Miss•understood Miss•ed out Miss•perception Miss•calculated Miss•leading Miss•ogyny Miss•taken Miss•represented The miss•ion to make Hollywood equal
In this document: The facts are real Our demands are stated Diversity is essential The possibilities are only fruitful This is a Time’s Up on women being miss•represented
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“Women are not a niche audience and they are no more ‘risky’ as filmmakers than men. It is unfortunate that these beliefs continue to limit the industry’s relevance in today’s marketplace.” - Dr. Martha Lauzen -
Miss•representation *Women accounted for only 28% of all creators, directors, writers, producers, executive producers, editors, and directors of photography working on broadcast network, cable, and streaming television programmes. It turns out that viewers want shows that look like their lives—with diverse characters and stories. Even more importantly, the way we are represented in entertainment matters. When a girl sees herself as a scientist, or a boy sees someone with his skin colour as a law student, it plants a seed that this is possible. Archery suddenly gained popularity with girls in 2012 coinciding with the releases of films including The Hunger Games and Brave. Seven of ten girls said they took up the sport because they were inspired by Katniss or Merida. Dr. Martha Lauzen, Executive Director for the Centre of the Study of Women in Television and Film at San Diego State University, wrote the report. “The chronic under-representation of girls and women reveals a kind of arrested development in the mainstream film industry.”
WOMEN ACCOUNT FOR 52% OF MOVIEGOERS.
Women continue to make up the majority of moviegoers: According to the MPAA’s recent findings, women comprised 52 percent of all 2016 moviegoers — an increase from 2015’s 51 percent. That’s right, women (51 percent of the population) continue to outnumber men at movie theatres, which makes the gender disparity on-screen and behind-the-scenes even more frustrating.
l l a f o % 4 y l n O e h t s s o r c a s r o s t c m l e r fi i d g n i s s o r g p o e t d a 0 c 0 e d 1,0 t s a p e f h t o e g e r h t durin y l n O . e l a y b m d e f e t c e r i were d e r e w s e m l e r fi h e t , th n e m o w k d c n a bla n e m o w n a i . a by As n i t a L a y one b
OSCARS SO and the MALE... only academy
award for a female director goes to...
Kathry Bigelow
yn w
Jane Campion Lina Wertmßller Sofia Coppola Greta Gerwig Kathryn Bigelow These are the 5 Golden Girls Golden Women who have been nominated as a director in the Oscar’s 90 years.
MOVIES THAT HAVE AT LEAST ONE FEMALE DIRECTOR
L E A D S TO...
IN FILMS WITH EXCLUSIVELY MALE DIRECTORS AND WRITERS... *FEMALES COMPRISED JUST 4% OF PROTAGONISTS + **MALES COMPRISED 87% OF PROTAGONISTS + ***MALE/FEMALE ENSEMBLES COMPRISED 9% OF PROTAGONISTS
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IN FILMS WITH AT LEAST ONE WOMAN DIRECTOR AND/OR WRITER... *FEMALES COMPRISED 39% OF PROTAGONISTS + **MALES COMPRISED 35% OF PROTAGONISTS + ***MALE/FEMALE ENSEMBLES COMPRISED 26% OF PROTAGONISTS = WOMEN MAKE THINGS EQUAL.
When women are given opportunities that give them more power, they often pay it forward to help other minorities within the film industry. You will notice that in female directed/written films the % of female protagonists does not rise far above the % of male protagonists. It is the aim of most women in film to create the 50/50 dynamic to represent real life.
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BEHIND OUR TV
SCRE
ENS...
85% of broadcast network television seasons had
women directors.
Women accounted for 22.2% of first-time episodic TV directors from the 2009-10 season to the 2016-17 season. Women accounted for 17% of episodic TV directors from the 2012-13 season to 2016-17 season.
WOME COLOU HAVE BEEN NEARLY INVISIBLE IN THE DIRECTOR’S CHAIR
EN OF UR The minority within the minority. The experiences of white women differ dramatically from women of colour. This can not be a gender issue, when Hollywood thinks female director they think white director.
THE LIFESPAN s s ’ ’ 0 0 3 4
s ’ 0 5
6
s s s ’ ’ ’ 20 30 40
s ’ 50
6
OF A DIRECTOR
s ’ en Wom 0 6
s s ’ ’ 60 70
s ’ 80 Men
THIS IS A MAN’S WOR LD BUT IT WOUL DN’T BE NOTHI NG WITHO UT A WOMA N OR A GIRL. FILMS DIRECTED BY WOME N, FOR THE BIGGE ST STUDI OS.
Warner Bros
20th Century Fox
Universal
Sony Pictures
Paramount Pictures
IT’S RISKY BUSINESS GIVING WOMEN BIG BUDGET MOVIES... Women are rarely given directing opportunities for actions, thrillers and horror movies, but overwhelmingly work on drama or comedy movies. Men, in contrast, work across all genres.
40.9% Dramas
% 6 . 9 2 s e i d e m o C 11.4% Animated Features
6.8% Sci-Fi
4.6% Thrillers
4.6% Action
2.3% Horrors
“WHILE WOMEN HAVE ALLIES IN THE ENTERTAINMENT INDUSTRY,” THE REPORT STATES, “THEY STILL RARELY WORK BEHIND THE CAMERA.”
Research consistently shows that behind the camera, directing is predominantly an occupation held by white males. When the lens is this skewed, it offers a tilted view of society to audiences – one that lacks the perspective of women and people of colour.
Wonder Woman $412.6 million Dir. Patty Jenkins
7 1 20
Frozen $400.7 million Co Dir. Jennifer Lee
2013
Shrek $267.7 million Co Dir. Vicky Jensen
1 0 20 Alvin & The Chipmunks 2 $219.6 million Dir. Betty Thomas
2009
Twilight $192.8 million Dir. Catherine Hardwicke Pitch Perfect 2 $184 million Dir. Elizabeth Banks
8 0 20
2012
0 0 20
What Women Want $182.8 million Dir. Nancy Meyers
Fifty Shades of Grey $166 million Dir. Sam Taylor-Johnson
5 1 20
Kung Fu Panda 2 $165 million Dir. Jennifer Yuh Nelson
2011
The Proposal $164 million Dir. Anne Fletcher
9 0 20
Women represented 4% of the top-grossing films directors from 2007-2017. Despite the industry’s numerous diversity programs, the report concludes that “there has been no change” in the percentage of women and minority directors during the past 10 years (2007-2016).
34 ASI DIRECT OUT O 1000 F But only 1/5 of these movies had 1 or 2 top-billed Asian actors.
IAN TORS OF FILMS
n a i s A 4 3 y l Onl l a f o % 3 ( s r o t s c s e o r r i c D a d e k r o w ) e s r h t o t f c o s dire m l fi p o t , 0 e 0 s 0 , e h t f the 1 O . s r a e y % 8 0 . 1 8 t d n a pas e l a m e r e n e w e b % 2 s a h 91. e r e h T . f e l o a % m e fe h t n i e g n a h m o r f no c s r o t c e r i D n . Asia 6 1 0 2 o t 7 200
Films distributed by Lionsgate during the past 10 years had, by fa r, the most *black director s – 16 out of 86 films. When black directors do get a chance to direc t, the study found, it’s usually blackthemed films. These fin dings suggest that black direc tors are attached to content that aligns with their racial identity, rather than their talent.
e h t f o 4 / 3 r e Ov g n i s s o r top-g k c a l b m o r f s film d e r u t a e f s r o t direc d e l l i b p o t 2 r 1o . s r o t c black a
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THAT’S GREAT BUT...
WRITE WHAT YOU KNOW
Just 1 in 10 writers were women from the top 100 grossing films of 2017.
During the 2016-2017 broadcast network TV season: 67% had no women writers.
...so that’s why there aren’t as many roles for women, because we need women to write them.
PRODUCERS ARE THE DECISION MAKERS
THEY FIGHT FOR THE MOVIES THEY WANT TO BE MADE. THEY HAVE THE CONNECTIONS TO THE PEOPLE WITH THE MONEY TO PAY FOR THOSE MOVIES. THEY HAVE A SAY IN HOW THE MOVIE WILL BE WRITTEN FOR THE SCREEN, CAST, DIRECTED, MARKETED...ETC. THEY NEED TO HAVE AN AWARENESS FOR EQUALITY IN HOLLYWOOD. THEY, NEEDS TO BE A WOMAN MUCH MORE OFTEN.
24% of producers in film are women from the top 100 grossing films of 2017. During the 2016-2017 broadcast network TV season: 23% had no women producers, 20% had no women executive producers. “It could be that women’s time has come,” says Gigliotti, 61. “It is incumbent on women producers to make movies about women for a variety of reasons. One is, if we don’t do it, who will? Secondly, from a purely economic point of view, if you put women in the lead of a movie you can make over $100 million.” (To be precise, $132 million — Figures’ domestic gross to date.) “Smarts and determination are gender blind, but I do think women make great producers for all sorts of reasons that will sound like reverse sexism.”
FEMAL FILM E
S
R TO DI
LE E
account for only 14% from the top 100 grossing films of 2017. During the 2016-2017 broadcast network TV season, 75% had no women editors.
LOOK O S UN
WHAT COULD FILMS
LIKE.
LIKE.
IF MORE WOMEN COULD BE COMPOSERS & CINEMATOGRAPHERS.
D In likely the smallest margin in Hollywood, just 2% of cinematographers in film are women from the top 100 grossing films of 2017. Which means that most films are visually created by a man. What would films look like if more women were cinematographers. In 2018 “Mudbound’s” Rachel Morrison became the first woman ever nominated for the Academy Award for Cinematography. 2018 was a landmark for female cinematographers. Don’t let the years pass by without any change. 3% of composers in film of the top 250 grossing movies of 2017 were women. This represents no change since 2016.
During the 2016-2017 broadcast network TV season: 74% had no women creators. On programs with exclusively male creators, females comprised 38% of major characters.
On programs with at least one woman creator, females accounted for 51% of major characters.
ROLES FOR WOME
S
e e s o t d e e n s a ”We e w e s u a c e b m s o g r f n i n h r t a e l s g n i f e i b o n d u o y huma n a c t a I h ? w d e d t n c a e t fl r e a r t i e e e l s b r i e d v e r e c n n i u f yo o n e g m n o i y w a l e p k i l y l l t e n a fe t s n o e c v ’ I e r . . a . t s n d e n l e i ta r f l r i g d n a ” . s h e g v i u o w n e d a h t s ju e s e e R , s s e r Act . n o o p s r e h t Wi
EN
The number of female protagonists on the big screen was down five percentage points in 2017, according to a new study. The annual report on gender representation in film, from the Centre for the Study of Women in Television and Film at San Diego State University, showed that out of the 100 highest-grossing films of the year, just 24% were led by women, down from 29% in 2016. In 2017, three biggest films in the US all led by female characters: Star Wars: The Last Jedi, Beauty and the Beast and Wonder Woman. But the study showed independent films were still more likely to provide women with bigger parts. They account for 65% of films with female leads.
IN THE TOP 100 FILMS OF 2016 FEMALES COMPRISED JUST 29% OF PROTAGONISTS
This represents no change from 2013, but is an increase of two percentage points from 2002. For the purposes of this study, major characters tend to appear in more than one scene and are instrumental to the action of the story.
FEMALE CHARACTERS remain younger than their male counterparts. The majority of female characters were in their 20s (23%) and 30s (30%). The majority of male characters were in their 30s (27%). Males 40 and over accounted for 53% of all male characters. Females 40 and over comprised 30% of all female characters. Whereas the percentage of female characters declined dramatically from their 30s to their 40s (30% to 17%), the percentage of male characters increased slightly, from 27% in their 30s to 28% in their 40s. The percentage of male characters in their 50s (18%) is twice that of female characters in their 50s (9%).
Aged 20-40
Female
Male
Female
Aged 40-50 Male
Aged 50+
Female
Male
ONLY 4 FEMAL WERE WORK Women are usually portrayed as having other primary concerns that are not actually workrelated.
45% OF LES AT e l a m e f f o 78% n a d a h s r e t c a r a r ch o b o j e l b a fi i o t t n d e e d i r a p m o c ( n o ) i t s r a e p t c a r a occu h c e l a s m r e f t o c a r a 86% h c e l a m e k f r f o o w r i e 45% h t n i n e g e n s i k e r r o w we y l l a u t c a , g n i t % set 1 6 s u s r e v ( . ) s e l a m f o
Married? Single? Divorced ? Widowed ?
*53% fem ale characte rs had a known marital status
**whi le, 40% chara of ma cters le had a known marita l statu s.
Female characters have been more likely than male characters to have an identifiable marital status. This distinction has suggested that marital status is a more important part of a woman’s identity than a man’s identity.
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Films with diverse casts enjoy the highest median global box office and the highest median return on investment.
76% of all female characters were white in the top 100 films of 2016.
14% were black, 6% were Asian, 3% were Latina
During the 2016-2017 broadcast network TV season: 66% of female characters were white.
19% were black,
6% were Asian, 9% were of another race or ethnicity
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“I hope when we include female storytellers they will be more like the women I know in real life. They are proactive, have their own point of view and don’t just react to men around them.” - Actress, Jessica Chastain -
TO PASS:
The Bechdel Test — created by Alison Bechdel in her 1985 comic, “Dykes to Watch Out For” is a wellknown measurement of gender bias in movies. There are 7656 movies in the database, *4427 (57.8%) of which pass all three tests, 766 (10.0%) pass two tests, 1674 (21.9%) pass one test and 789 (10.3%) pass no tests at all. The Bechdel Test is more important than most of us realise and, in fact, it has launched a dialogue about not only the lack of females in movies, but also the racial disparities we often see in cinema. The female characters in films are typically not substantial, especially compared to the male characters they “share” the screen with. The women are often portrayed as one-dimensional and male-dependent.
“The 100” Echoes 1922 6 Days A Ghost Story Alexander IRL All The Money In The World American Made Baby Driver Berlin Syndrome The Boss Baby Captain Underpants: The First Epic Movie The Dark Tower Darkest Hour Death Note Detroit Downsizing Dunkirk El Camino Christmas The Emoji Movie The Foreigner Jesus, Bro! King Arthur Kingsman: The Golden Circle Loving Vincent Lucky The Mad Ones The Man with the Iron Heart Maria Bamford: Old Baby Marshall Mayhem The Meyerowitz Stories Mother! The Mummy Naked The Only Living Boy In New York Only The Brave Pilgrimage Pirates of the Caribbean: Dead Man Tell No Tales Plasmatic Day Revenge Sand Castle Singwa Hamgge Spider-Man: Homecoming The Square Thor: Ragnarok Transformers: The Last Knight Valerian and the City of a Thousand Planets War of the Planet of the Apes Wheelman Wolf Warrior 2 13 Hours The 5th Wave The 9th Life of Louis Drax A Cure for Wellness A Dark Song The Accountant Approaching the Unknown Assassin’s Creed The Autopsy of Jane Doe Batman v Superman: Dawn of Justice Batman: Return of the Caped Crusaders Batman: The Killing Joke Belgica Birkebeinerne Breathing Deep Cafe Society Central Intelligence Colossal Contratiempo The Darkness Deadpool Deepwater Horizon Die Letzte Sau Doctor Strange Don’t Hang Up Doukyuusei The Dragon Spell The Duel The Eagle Huntress Eddie the Eagle Elvis & Nixton Everybody Wants Some Fai Bei Sogni Free Fire Free State of
2017 FILMS
Jones Gods of Egypt The Great Wall Hacksaw Ridge Hail, Caesar! Hardcore Henry Hell or High Water High Strung In a Valley of Violence Inferno Jane Got a Gun Jason Bourne The Jungle Book Kill Command King Dave King of the Dancehall Kubo and the Two Strings L’eta D’oro The Legend of Tarzan Lion Live by Night Locos de Amor The Lost City of Z Magnificent 7 Manchester by the Sea Marauders Midnight Special Monster Trucks Moonlight Mr. Right Ne gledaj mi u pijat Neruda Norman Now You See Me 2 On the Milky Road Passengers Paterson Patients Pet Popstar: Never Stop Never Stopping Reparer les Vivants The Red Turtle Ride Along 2 The Secret Life of Pets Shin Godzilla The Siege of Jadotville Silence Sing Street Snowden Southside with You Star Trek Beyond Storks Sully Swiss Army Man Tenemos la carne Things To Come - L’avenir The Transfiguration True Memoirs of an International Assassin 600 Millas A Perfect Day Almost Mercy Already Tomorrow in Hong Kong American Ultra Anamolisa Ant-Man Baahubali: The Beginning Batman Unlimited: Animal Instincts Beasts of No Nation The Big Short Bill Black Mass Blackhat Bloodsucking Bastards Bridge of Spies Brothers of the Wind Chappie Child 44 Comment C’est Loin Comoara Concussion Creed Daddy’s Home Demolition Dope Dragon Ball Z: Resurrection F Drunk Wedding Eaters Embers The End of the Tour Entourage Everest Evolution Ex Machina Experimenter Fantastic Four
2016 S M L I F
L I A F
Focus The Four Warriors Fourth Man Out Get Hard Goosebumps The Gunman Hot Pursuit Hrutar In the Heart of the Sea Irrational Man Just Jim Kung Fury La Loi Du Marche La Memoria Del Agua Last Knights London Spy Long Way North Louder Than Bombs Macbeth Madame Bovary Maend & Hons The Man Who Knew Infinity Maryland Miles Ahead Milyy Khans, Dorogoy Pyotr Mission: Impossible Rogue Nation Mortdecai Mr. Holmes Never Let Go Pan Papertowns Pawn Sacrifice The Perfect Guy Phoenix Incident The Phoenix Project Pixels Point Break Predator Dark Ages The Revenant The Ridculous 6 Roald Dahl’s Esio Trot Run All Night Schneider vs Bax Self/Less Shaun The Sheep Movie Sicario Slow West Southpaw Spectre The SpongeBob Movie: Sponge Out of Water Spotlight The Stanford Prison Experiment Stitcher Straight Outta Compton Synchronicity Ted 2 Tempete Terminator Genisys They Call Me Jeeg Robot Titli True Story Turbo Kid Uncanny VANish Victoria The Walk ‘71 22 Jump Street 300: Rise of an Empire A Brilliant Young Mind A Coup Sur A Million Ways to Die in the West A Most A Most Wanted Man A Walk Among The Tombstones The Adventurer: The Curse of the Midas Box Alpha House Amazing Spider-Man 2 American Sniper Amour Fou Ardor Automata The Bag Man Better Living Through Chemistry Big Game Black Sea The Boxtrolls Calvary Chef Citizenfour Comet Cooties Court Creep Cuban Fury The Damned Thing Dark Was the Night
2015 FILMS
Dawn of the Planet of the Apes Der Kleine Drache Kokosnuss Draft Day The Drop Edge of Tomorrow Ei Kiitos Ek Villain El Nino En Duva Satt Pa En Gren Och Funderade Pa Trillvaron The Equalizer Escobar: Paradise Lost Exodus: Gods and Kings The Expendables 3 Fort Tilden Foxcatcher Frank Frozen in Time Fury The Gabby The Gabby Douglas Story Get On Up God’s Pocket Godzilla Golden Era The Grand Budapest Hotel Gueros H. Haider Hard Corner: Le Film Hector and the Search for Happiness Hercules The Hobbit: The Battle of the Five Armies The Homesman The Houses October Built How to Train Your Dragon 2 Hungry Hearts I Call It Love I, Frankenstein Ich seh, Ich seh The Imitation Game The Inbetweeners 2 Inherent Vice The Interview Jack Ryan: Shadow Recruit Jersey Boys Jimmy’s Hall Joe John Wick Jongens The Judge Kraftidioten La isla minima The Last Five Years The Last: Naruto the Movie Le Paradis The Legend of Hercules Let’s Be Cops Life Of Riley Love & Mercy Love Is Strange Mange tes morts The Maze Runner Mike and I Million Dollar Arm The Monuments Men Mr. Peabody and Sherman Mr. Turner Muppets Most Wanted Nar dyrene drommer Near Death Experience Need for Speed The Normal Heart Nosferatu In Love The November Man Ocho apellidos vascos The Pa Boys Paper Planes Paranormal Activity: The Marked Ones Penguins of Madagascar Planes: Fire & Rescue Praia do Futuro Ragamuffin Rico, Oskar und die Tieferschatten Ride Along The Riot Club Robocop Rosewater
FA I L
2014 S M L I F
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CRITICS Women comprised 27% and *men 73% of the top critics.
Film reviews by women represent
only
Reviews written by men also outnumbered those written by women in every type of publication considered, and in every film genre. Men outnumbered women in every job title category considered, including as film critics, staff writers, and freelancers. The top critics reviewed higher proportions of films featuring protagonists of their own sex.
24%
on Rotten Tomatoes.
As a result, films with male protagonists receive greater visibility than films with female protagonists. However, on average, male and female reviewers did not differ in the quantitative ratings (e.g., stars, reels, grades) they awarded films featuring female protagonists.
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WHAT NOW? The good news is that we should diversify entertainment and it will be good for Hollywood’s bottom line. We need diverse decisionmakers green-lighting and funding content. Otherwise, similarity bias leads us to seek out people who share our backgrounds or experience.
...but given that *95% of Hollywood film executives are white, that bias doesn’t seem lik ely to change.
We must pro-actively diversify our ranks. We need diverse...
EXECUTIVES CASTING DIRECTORS PRODUCERS & DIRECTORS to look into the large untapped talent pool of women and minorities.
This is why the Time’s Up movement will lead to a safer Hollywood and is proven to produce profitable projects.
Alice Robinson & Vivian Vong
on women being Miss•represented
TIME’S UP