Girls in the Blender - Report Seminar
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No. 2 / 2009 Girls in the Blender - Report Seminar After the success of the Media Literacy Seminar last year at the Kristian- May sand International Children’s Film Festival, ECFA, Film & Kino and KICFF collaborated once again to present another seminar entitled ‘Girls in the Blender - gender, identity and diversity in children’s films’. Being a pas- Editorial sionate subject for professionals working within this field the seminar was well attended by over 60 industry delegates ranging from festival Tougher times ahead? programmers to film buyers and casting agents. The financial crisis has struck the ECFA Board member Eva Schwarwzald: “Girls are interesting for the consumer market big festivals this year. So far the place which can ultimately result in exploitation, stress by the media and the develop- cinemas and video sales stores ment of a multi-cultural society not helped by television and media. This seminar is a have been little affected. Tradi- reflection on what can be done. Addressing the problem, encouraging better films for tionally in harder financial times girls and presenting new and different heroines, strong but not violent.” people will spend the same amount of money, and sometimes even more, on movie entertainment while cutting back on more extravagant activities. But the industry as a whole has not been spared: getting private investors for production is difficult and most companies cut back on expenses to be on the safe side. Volkswagen dropped their sponsorship of the Berlinale earlier this year, while the festival director of Cannes, Thierry Frémaux, com- ments that the lack of mega stars and parties might attract more focus on the actual films being screened. Children’s film festivals in Europe, so far, had little problems with mega stars and glamorous parties over- First speaker Cecilia Von Feilitzen is be desirable. This is lowering the self shadowing their films, but neither an expert in media for children and esteem of women during adolescence. they are unaffected with the finan- researcher of children and media. Here 4 - Lack of Identification Possibilities cial crisis. We hear reports about we are presented with six reminders of It is extremely important for the develop- sponsors withdrawing their sup- gender and media: ment of young women to identify with port, but so far it seems that public 1 - Women in Film Production and have recognition of a person, rela- funding still is at the same level. Of A study in Sweden showed that women tionship or situation - or wanting to be course, it is a real threat that this are under represented in most areas of that person or situation. This happens funding can decrease if the global film production, except in the make up through same sex identification which is crisis continues. It is therefore and costumes departments. Women are not properly represented throughout the urgent to stress how important the shown generally to make documentaries, media. work of the children’s film festival children’s films and short films. 5 - The Fourfold Male Gaze is. This is where the future cinema 2 - Representation of Girls and You are all aware of classic Hollywood and festival audience is created, Women films as we see men looking at women and if lost at an early age they could Within the commercial television sta- and women look at men looking at wo- be lost forever. Now is the time for tions in Sweden a study of animated men. This is no longer the case but the festivals to work together, to com- programs; 50% are populated by male dominance of men in the film industry bine their creativity to get the most characters and the other 50% male and tells us that we might not be so far from out of their budget, and to get the female characters. There are only 2 ca- the fourfold male gaze even today. public’s support that their funding of ses of just females. One was a ‘chicken 6 - Gender is a Power Discourse children’s film festivals should not girl’ of pre-school age who did everything Gender is a power discourse, a con- be decreased but rather increased wrong and the other was a disabled girl. struction seemingly but falsely based on in financial difficult times! There are exceptions but they were all sexual differences. The gender dis- from the male perspective. course is a struggle about the meaning Tonje Hardersen 3- Sexualisation of Girls and Women of gender, in which girls and women President Women being the object of desire, crea- often fall short. ting the essence of being a woman to ECFA Journal No. 2 - 2009 - 1 - main character is 32% female and 68% The News Section: male, the female characters speak less, Films, Festivals, Awards lead less, overact emotionally, act more as part of a team, are subject to con- Internat. Filmfestival Berlin, sumerism and are stereotyped. As for Generation Kplus and 14plus, the look of the characters they represent Berlin, Germany. unreachable waist sizes for girls, even Kplus, Children’s Jury, Crystal Bear less than a supermodels waist size. An for the Best Feature Film: „It’s Not example of research showed that boys Me, I swear“ by Philippe Falardeau, encompass all that they are presented Canada 2008; Special Mention: „Max with when creating their own fantasies Embarrassing“ by Lotte Svendsen, and girls take elements of what they can Denmark 2008; Lisbeth Juhl Sibbesen - DFI use. But what makes a character attrac- Crystal Bear for the Best Short Film: tive for girls? A character that mirrors „Ulybka Buddy“ by Bair Dyshenov, “I am the only male speaker here oneself, showing typical problems and Russia 2008; Special Mention: „Oh, today so enjoy it while you can!” Jacob enjoyment of everyday social situations My God!“ by Anne Sewitsky, Norway Breuning and Lisbeth Juhl Sibbesen with the space to recognize oneself and 2008. from the Danish Film Institute present feel reassured. Ultimately characters International Jury, Grand Prix for an historical perspective. The audience they can use, while working on their own the best feature film: „It’s Not Me, I was taken on a detailed journey with an identity - reliable characters, mirroring swear“; Special Mention: „Flickan“ by enthusiastic and visual representation the typical and presenting the idea of Fredrik Edfeldt, Sweden 2008. of girls on film. Ranging from the idea being unique and different. Generation 14plus: that girls identified more with animals in Special Prize for the best short film: children’s films due to the lack of leading „Oh, My God!“, Special Mention: female characters, children’s crime films „Jerrycan“ by Julius Avery, Australia (‘Catch That Girl’) and the impact of the 2008. ‘Girl Power’ movement of the 1990s with 14plus, Youth Jury, Crystal Bear for strong female lead characters (‘Bend It the Best Feature Film: „My Suicide“ Like Beckham’, ‘Fighter’). There is the by David Lee Miller, USA 2008; issue of going too far to represent girls Special Mention: „Mary and Max“ by as tough and just as wild as their male Adam Elliot, Australia 2008; counterparts with harsh gang represen- Crystal Bear for the Best Short Film: tations in the Danish feature ‘Råzone’ „Aphrodite’s Farm“ by Adam Strange, (‘Life Hits’) and the American ‘Thirteen’. New Zealand 2008; Special Men- Girls breaking boundaries (‘Osama’, Norwegian project in Capetown, South Africa tion: „Slaves“ by David Aronowitsch ‘Buddha Collapsed Out of Shame’), girls Closing the seminars’ presentations & Hanna Heilborn, Sweden, Norway, and sexuality (‘Water lilies’) and magic was Elisabeth Aalmo presenting an Denmark, 2008. realism (‘Through a Glass, Darkly’) were exchange project between South Africa www.berlinale.de represented and explored. and Norway to create documentary films about their lives and experiences. This Europees Jeugdfilmfestival After screening the short film ‘Frog’ resulted in 25 short films over 5 topics Vlaanderen, Antwerp & Brugge, producer Annika Hellstrom introduced covering the everyday life of girls and Belgium. us to a working format named The Doris Professionals’ Jury, best feature film: Manifesto. Created by frustration from boys working together. If the film was „Karla’s World“ by Charlotte Sachs female film workers over 10 years ago about the girls in the group then the Bostrup, Denmark 2007; best short a network was set up to awake aware- boys would be behind the camera and film: „Sooner or Later“ by Jadwiga ness and make these issues known and vice versa. An interesting representa- Kowalska, Switzerland 2007; developed. Through exploration of the tion of issues close to the young people Children’s Jury Antwerp, best feature stereotyping and asking why is funding showed that in South Africa the issues film: „The Ten Lives of Titanic the and financing distributed 80% to men were around more serious (inequality, Cat“ by Grethe Bøe, Norway 2007; and 20% to women, The Doris Mani- HIV, violence), whereas the Norwegian best short film: „Our Wonderful festo was born to give women the time groups were concerned with hobbies, Nature“ by Tomer Eshed, Germany and opportunity to craft their filmmaking schoolwork, shopping and friends. It 2008; skills for the future. seemed that there was more openness Children’s Jury Brugge, best feature for boys to tell personal stories when film: „Silly’s Sweet Summer“ by Jo- The Doris Manifesto: girls were behind the camera rather than hannes Schmid, Germany 2007; best 1 - All scripts written by women if there were boys creating the film. short film: „Our Wonderful Nature“; 2 - At least 1 female lead The screening of short film ‘Oh, My Audience Award Antwerp: „Storm- 3 - All positions filled by women God!’ with director Anne Sewitsky (ta- heart“ by Kaisa Rastimo, Finland 4 - Original score by a woman king on the subject of girls discovering 2008; Audience Award Brugge: „The Of course men will make good feminine the orgasm) was followed by the French Ten Lives of Titanic the Cat“.