The document discusses the underrepresentation of female directors in the film industry and proposes reasons for this disparity. It suggests that auteur theory, which elevated directors to artist/author status, excluded or sidelined female directors, influencing perceptions that directing is a male role. Statistics show few female directors and mentoring programs aim to boost women's confidence in their abilities. The author's artifact will highlight influential female directors and Kathryn Bigelow's Oscar win to challenge the perception that women cannot succeed as directors and inspire more young women to pursue directing careers.
This session takes as its starting point the evolution of the campus novel as a reflection of changing university life in Britain from the post-war era immediately after the Education Act of 1944 through the parallel growth of “redbrick” institutions and the founding of entirely “new” universities in the 1960s to the Further and Higher Education Act of 1992 which abolished the “binary divide” between polytechnics and universities and greatly expanded the sector and on to Tony’s Blair’s 2001 target of sending at least 50% of young people into a mass higher education system by the end of the decade. We shall focus on two key themes from this period of dramatic change as highlighted by the parallel development of the British campus novel: first, how the shifting depiction of administrative and managerial staff allows us to trace the extraordinary transformation that has overtaken British universities since the 1950s; and second, how the portrayal of sex, women and gender in an academic environment has been affected by what has also been a period of wider social upheaval in Britain in which the universities have played their full part. Our attendees will be encouraged to reflect on their own professional experiences as administrators in the context of these two sets of issues which have clearly been central to the development of the contemporary university, and to explore them through a combination of group conversation and plenary debate. Our session will be accessible not only to the many existing fans of the genre who are employed within universities but also to those who may be new to this form of contemporary literature and who are interested in what it might say about the places where we work. It will make particular use of examples drawn from a broad range of well-known campus novels including Kingsley Amis’s Lucky Jim (1954), Malcolm Bradbury’s The History Man (1975), Tom Sharpe’s Porterhouse Blue (1974), David Lodge’s Changing Places (1975), Small World (1984) and Nice Work (1988).
China's economy has an incredible rise.. but what about pop culture? Click here to find out or you can read the full blog post here. http://blog.laowaicareer.com/tiny-times-rise-west-chinese-pop-culture/
Max farrow - University of Salford Dissertation [Sample]Max Farrow
In my university dissertation entitled: 'From Rambo to Batman: the changing face of the Hollywood Action-Adventure Hero', I discuss how the portrayal of onscreen Hollywood heroes has changed over time due to different industrial, social and political factors, trends and events.
This session takes as its starting point the evolution of the campus novel as a reflection of changing university life in Britain from the post-war era immediately after the Education Act of 1944 through the parallel growth of “redbrick” institutions and the founding of entirely “new” universities in the 1960s to the Further and Higher Education Act of 1992 which abolished the “binary divide” between polytechnics and universities and greatly expanded the sector and on to Tony’s Blair’s 2001 target of sending at least 50% of young people into a mass higher education system by the end of the decade. We shall focus on two key themes from this period of dramatic change as highlighted by the parallel development of the British campus novel: first, how the shifting depiction of administrative and managerial staff allows us to trace the extraordinary transformation that has overtaken British universities since the 1950s; and second, how the portrayal of sex, women and gender in an academic environment has been affected by what has also been a period of wider social upheaval in Britain in which the universities have played their full part. Our attendees will be encouraged to reflect on their own professional experiences as administrators in the context of these two sets of issues which have clearly been central to the development of the contemporary university, and to explore them through a combination of group conversation and plenary debate. Our session will be accessible not only to the many existing fans of the genre who are employed within universities but also to those who may be new to this form of contemporary literature and who are interested in what it might say about the places where we work. It will make particular use of examples drawn from a broad range of well-known campus novels including Kingsley Amis’s Lucky Jim (1954), Malcolm Bradbury’s The History Man (1975), Tom Sharpe’s Porterhouse Blue (1974), David Lodge’s Changing Places (1975), Small World (1984) and Nice Work (1988).
China's economy has an incredible rise.. but what about pop culture? Click here to find out or you can read the full blog post here. http://blog.laowaicareer.com/tiny-times-rise-west-chinese-pop-culture/
Max farrow - University of Salford Dissertation [Sample]Max Farrow
In my university dissertation entitled: 'From Rambo to Batman: the changing face of the Hollywood Action-Adventure Hero', I discuss how the portrayal of onscreen Hollywood heroes has changed over time due to different industrial, social and political factors, trends and events.
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
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Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
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Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
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Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
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From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
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Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
1. Criterion One
Why is directing perceived to be a male pursuit?
My artefact will introduce the statistics for female directors and will suggest a link
between these statistics and auteur theory. It will demonstrate how auteur theory has
given a male-centric view of directing by ether excluding or sidelining female
directors in the history of its development. My artefact will propose that this
exclusion is one of the reasons for the small percentage of female directors in the
mainstream film industry. Over time, inspirational female role models like Alice Guy
and Dorothy Arzner have been forgotten and this has resulted in a lack of prominent
female role models for young women. They need to be able to imagine themselves in
the director’s role. My artefact will demonstrate that it is possible for a woman to
become a successful director by highlighting important female directors of the past
and featuring Kathryn Bigelow’s significant Oscar win in 2010. Finally the artefact
will challenge the female viewer to take action.
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 Kerry
Fox, explained, “I think it is a lack of confidence that stops women directing, the need
for a strong sense of self and an innate sense of the right to be a director.” Nicola Lees
of Women in Film and Television (WFTV) agrees. She runs a mentoring programme
for women, set up when Skillset research in 2009 revealed 5000 women had left UK
media industry employment since the recession, compared to just 750 men. The
research also confirmed that women were over-qualified, overworked and underpaid
in comparison to their male counterparts. Nicola says the number of women leaving
the industry in their early 30s and the shortage of female directors is often attributed
to childcare but that’s not always the case. “I have 20 women on the WFTV
mentoring scheme. Some have children. Some don’t. It’s about women lacking
confidence. Women need to look at their achievements and experience. Men don’t
feel that they don’t deserve to be there.”
Skillset’s UK findings are reflected in the research of Professor Martha Lauzen of San
Diego State University. She carries out an annual “Celluloid Ceiling” study of women
2. working behind the scenes on the top 250 domestic grossing films. Her 2010 findings
show women comprised 16% of all directors, executive producers, producers, writers,
cinematographers and editors. Women accounted for just 7% of directors in 2010, the
same percentage as in 2009 and a decline of two percentage points from 1998. Lauzen
has also cited confidence as a reason. She says reporters have told her that, “when
they talk to the guys, they can’t shut ‘em up. But when they talk to the women, it’s
like pulling teeth…. Women have to promote themselves, but when they do, it’s seen
as being unfeminine.” (in Cochrane, 2010)
The idea that behaviour is either ‘feminine’ or ‘masculine’ can be linked to how
people have come to see the role of the director on a film set. The director is
considered to be the boss and when the boss is male it seems very natural that he
should lead. In her 1992 speech for Women in Film Crystal Awards, Barbara
Streisand made reference to the inequalities in the industry and in particular how
language is used to transform traits seen as positive in a male director into negatives
when displayed by his female counterpart. She says for example a male is
“uncompromising” while a female is a “ball breaker”, a man is “assertive” yet a
female is “aggressive” and when a male is said to have demonstrated “great
leadership” (Premier 1993:27)
Also consider for example the coverage given to the winner of the Oscar for Best
Director in 2010, Kathyrn Bigelow. It is quite a challenge to find press coverage
which doesn’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 the
award for Best Director at the Oscars in 2010 and her first sentence was, “From
among the five gifted nominees tonight, the winner could be, for the first time, a
woman.” On opening the envelope she announced, “Well the time has come. Kathryn
Bigelow!” Bigelow does not refer to gender in her acceptance speech and instead
said, “I think the secret to directing is collaborating and I had truly an extraordinary
group of collaborators.” This comment is of particular interest when compared to the
comments 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 the
director. The set is church, he is God and no heretics allowed.” (youtube.com 21 Nov
2011)
3. Pitt’s comments reflect the idea of the director as ‘author’ of a film. Film is one of the
few art forms which is not the work of a single author but the result of the
collaborative efforts of a very large team. As the main collaborators, the scriptwriter,
producer and the director of photography are often given some credit in Oscar
acceptance speeches and during a film’s promotion but it is the director to whom
authorship is attributed. This idea of director as author can be traced back to the
French film critics of the late 1940s and 50s and their debates in French and later
British and American magazines about the artistic value of cinema. Critic Peter
Graham suggests that an article by Alexandre Astruc, ‘The birth of a new avant-
garde: La caméra-stylo’ (Écran Français 144, 1948), is the first to suggest that the
director should be the author and the artist. Astruc writes, “Direction is no longer a
means of illustrating or presenting a scene, but a true act of writing. The film-
maker/author writes with his camera and as a writer writes with his pen.” (Graham
(ed), The New Wave, 1968:15)
This idea was taken up by the young French film critics writing for the magazine
Cahiers du Cinema as a way to revive French mainstream cinema which they felt had
become stale and uncinematic. They enjoyed the films of Alfred Hitchcock, Howard
Hawks and John Ford and used these directors as examples of artists who could
achieve a distinct personal style while working within the constraints of a studio
system. The idea was first referred to as a theory by American film critic Andrew
Sarris in 1962. In his article, “Notes on the Auteur Theory”, he sets down the criteria
for the auteur. A director had to possess a certain degree of technical competence, a
personal style and what Sarris termed an interior meaning or ‘subtext’ to qualify as an
auteur. (in Mast (ed) 1962: 585)These criteria laid the foundations for what would be
one of the most debated theories in the academic study of film for the next few
decades. The issue for young women now is that female directors were excluded from
these debates. They were not discussed as auteurs and as a result of not being part of
the most debated theory as film 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 females in
the history of film to look to for inspiration. They seem to accept that directing is a
4. job for men and personally I’ve never heard a female student say, “I want to be a
director.” They are influenced by the statistics because they see the industry as male
dominated and as Lees and Lauzen stated, they lack the confidence to visualise
themselves in that role and buck the trend. They need role models and they need to
know they have the qualities and the skills needed to make it as a director. As Kate
Kinninmont of WFTV says, “Films should be made about people and the best person
should be doing the job whether a man or a woman. It doesn’t make sense that only a
fraction of women are good enough to be at the top – look at school and college
results.”
My artefact aims to be a conversation starter for students and while primarily aimed at
a female audience I believe young females will also benefit from male students being
part of the audience because as the title of this essay suggests, it is all about
perception. They need to see women as equals when it comes to leadership roles in
the industry. This is also why I’ve chosen to feature the Oscar win of Kathryn
Bigelow in the film. She is only one of a number of great female directors but she will
stand out for students because she has directed successful films in the action genre as
opposed to drama or romantic comedy. While equality can only really ever be
achieved when female directors are no longer referred to as female directors, it’s
fairly impossible to make a shift in the perception of young people without an
exploration of the past. That is what this artefact sets out to do.
5. Bibliography
Cochrane, K. (Sunday 31 January 2010). Why are there so few female film directors?.
Available: http://www.guardian.co.uk/film/2010/jan/31/female-film-makers. Last
accessed 06 December 2011.
Graham, P J (1968). The New Wave. Secker and Warburg. p 15.
Fox, K. (Sunday 20 March 2011). Where are all the women film directors? Available:
http://www.guardian.co.uk/commentisfree/2011/mar/20/kerry-fox-women-film-
directors. Last accessed 11 December 2011.
Lauzen, M. (2010). The Celluloid Ceiling: Behind the scenes Employment of Women
on the Top 250 Grossing Films. Available:
http://womenintvfilm.sdsu.edu/files/2010_Celluloid_Ceiling.pdf. Last accessed 11
December 2011.
Mast, Gerald, Marshall Cohen and Leo Braudy, eds. (1992) Film Theory and
Criticism: Introductory Readings. 4th ed. London: Oxford University Press. p 585
Premier Women in Hollywood Special, (1993) We are the Girlz in the Hood, p 27
Sarris, A (1996). The American Cinema, Directions and Directions 1929 -1968. USA:
1st Da Capo Press, Inc. 39-278.
Skillset. (2009). 2009 Employment Census. Available:
http://www.skillset.org/uploads/pdf/asset_14487.pdf?5. Last accessed 11 December
2011.
Kathryn Bigelow Winning the Oscar® for Directing - YouTube. Web. 21 Nov. 2011.
<http://www.youtube.com/watch?v=e-DPBOTlSWk>.
* Kate Kinninmont and Nicola Lees interviewed by K Ward on 02 November 2011