DOCSLIB.ORG

CUT out of the PICTURE a Study of Gender Inequality Amongst Film Directors in the UK Film Industry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CUT out of the PICTURE a Study of Gender Inequality Amongst Film Directors in the UK Film Industry CUT OUT OF THE PICTURE A study of gender inequality amongst film directors in the UK film industry By Stephen Follows and Alexis Kreager, with Eleanor Gomes Commissioned by Directors UK Published May 2016 Contents 1. Welcome ...............................................................................................................................4 1.1 Introduction from the authors ........................................................................................................... 4 1.2 Foreword – Beryl Richards, Directors UK ......................................................................................... 5 1.3 About Directors UK ............................................................................................................................ 5 1.4 About the authors .............................................................................................................................. 6 2. Executive Summary ...............................................................................................................7 Section A: The Current Landscape for Female directors ....................................................................... 12 3. Female directors within the UK Film Industry ........................................................................ 13 3.1 The percentage of UK directors who are women .......................................................................... 14 3.2 The issue over time .......................................................................................................................... 16 3.3 Career progression for female film directors ................................................................................. 18 3.4 The budget level of female-directed UK films ................................................................................ 20 3.5 The genre of female-directed UK films ........................................................................................... 21 3.6 The quality of films and female directors ...................................................................................... 23 3.7 UK Box office income for films by female directors ...................................................................... 25 4. Female representation in the UK film industry ...................................................................... 26 4.1 Women in key creative roles on UK feature films .......................................................................... 27 4.2 Women crew members on UK feature films .................................................................................. 28 4.3 Female representation among department heads and their crew ............................................... 29 4.4 Female representation in senior roles ............................................................................................ 31 4.5 The effect of a woman director on female representation overall ............................................... 32 4.6 Changes in female representation on UK feature films over time ................................................ 34 5. Female directors in publicly-funded films............................................................................. 36 5.1 Female directors within UK publicly-funded feature films ............................................................ 36 5.2 Female directors within UK regional film funding schemes ......................................................... 40 6. Female directors in related sectors ...................................................................................... 43 6.1 Female directors of British short films ........................................................................................... 44 6.2 Female directors of films shortlisted at major international film festivals .................................. 45 6.3 Female directors within the UK television industry ....................................................................... 48 6.4 Women within the UK theatre industry ........................................................................................... 50 6.5 Female directors in European film .................................................................................................. 52 6.6 Women within UK film degree courses .......................................................................................... 54 Section B: Why Are So Few Female Directors Hired? ............................................................................ 58 7. Routes into Directing ........................................................................................................... 59 7.1 The disappearance of women film directors ................................................................................. 60 7.2 The path to becoming a professional film director in the UK ....................................................... 61 “Cut Out Of The Picture: A Study Of Female Directors In The UK Film Industry” © Stephen Follows 2016 2 7.3 Education .......................................................................................................................................... 62 7.4 Entering the film or television industry ........................................................................................... 63 7.5 Gaining credibility............................................................................................................................. 65 7.6 The first directing gig ....................................................................................................................... 67 7.7 Career development ......................................................................................................................... 69 7.8 Summary of the route ...................................................................................................................... 72 8. Why the gender disparity exists ........................................................................................... 73 8.1 Individual Bias .................................................................................................................................. 74 8.2 Systemic Issues ............................................................................................................................... 79 Section C: Fixing the Gender Inequality issue ...................................................................................... 86 9. Moving forward ................................................................................................................... 87 9.1 The impact of female directors ....................................................................................................... 88 9.2 Why action is needed ....................................................................................................................... 89 9.3 Recommended solutions................................................................................................................. 90 9.6 A word of caution ............................................................................................................................. 99 Section D: Appendix ......................................................................................................................... 100 10. Methodology ..................................................................................................................... 101 10.1 Film Dataset ................................................................................................................................... 101 10.2 Data Sources .................................................................................................................................. 102 10.3 Budget Data .................................................................................................................................... 103 10.4 Career Progression and Genre ...................................................................................................... 103 10.5 The quality of UK films .................................................................................................................. 106 10.6 Box office income for UK films ..................................................................................................... 114 10.7 Directors Dataset ........................................................................................................................... 117 10.8 Director Interviews ......................................................................................................................... 118 10.9 British Council’s British Film Database ........................................................................................ 118 10.10 International film festivals ......................................................................................................... 119 10.11 Channel 4 and Film 4 ................................................................................................................. 120 11. Additional findings ............................................................................................................ 121 11.1 Overview of government action in UK film industry .................................................................... 121 11.2 Do cinema audiences care about the gender of a film’s director? ............................................. 123 11.3 The relationship between students and industry employment
Load more

Recommended publications
  • September/October 2014 at BFI Southbank
    September/October 2014 at BFI Southbank Al Pacino in Conversation with Salome & Wilde Salome, Jim Jarmusch and Friends, Peter Lorre, Night Will Fall, The Wednesday Play at 50 and Fela Kuti Al Pacino’s Salomé and Wilde Salomé based on Oscar Wilde’s play, will screen at BFI Southbank on Sunday 21 September and followed by a Q&A with Academy Award winner Al Pacino and Academy Award nominee Jessica Chastain that will be broadcast live via satellite to cinemas across the UK and Ireland. This unique event will be hosted by Stephen Fry. Jim Jarmusch was one of the key filmmakers involved in the US indie scene that flourished from the mid-70s to the late 90s. He has succeeded in remaining true to the spirit of independence, with films such as Stranger Than Paradise (1984), Dead Man (1995) and, most recently, Only Lovers Left Alive (2013). With the re-release of Down By Law (1986) as a centrepiece for the season, we will also look at films that have inspired Jarmusch A Century of Chinese Cinema: New Directions will celebrate the sexy, provocative and daring work by acclaimed contemporary filmmakers such as Wong Kar-wai, Jia Zhangke, Wang Xiaoshuai and Tsai Ming-liang. These directors built on the innovations of the New Wave era and sparked a renewed global interest in Chinese cinema into the new millennium André Singer’s powerful new documentary Night Will Fall (2014) reveals for the first time the liberation of the Nazi concentration camps and the efforts made by army and newsreel cameramen to document the almost unbelievable scenes encountered there.
    [Show full text]
  • The Limehouse Golem’ by
    PRODUCTION NOTES Running Time: 108mins 1 THE CAST John Kildare ................................................................................................................................................ Bill Nighy Lizzie Cree .............................................................................................................................................. Olivia Cooke Dan Leno ............................................................................................................................................ Douglas Booth George Flood ......................................................................................................................................... Daniel Mays John Cree .................................................................................................................................................... Sam Reid Aveline Mortimer ............................................................................................................................. Maria Valverde Karl Marx ......................................................................................................................................... Henry Goodman Augustus Rowley ...................................................................................................................................... Paul Ritter George Gissing ................................................................................................................................ Morgan Watkins Inspector Roberts ...............................................................................................................................
    [Show full text]
  • Pioneer 3-25-15
    THE PIONEER Informing LIU Post for over 50 years Volume 66, Issue 8 www.liupostpioneer.com March 25, 2015 Students to Raise Runway Walks the Catwalk in Money for Rare “Mass Damage” Disease Research By Pete Barell Arts and Entertainment Editor A fundraiser for Huntington’s disease research will be held on the Great Lawn in front of Hillwood Commons on Wednesday, April 1, from 11 a.m. to 1:30 p.m. The event, organized by senior Film major Michael Mirabella, will involve student donations and culminate in visuals that include a release of balloons into the sky. These balloons will have info cards about the disease, meant to literally, as Mirabella puts it “raise awareness.” Huntington’s disease is a TIA-MONÁ GREENE rare genetic condition that affects By Caroline Ryan and breaks down nerve cells in the Staff Writer brain over time. Mirabella will be operating a table for the event, as The Runway club is broadcasts. be donated to Relay for Life. Last well as have a film team present hosting its annual spring fashion Thirty models, along year, the club made approximately to produce an online video. Funds show on March 27 at 7 p.m. in the with Jennifer Mejia, a junior $1,000 in profits, and hopes to do will be donated to the Huntington Tilles Center. Tickets are being Art Therapy major who is the the same this year. As for the types Disease Society of America, an sold in Hillwood Commons at a president of the club, decided to of clothing that will be showcased organization that Mirabella has table in front of the Treat Shoppe name the fashion show “Mass during the fashion show, the been in contact with to help guide during common hour, and cost Damage” and have it followed by club preferred to keep that his process.
    [Show full text]
  • EMMA. an Autumn De Wilde Film Running Time: 125 Minutes
    EMMA. an Autumn de Wilde film Running Time: 125 minutes 1 TABLE OF CONTENTS I. Synopsis . 3 II. A Screwball Romantic Comedy of Manners and Misunderstandings . 5 III. Casting EMMA.: Bringing Together an Electric Ensemble . 9 IV. About the Production . 16 V. Period Finery: Styling EMMA. 20 VI. Soundtrack and Score: The Music of EMMA. 23 VII. About the Cast . 27 VIII. About the Filmmakers . 39 IX. Credits . 49 2 SHORT SYNOPSIS Jane Austen’s beloved comedy about finding your equal and earning your happy ending is reimagined in this delicious new film adaptation of EMMA. Handsome, clever and rich, Emma Woodhouse is a restless “queen bee” without rivals in her sleepy little English town. In this glittering satire of social class, Emma must navigate her way through the challenges of growing up, misguided matches and romantic missteps to realize the love that has been there all along. LONG SYNOPSIS Jane Austen’s beloved comedy about finding your equal and earning your happy ending is reimagined in this delicious new film adaptation of EMMA. Handsome, clever and rich, 21-year-old Emma Woodhouse (Anya Taylor-Joy) is a restless “queen bee” who has lived all her life in the sleepy English village of Highbury with very little to distress or vex her. When our story begins, Emma has recently discovered the thrill of matchmaking. She has succeeded in orchestrating a marriage between her governess and the kind widower, Mr. Weston. Emma celebrates her success until she realizes that she has also orchestrated the loss of her only mother figure and companion in the house.
    [Show full text]
  • 371: December
    AANGEBODEN DOOR UW FILMTHEATER, NVF & NVB AANGEBODEN DOOR UW FILMTHEATER, IDFA 2014: HEDDY HONIGMANN GRANDE daME NEDERLANDSE DOCUMENTAIRE THE FEMALE GAZE ER ZIJN BIZAR WEINIG VROUWELIJKE REGISSEURS VON CALIGARI ZU HITLER WEIMARFILMS VOORSPELDEN faSCISME INTERSTELLAR LIEFDE IN TIJDEN VAN ZWARTE GATEN WHITE GOD 250 ACTERENDE HONDEN +MUBI GRATIS #371 DECEMBER 2014 DECEMBER CITIZENFOUR EDWARD SNOWDEN EN DE REAL-lIFE SPIONAGE VAN HET NSA-schANdaaL DE FILMKRANT ILLUSTRATIE TYPEX #371 DECEMBER 2014 3 REdaCTIONEEL Geen betere plek om Citizenfour te zien dan in Berlijn. De docu- mentaire die Laura Poitras maakte over NSA- klokkenluider Edward Snowden beleeft op IDFA z’n Nederlandse première, en het moet niet zo moeilijk zijn om dat beetje Berlijn erbij te den- ken. Ik zag de film begin november en mijn we- gen brachten me die dag eerst naar de Potsda- mer Platz, waar het verloop van de Berlijnse Muur (die dit jaar 25 jaar geleden is gevallen), als een dubbele rij steentjes in de straat is ge- metseld. Daarna moest ik overstappen op Alex- anderplatz, waar die retro-futuristische Fernseh turm, nog steeds in gebruik als radio- en televisietoren, staat te pronken als verlopen symbool van het voormalige Oost-Duitsland. Ergens halverwege mijn reis was ik getuige van hoe een man ten gevolge van een epilepti- sche aanval achteroverviel en een stroom van bloed zich door de sporen van het verleden een weg baande. Er wordt weleens gezegd dat filmcritici zich bij het kijken naar films niet mogen laten aflei- den door de dood van hun oma of kriebel aan hun grote teen. En iedereen vindt daar de juiste balans in.
    [Show full text]
  • Film Instrueret Af Kvinder I 2017
    FILM INSTRUERET AF KVINDER I 2017 Udarbejdet af Brancheforeningen Danske Biografer 1 Film instrueret af kvinder i 2017 I skrivende stund er 17 film instrueret af kvinder på vej mod det store lærred i 2017. Flere vil helt sikkert komme til. Fire kvindelige danske instruktører vil i 2017 lade deres historier udfolde i biograferne. Det drejer sig om Charlotte Sielings ”Mesteren”, Lone Scherfigs ”Their Finest”, Birgitte Stærmoses ”Darling”, Anne-Grethe Bjarup Riis’ ”Bitterfissen”. Nedenstående en komplet oversigt. Der tages forbehold for premieredatoer. DE USKYLDIGE (“Les innocentes”) (1:55) (Filmbazar) DK-premiere: 5/1-2017. (Drama) Hjemmeside: http://www.imdb.com/title/tt4370784/ Trailer: - Med Lou de Laâge, Agata Buzek og Agata Kulesza. Instr.: Anne Fontaine. (”Kemisk rens” (2.229), ”Coco før Chanel” (130.130) og ”Perfect Mothers” (2.100)). Filmen foregår i Polen i 1945. Den unge læge Mathilde, bliver sendt til Polen af Røde Kors, for at assistere med behandlingen af overlevende fra de tyske koncentrationslejre. En dag bliver hun kontaktet af en nonne, der vil have hende med tilbage til klosteret for at behandle en meget syg nonne. Da hun indvilliger og følger med, finder hun ud af at flere af nonnerne er gravide. Inspireret af virkelig begivenheder. Budget: €6 mio. Rotten tomatoes: 93% MESTEREN (SF Studios/SF) DK-premiere: 2/3-2017. (Drama) Hjemmeside: http://www.dfi.dk/faktaomfilm/film/da/96061.aspx?id=96061 Trailer: - Med Søren Malling, Jakob Oftebro, Ane Dahl Torp, Sus Wilkins og Søren Pilmark. Instr.: Charlotte Sieling. (”Over gaden, under vandet” (157.707)). Far-søn-drama fra det internationale kunstmiljø i København.
    [Show full text]
  • BAFTA David Lean Lecture, Lone Scherfig 15 December 2014 At
    BAFTA David Lean Lecture, Lone Scherfig 1 15 December 2014 at BAFTA 195 Piccadilly _______________________________________________________________________________________________ Nik Powell: Good evening everybody and and the casts that she’s been involved in. welcome to the David Lean annual BAFTA And hopefully you’re going to tell us what lecture 2014. My name is Nik Powell and I’m Lars von Trier’s really like. And I hope she’s the chairman of the BAFTA Film Committee. going to tell us, or at least me, a little bit I’ve actually just returned from the European about the iconic Danish film school through Film Awards where in 2010 Lone Scherfig’s which the whole of the Danish new wave film An Education won the major award, really grew, when it was run by Henning which was of course produced here by Camre, who also ran the British National Film Finola Dwyer and Amanda Posey, who I and Television School but didn’t have quite hope are in the audience. It also won the the same effect. So I hope anyway that I’m Sundance audience award and of course going to learn a lot from this evening. So I’d received Oscar noms for Best Pic, Best like to thank first of all Tony Reeves from the Adapted Screenplay and Best Actress for David Lean Foundation, without whom these Carey Mulligan. An Education of course was lectures are just not possible. I’d like to thank not her first English-speaking movie, that was the whole events team for putting together Wilbur Wants to Kill Himself, still one of my this – I was going to say weird, but – favourite titles I have to say, co-written with wonderful, this weird and wonderful set, and the great Anders Thomas Jensen, which won with that I want… Oh and there’s going to the jury prize for Best Direction in Cannes in be, after Lone’s talked, there’s going to be a 2006.
    [Show full text]
  • Contemporary British Coming-Of-Age Films (1979 to the Present)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Royal Holloway - Pure 1 Contemporary British Coming-of-Age Films (1979 to the Present) Philippa Zielfa Maslin A thesis submitted to Royal Holloway, University of London, in accordance with the requirements of a Ph.D. in the Department of Media Arts 2 Declaration of Authorship I declare that the work in this thesis was carried out in accordance with the regulations of Royal Holloway, University of London. This work is original, except where indicated by special reference in the text, and no part of the thesis has been submitted for any other academic award. Any views expressed in the thesis are those of the author. Signed: Philippa Zielfa Maslin Date: 19th January 2018 3 Abstract Locating itself in relation to existing work on youth in, primarily American, cinema, the thesis questions the analytical usefulness of conceptualising the ‘youth/teen film’ as a genre and, instead, seeks to establish the value of analysing the ‘coming-of-age film’ as a genre involving the employment of adolescent protagonists. In setting out to do so, it focuses on films which are set in Britain, made from 1979 onwards, and rarely discussed as coming-of-age films (or, indeed, youth/teen films), but which may be seen to benefit from such a critical approach. Following a survey of a range of anthropological, biological, historical, juridical, psychoanalytic, psychological and sociological approaches to adolescence, as well as scholarship on the literary precursor of the coming-of-age film, the Bildungsroman, and on the relationship between adolescence and cinema, a working definition of the coming-of- age genre is proposed.
    [Show full text]
  • Pressemateriale the Riot Club
    ANGEL FILMS PRÆSENTERER The Riot Club Instrueret af Lone Scherfig Spilletid: 107 minutter Kontakt: Peter Sølvsten Thomsen, [email protected] 1 The Riot Club Premiere: d. 4. december Længde: 107 minutter. Censur: 15 år Premierebiografer: Palads Teatret, Nordisk Film Biografer Lyngby, Nordisk Film Biografer Falkoner, Grand Teatret, Empire Bio, Øst for Paradis, Cafe Biografen Odense, Biffen Aalborg, Nordisk Film Biografer Odense, Nordisk Film Biografer Århus, Nordisk Film Biografer Ålborg, Nordisk Film Biografer Kolding, Nordisk Film Biografer Tåstrup, Nordisk Film Biografer Hillerød, Nordisk Film Biografer Næstved, Nordisk Film Biografer Nykøbing, Nordisk Film Biografer Esbjerg, Nordisk Film Biografer Randers, Nordisk Film Biografer Herning, CinemaxX København, CinemaxX Århus, CinemaxX Odense, Megascope Horsens, Lido Biograferne i Vejle, Scala 1-2-3-4 i Svendborg, Cinema Center Helsingør, Kino Ro’s Torv, Panorama-Biograferne ved Lillebælt, Biografcenter Fotorama i Viborg, Scala Holstebro, Panorama Slagelse, Reprise Teatret, Ishøj Bio, Palads 1-2-3 i Frederikshavn, Kulturbiografen Frysehuset Holbæk, Klovborg Kino, Kom-Bi Hornslet, Kino 1-2-3 Thisted, Lalandia Bio, Apollon i Struer, Værløse Bio, Rønne Bio, Valby Kino, Biografen i Kulturhuset Skanderborg, Aars Teater Bio. Dansk synopsis De to nystartede studerende ved Oxford Universitet, Miles og Alistair, tilbydes optagelse i den berygtede og legendariske studenterklub – The Riot Club. Klubben, hvis historie strækker sig langt tilbage i tiden, er landets mest prestigefyldte, og kun 10 personer er medlem ad gangen. I The Riot Club hersker ingen regler udover klubbens egne. Alistair vil for alt i verden være med, da både hans far og bror har været medlemmer, mens Miles engagement primært skyldes, at han er smigret over tilbuddet.
    [Show full text]
  • NICOLA DOVE CV.Doc 7-2019
    NICOLA DOVE : Stills Photographer Web: www.nicoladove.com Mobile UK +44 (0)7799 111 209 Mobile NZ: +64 (0)20 4144 3075 Email: [email protected] BOND 25 Directed by Cary Fukinaga, starring Daniel Craig, Lea Seydoux, Rami Malek, Ralph Fiennes, Naomie Harris, Ben Wishaw, Ana de Armas, Lashana Lynch THE LETTER FOR THE KING - NETFLIX Starring David Wenham, Tawfeek Barhom, Omid Djalili, Peter Ferdinando ARTEMIS FOWL - DISNEY Directed by Kenneth Branagh, starring Judi Dench, Josh Gadd, Lara McDonnell, Ferdia Shaw THE SOUVENIR Directed by Joanna Hogg, starring Tilda Swinton, Tom Burke THE LITTLE STRANGER Directed by Lenny Abrahamson, starring Domhnall Gleeson, Ruth Wilson, Charlotte Rampling, Will Poulter MURDER ON THE ORIENT EXPRESS Directed by Kenneth Branagh, starring Johnny Depp, Michelle Pfeiffer, Penelope Cruz, Daisy Ridley, Judi Dench, Josh Gad, Willem Dafoe, Olivia Colman, Sergei Polunin, Leslie Odom Jr and Kenneth Branagh. THE PARTY Directed by Sally Potter, starring Kristin Scott Thomas, Cillian Murphy, Emily Mortimer, Timothy Spall, Patricia Clarkson THE DEATH OF STALIN Directed by Armando Iannuci, starring Steve Buscemi, Jeffrey Tambor, Micheal Palin, Rupert Friend, Simon Russell Beale, Andrea Riseborough, Jason Isaacs, Paddy Considine MY COUSIN RACHEL Directed by Roger Michell, starring Rachel Weisz, Sam Claflin, Holliday Grainger, Iain Glen THE LIMEHOUSE GOLEM Directed by Juan Carlos Medina, starring Olivia Cooke, Bill Nighy, Douglas Booth THEIR FINEST Directed by Lone Scherfig, starring Gemma Arterton, Sam Claflin, Bill Nighy UNA Directed by Benedict Andrews, starring Rooney Mara, Ben Mendelsohn THE LADY IN THE VAN Directed by Nick Hytner, starring Maggie Smith THE OUTCAST Directed by Iain Softely, starring George Mackay.
    [Show full text]
  • Alistair's Monologue
    Kent Academic Repository Full text document (pdf) Citation for published version Vient, Aimee (2021) A Case Study in Playwriting: Laura Wade's Posh. Master of Arts by Research (MARes) thesis, University of Kent,. DOI Link to record in KAR https://kar.kent.ac.uk/88083/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html A Case Study in Playwriting Laura Wade’s Posh Aimee E. Vient Submitted in fulfillment of the degree of Master of Arts by Research in Drama School of Arts University of Kent June 2020 84 pages Word Count: 35351 2 Acknowledgements: First, I must recognize Laura Wade, her agent Rhia Douty and Adam Narat, Literary Assistant at the Royal Court Theatre. Without the access to the different draft of Posh, this dissertation could not have happened.
    [Show full text]
  • Bibliography
    BIbLIOGRAPHY Abeel, Erica (2007) “Red Road” Film Journal International Vol. 110 Issue 3 p. 37. Adler, Tim (2009) “Mamma Mia! Rakes in the Money, Money, Money” Screen Finance Vol. 22 Part 7 p. 3. Aitken, Ian (1993) Film and Reform: John Grierson and the Documentary Film Movement London, New York: Routledge. Aitken, Ian (1994) “Stop the Serbian Juggernaut” New Statesman and Society 30 December Vol. 16 p. 15. Aitken, Stuart (2007) “Poetic Child Realism: Scottish Film and the Construction of Childhood” Scottish Geographical Journal Vol. 123 Issue 1 pp. 68–86. Akbar, Arifa (2008) “Hollywood Embraces Britain’s Black Film Talent” The Independent 10 May p. 8. Amber Online http://www.amber-online.com/sections/about-us/pages/the-­ workshop-­agreement (Accessed 23/06/2015). Ames, Katrine (2008) “The Surprising Career of Penny Woolcock” Opera News Vol. 10 pp. 38–39. Andrews, Nigel (2014) “The Riot Club: Film Review” FT.comhttp://search.pro- quest.com.ezproxy.wlv.ac.uk/docview/1613632296?pq-origsite=summon (Accessed 07/07/2015). Annesley, Claire, Gains, Francesca, and Rummery, Kirstein (eds) (2007) Women and New Labour: Engendering Politics and Policy? Bristol: Policy Press. Annesley, Claire, and Gains, Francesca (2007) “Feminising Politics and Policy: The Impact of New Labour” in Claire Annesley, Francesca Gains, and Kirstein Rummery (eds) Women and New Labour: Engendering Politics and Policy? Bristol: Policy Press, pp. 3–24. © The Author(s) 2017 219 S. Hockenhull, British Women Film Directors in the New Millennium, DOI 10.1057/978-1-137-48992-0 220 BIBLIOGRAPHY Annual Report Creative Skillset creativeskillset.org/assets/0000/0256/Annual_ Report_2009-­10.pdf (Accessed 08/09/2015).
    [Show full text]