontally’ and ‘vertically’ in contrast to men

8. gender statistics in Greece
population by gender in Greece, 2003, 2008 and 2012
2003 2008 2012
Men 5 448 582 5 553 895 5 590 131
Women 5 557 795 5 659 890 5 699 936
Source: OECD. Stat / Website (Organisation for Economic Co-operation and Development)
the gender ratio of the population in Greece for the last decades
stood at 49.5 % for men and the 50.5 % for women

9. gender statistics in Greece
employment rates by gender in Greece
1994 2004 2014
EL Men 74.9 % 73.0 % 58.0 %
EL Women 38.2 % 45.2 % 41.1 %
employment gap 36,7 % 27,8 % 16,9 %
Source: Eurostat

10. gender statistics in Greece
percentage of entrepreneurs in the active labor force (entrepreneurship rate) by
gender in Greece and EU-28, 2003, 2008 and 2012
2003 2008 2012
EU28 Men 19 % 19 % 19 %
EU28 Women 10 % 10 % 10 %
EL Men 37 % 35 % 37 %
EL Women 22 % 21 % 24 %
Source: Panteia, based on Labour Force Survey Eurostat

11. gender statistics in Greece
unemployment rates 2014
men women
EL 23,7% 30.2%
EU-28 10.1% 22,2%
Source: EUROSTAT 2014

12. research method
- sample of 60 film productions box office films [ mostly Greek, USA and
European ]
- divided three chronological periods 1990-1999, 2000-2009 and 2010-2015
- each period contained ten ‘domestic’ and ten ‘worldwide’ productions
- units of the analysis were the active characters of the films
- data were gathered and categorized in a classification table
- for the classification of the occupations we used the International Standard
Classification of Occupations-2007 (ISCO-2007) ILO

13. research method
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
SUM 1 2 3 4 5 6 7 8 9 10
Table of Classification
1. GENDER (M or F)
2. EMPLOYED
3. UNEMPOYED
4. NOT EMPLOYED
5. MANAGER
6. PROFESSIONAL
7. TECHNICIAN AND ASS0CIATE PROFESSIONALS
8. CLERICAL SUPPORT WORKER
9. SERVICE AND SALES WORKERS
10. AGRICULTURAL FORESTRY FISHERY
11. CRAFT TRADE WORKER
12. PLANT AND MACHINE OPERATOR AND ASSEMBLER
13. ELEMENTARY OCCUPATIONS
14. ARMED FORCES
15. LEADER
16. FOLLOWER.

14. research data
list of the films - 1990-1999
worldwide productions domestic productions
1. Golden Eye (1995) Martin Campbell 1. I diakritiki goiteia ton arsenikon (1999) Olga Malea
2. Mrs. Doubtfire (1993) Chris Columbus 2. Valkanizater (1997) Sotiris Goritsas
3. Tomorrow Never Dies (1997) Roger Spottiswoode 3. Safe Sex (1999) Thanasis Papathanasiou, Michalis Reppas
4. Pretty Woman (1990) Garry Marshall 4. 6 me exi (1997) Giannis Petropoulos
5. Lethal Weapon 4 (1998) Richard Donner 5. No Budget Story (1997) Renos Haralambidis
6. Hot Shots! (1991) Jim Abrahams 6. Polaroid (1999) Angelos Frantzis
7. Hot Shots! Part II (1993) Jim Abrahams 7. Eleftheri katadysi (1995) Giorgos Panousopoulos
8. Eraser (1996) Chuck Russell 8. Ante geia... (1991) Yorgos Tsemberopoulos
9. Cape Fear (1991) Martin Scorsese 9. Apo tin akri tis polis (1998) Constantine Giannaris
10. Lethal Weapon 4 (1998) Richard Donner 10. O ergenis (1997) Nikos Panayotopoulos

15. research data
list of the films - 2000-2009
worldwide productions domestic productions
1. Mr. & Mrs. Smith (2005) Doug Liman 1. E_mail (2000)-Markos Holevas
2. The Bourne Ultimatum (2007) Paul Greengrass 2. Rizoto (2000)-Olga Malea
3. Sex and the City (2008) Michael Patrick King 3. Bank Bang (2008)-Argyris Papadimitropoulos
4. Mission: Impossible II (2000) John Woo 4. Fovou tous Ellines... (2000)-John Tatoulis
5. Quantum of Solace (2008) Marc Forster 5. To klama vgike ap' ton Paradeiso (2001) Th. Papathanasiou, M. Reppas
6. Die Another Day (2002) Lee Tamahori 6. Straight Story (2006) Vladimiros Kiriakidis, Efi Mouriki
7. Bridget Jones's Diary (2001) Sharon Maguire 7. Politiki kouzina (2003) Tassos Boulmetis
8. Hannibal (2001) Ridley Scott 8. Beautifull People (2001) Nikos Panayotopoulos
9. Rush Hour 2 (2001) Brett Ratner 9. Alter Ego (2007) Nicholas Dimitropoulos, George Korgianitis
10. Casino Royale (2006) Martin Campbell 10
.
Delivery (2004) Nikos Panayotopoulos

16. research data
list of the films - 2010-2015
worldwide productions domestic productions
1. Furious 6 (2013) Justin Lin 1. Larisa empisteftiko (2012) Stratos Markidis
2. Taken 3 (2014) Olivier Megaton 2. 45m2 (2010) Stratos Tzitzis
3. Spy (2015) Paul Feig 3. Poker Face (2012) Christos Dimas
4. Little Fockers (2010) Paul Weitz 4. Apo erota (2014) Thodoris Atheridis
5. A Good Day to Die Hard (2013) John Moore 5. 180 moires (2010) Nicholas Dimitropoulos
6. Kingsman: The Secret Service (2014) Matthew Vaughn 6. An... (2012) Christopher Papakaliatis
7. American Sniper (2014) Clint Eastwood 7. I Love Karditsa (2010) Stratos Markidis
8. The Hangover Part III (2013) Todd Phillips 8. Tetarti 04:45 (2015) Alexis Alexiou
9. Bridesmaids (2011) Paul Feig 9. Ap' ta kokala vgalmena (2011) Sotiris Goritsas
10. The Karate Kid (2010) Harald Zwart 10. Synantiseis me ton patera mou (2012) Nikos Kornilios

17. research findings
-in total number of 711 active characters extracted from 30 worldwide productions
over the period of 1990-2015:
females comprised 25.46 % (181)
males comprised 74.54 % (530)
-as it seems our analysis justifies the regular ratio
of three men to one woman shown (3:1)

18. research findings
-in a total a number of 664 active characters extracted from 30 domestic productions
over the period of 1990-2015:
females comprised 37.65 % (250)
males comprised 62.35 % (414)
-surprisingly Greek cinema kept a lower ratio than the usual
as we had two men for every one woman shown (2:1)

19. characters employment status and occupations (out of ten ratio) worldwide productions
1990-1999 2000-2009 2010-2015
males females males females males females
employed 7 3 7 3 7 3
unemployed 9 1 5 5 6 4
not employed 3 7 2 8 2 8
managers 8 2 7 3 8 2
professionals 7 3 7 3 8 2
technicians and assosiate professions 6 4 7 3 7 3
clerical support workers 4 6 2 8 4 6
service and sales workers 7 3 8 2 8 2
agricultural forestry and fishery workers 8 3 5 5 5 5
craft trade workers 7 3 5 5 8 3
plant machine operators and assemblers 9 1 7 3 6 4
elementary occupations 5 5 7 3 5 5
armed forces 8 2 9 1 10 0
research findings

20. research findings
characters employment status and occupations (out of ten ratio) in domestic productions
1990-1999 2000-2009 2010-2015
males females males females males females
employed 7 3 7 3 7 3
unemployed 9 1 5 5 5 5
not employed 3 7 2 8 3 7
managers 8 2 8 2 9 1
professionals 7 3 6 4 7 3
technicians and assosiate professions 7 3 7 3 6 4
clerical support workers 4 6 8 2 7 3
service and sales workers 7 3 8 2 9 1
agricultural forestry and fishery workers 8 2 5 5 6 4
craft trade workers 7 3 8 2 5 5
plant machine operators and assemblers 8 2 8 2 8 2
elementary occupations 5 5 8 2 7 3
armed forces 9 1 10 0 10 0

21. research findings
-concerning leadership in worldwide productions we had an overall number of
216 people identified as leaders and 300 people as followers over the period of
1990-2015
-throughout the entire period out of ten leader characters identified, eight were
men and two women
-respectively, out of ten followers, seven were men and three women

22. research findings
-concerning leadership in domestic productions we had an overall number of 163
people identified as leaders and 279 people identified as followers over the period
of 1990-2015
-throughout this period out of ten leader characters, eight were identified as men
and two as women
-respectively, out of the ten followers, the six were men and the four women

23. discussion
• according to Molly Haskell films do not represent a conscious conspiracy of a
particular ideological stance, they rather include the ‘unconscious drives’ together
with the ‘cultural repression’ of the patriarchal society (McCabe 2004)
• deep-rooted patriarchal ‘cultural repression’ has shaped the values of our culture
even in the level of the artistic conventions and reproduces wider the gender
inequalities of our society

24. discussion
• standardized, conventions arc stable and very difficult to change, however biased
public statements and inaccuracies could bring up misunderstandings and social
tensions
• this problem may be solved with the ‘awareness’, the ‘engagement’ and the ‘self-
regulation’ of the people that work in the film industry

25. conclusion
• social theory and applied social research could be mechanisms for the understanding
of social reality
• communication theory and feminist film theory outlined, analysed and evaluated the
ways in which females and males are misrepresented in films
• while applied gender media research has been proved very useful in supporting
theory with evidence from the actual world

26. conclusions
• braiding social theory and applied social research on matters such as biased
‘stereotypes’ and ‘gender equality’ on film representations can have excessive
significance by educating people of the film industry
• constant ‘gender mainstreaming’ concerning media representations can be considered
as a necessity that offers the ideal of a pluralistic approach to film industry
• we believe that applied gender research in films has a great value and feeds back theory
updating education with tangible examples