DOCSLIB.ORG

2016 Wreyford Natalie 116406

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The gendered contexts of screenwriting work Socialized recruitment and judgments of taste and talent in the UK film industry Wreyford, Natalie Louise Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 The gendered contexts of screenwriting work: socialized recruitment and judgments of taste and talent in the UK film industry. Natalie Wreyford A thesis submitted to the Department of Culture, Media and Creative Industries at King’s College London for the Degree of Doctor in Philosophy, London, September 2015 1 Declaration I certify that the work presented in this thesis is my own with all references cited accordingly, and that the word limit does not exceed that prescribed in the College regulations. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. This thesis may not be reproduced without prior written consent, but will be made available for public reference in the library of King’s College London. 2 Acknowledgments I am extremely grateful to everyone who participated in my research and gave their time and thoughts so generously. I would like to say a huge thank you to my supervisors, Dr Christina Scharff, whose wisdom and insight guided me through the majority of my research and Dr Bridget Conor, who gallantly took the reigns with much needed expertise and encouragement in my final stages. Both of them have shown me such generosity and support and truly exemplify how incredibly rewarding it can be to work with feminist academics. I am so grateful to you both for your advice and friendship and sincerely hope we can find ways to work together in the future. My thanks also to Professor Ros Gill for her early encouragement and continued support and interest in my work. Finally, thanks to King’s College London and in particular the department of Culture, Media and Creative Industries for providing the context and perfect home for my research. Writing this thesis would not have been possible without the support of my family. In particular I want to thank my mum, who put me up to it in the first place and who has been inexhaustibly supportive and inspirational my whole life, and my dad, who brought me up to question authority and fight for the underdog. Special thanks to my husband, Nathan, for his love and for going out to work every day and taking the children away from me on Sundays. He has been on every step of this journey with me and reminded me of the importance of my work when I have doubted it. And to my wonderful children, Honor, Seth and Ellie, all of whom have shown me first hand the ridiculousness of gender stereotypes as well as the dangers, who make me smile every day and who inspire me to make the world a better place. I dedicate this thesis to female screenwriters everywhere, especially those who have never written a word. 3 Abstract A substantial amount of data is available to illustrate just how few films have women in key creative positions, and how little the situation is changing. Critical sociological studies of work in creative industries have revealed a reestablishment of inequality along traditional lines such as gender but reasons for this continued inequality has only recently become a focus of creative labour studies. This thesis examines the dynamics of socialized recruitment processes that rely on subjective judgments of creative talent and ability. I identify the rhetorical work done in the UK film industry whereby these practices have become accepted as natural and unproblematic even by those they seemingly disadvantage. It is informed by key thinking from the fields of creative industries, cultural studies and gender and work, and introduces new empirical data from interviews with screenwriters and their employers, to examine how inequality of opportunity is sustained through structural and subjective mechanisms that are not held accountable through equal opportunities policies. Using a Bourdieusian framework I will consider how success in creative work is less attributable to qualifications and experience than to social, economic and particularly cultural capital and the right habitus. I contend that symbolic violence is used to suppress the very discourse of the experience of women by disallowing their voices to be heard in sufficient variety as authors of feature film screenplays. My study of screenwriting labour offers a more complex explanation than is provided by the usual justifications for the lack of women in key creative roles. In this way I contribute to a more nuanced understanding of the mechanisms that perpetuate gender inequality in creative professions. 4 CONTENTS Declaration ................................................................................................................. 2 Acknowledgements .................................................................................................... 3 Abstract ...................................................................................................................... 4 INTRODUCTION ............................................................................................................ 7 1. SCREENWRITERS: THE INVISIBLE LABOURERS .......................................... 14 1.1. Creative careers in a project-based labour market. ........................................... 16 1.2. Careers in the film industry. ............................................................................. 19 1.3. Film labour supply and demand. ...................................................................... 26 1.4. Who writes films? ............................................................................................. 31 1.5. Who employs screenwriters? ............................................................................ 37 1.6. Conclusion. ....................................................................................................... 40 2. GENDER AND THE CREATIVE WORKPLACE ................................................. 42 2.1. What is a woman? ............................................................................................. 45 2.2. Thinking about gender with Bourdieu. ............................................................. 49 2.3. Post-feminism and beyond. .............................................................................. 53 2.4. Creating difference, creating creatives. ............................................................ 56 2.5. Conclusion. ....................................................................................................... 64 3. RESEARCH METHODS: SEARCHING FOR TRUTH AND THE WOMEN WHO AREN’T THERE. ..................................................................................................... 67 3.1. Truth, validity and developing a feminist approach. ........................................ 69 3.2. The messy business of interviewing. ................................................................ 74 3.3. Methodological challenges. .............................................................................. 84 3.3.1. Including the missing women. .............................................................. 84 3.3.2. Articulating discriminatory behaviours. ............................................... 88 3.4. Discourse Analysis. .......................................................................................... 91 3.5. Conclusion. ....................................................................................................... 94 4. “IT’S JUST SOME SORT OF MAGIC THAT YOU GO AND DO”: DISCURSIVE WORK IN CONVERSATIONS ABOUT SCREENWRITERS AND THEIR EMPLOYMENT. ...................................................................................................... 95 4.1. Discourses of creativity and meritocracy in talk of screenwriting work. ......... 97 4.1.1. The screenwriter as special creative individual. ................................... 97 4.1.2. The myth of meritocracy. .................................................................... 102 4.2. Alternative discourses in the talk of screenwriters and their employers. ....... 105 4.2.1. Creativity and collaboration. ..............................................................
Recommended publications
  • Breaking the Glass Or Sealing It? Hegemony and Resistance Among College Women Anticipating Careers

    Breaking the Glass Or Sealing It? Hegemony and Resistance Among College Women Anticipating Careers

    Running head: HEGEMONY AND RESISTANCE AMONG COLLEGE WOMEN Breaking the Glass or Sealing It? Hegemony and Resistance among College Women Anticipating Careers A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Communication November 2015 by Hannah Bush B.S., Bradley University, 2013 HEGEMONY AND RESISTANCE AMONG COLLEGE WOMEN Abstract This study focuses on how college women, of different intersecting identities, perceive and subsequently manage career opportunities and barriers for women. By analyzing interview and survey responses about women’s perceptions of job market and future workplace interactions, the researcher finds participants both able to acknowledge that there is gender inequality, while also restraining themselves to career paths numerically dominated by women. The study finds that women reinforce and resist hegemonic discourses of patriarchy and meritocracy. This study expands on the ways that the theory of denotative hesitancy, or is one’s reluctance to name situations and problems as a result of systemic oppression, occurs after organizational assimilation, but during anticipatory socialization. ii HEGEMONY AND RESISTANCE AMONG COLLEGE WOMEN iii HEGEMONY AND RESISTANCE AMONG COLLEGE WOMEN Acknowledgements I would like to give special thanks to Dr. Heather Zoller, my thesis advisor. Her support and guidance not only helped me grow as a student and a researcher, but also made the completion of this project possible. I would also like to thank Dr. Gail Fairhurst and Dr. Erynn Masi de Casanova, my committee members, for their thoughtful input and patience. I sincerely appreciate all of the wisdom you have shared with me.
  • Addressing and Preventing Sexist Advertising

    Addressing and Preventing Sexist Advertising

    — Addressing and preventing sexist advertising An analysis of local and global promising practice Abstract This research paper explores the efficacy of interventions that aim to address sexism or promote progressive gender representations in advertising, highlighting examples of local and global promising practice. Interventions to prevent or address sexist advertising may occur through several distinct mechanisms: legislative frameworks; self-regulatory and co-regulatory systems; the provision of educational resources to the broader community; industry initiatives to re-shape advertising culture and promote diverse, inclusive and ethical practice; and the exertion of influence on advertisers and regulators through consumer activism. The paper explores the strengths and limitations of each mechanism and illustrates interventions in practice through a variety of case studies. Critical to addressing sexist advertising is a whole of system approach with mutually reinforcing interventions that capitalise on different opportunities for influence. Concluding summations are offered throughout with a range of recommendations drawn from these at the end of the paper. Authors and researchers This research paper has been written and researched by: Dr Lauren Gurrieri, Senior Lecturer in Marketing, RMIT University Dr Rob Hoffman, Research Assistant, RMIT University This research is funded by Women’s Health Victoria as part of the Advertising (in)equality project and supported by the Victorian Government through its Free from Violence Innovation Fund.
  • Feminism in the Twenty-First Century: Does It Need (Re)Branding? Maria Morelli University of Leicester

    Feminism in the Twenty-First Century: Does It Need (Re)Branding? Maria Morelli University of Leicester

    Volume 4(1) 2011 FEMINISMS: THE EVOLUTION Feminism in the Twenty-First Century: Does It Need (Re)branding? Maria Morelli University of Leicester ver the years, the media declared the death of feminism with headlines such as O ‘Feminism was something for our mothers’, in the Independent (Levenson 2009) and ‘Feminism outmoded and unpopular’, in the Guardian (Ward 2003); other headlines such as ‘Warning: Feminism is bad for your health’ in the Independent (Dobson 2007) or ‘Bra- burning feminism has reached burn-out’, in The Times (Frean 2003) have attached negative connotations to feminism. Similar headlines have been in and out the news since the 1980s. However, the evidence suggests that young women are formulating their own constructions of feminism as a way to carve out a personal space for the redefinition of their own identity. Following on from this and using the British and Italian situation as case studies, I shall provide evidence for the observation that an array of new feminist activities, including national networks, local groups, and blogs, has recently been formed. This article will demonstrate, first, that the feminist movement today is still very much alive and very much needed, and, secondly, that, even current activists are undeniably adopting methods that are different from those of their foremothers, this does not necessarily imply that feminism has ceased to exist. Although aspects of these issues have already been considered by earlier studies, this article does so from an interesting and original perspective by examining them through a diverse range of sources available within mainstream media: excerpts from newspapers, feminist blogs and the American TV series Sex and the City.
  • AFS Year 7 Slate MASTER

    AFS Year 7 Slate MASTER

    AFS YEAR 7 FILM SLATE "1 AFS 2018-2019 FILM THEMES *Please note that this thematic breakdown includes documentary features, documentary shorts, animated shorts and episodic documentaries American Arts & Culture Entrepreneurism Chasing Trane! Blood, Sweat & Beer! Gentlemen of Vision! Chef Flynn! Honky Tonk Heaven: Legend of the Dealt! Broken Spoke! Ella Brennan: Commanding the Table! Jake Shimabukuro: Life on Four Strings Good Fortune! More Art Upstairs! Knife Skills! Moving Stories! New Chefs on the Block! Obit! One Hundred Thousand Beating Hearts! Restless Creature: Wendy Whelan! Human Rights Score: A Film Music Documentary! STEP! A Shot in the Dark! All-American Family! Disability Rights Bending the Arc! A Shot in the Dark! Cradle! All-American Family! Edith + Eddie! Cradle! I Am Jane Doe! Dealt! The Prosecutors! I’ll Push You! Unrest! Pick of the Litter! LGBTQI Reengineering Sam! Served Like a Girl! In A Heartbeat! Unrest! The S Word: Opening the Conversation Stumped# About Suicide! Stumped! "2 Mental Health Awareness Sports Cradle! A Shot in the Dark! Served Like a Girl! All-American Family! The S Word: Opening the Conversation Baltimore Boys! About Suicide! Born to Lead: The Sal Aunese Story! The Work! Boston: The Documentary! Unrest! Down The Fence! We Breathe Again! Run Mama Run! Skid Row Marathon! The Natural World and Space Take Every Wave: The Life of Laird A Plastic Ocean! Hamilton Above and Beyond: NASA’s Journey to STEM Tomorrow! Frans Lanting: The Evolution of Life! Bombshell: The Hedy Lamarr Story! Mosquito! Dream Big:
  • UC Irvine UC Irvine Electronic Theses and Dissertations

    UC Irvine UC Irvine Electronic Theses and Dissertations

    UC Irvine UC Irvine Electronic Theses and Dissertations Title The Modern Race Woman: Josephine Baker, Hattie McDaniel, and the Black Press, 1925- 1945 Permalink https://escholarship.org/uc/item/006921cv Author Robles, Ashley Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE The Modern Race Woman: Josephine Baker, Hattie McDaniel, and the Black Press, 1925-1945 THESIS submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in History by Ashley Robles Thesis Committee: Associate Professor Jessica Millward, Chair Associate Professor Allison Perlman Professor David Igler 2021 © 2021 Ashley Robles TABLE OF CONTENTS Page INTRODUCTION 1 CHAPTER 1: HISTORIOGRAPHY 6 CHAPTER 2: La Baker: Josephine Baker in the Black Press 12 Baker as “Modern Cinderella” and Harlem Countess 16 Baker as Black Venus and “Brown Beauty” 22 CHAPTER 3: High-Hat Hattie: Hattie McDaniel in the Black Press 33 McDaniel as Mammy and Best Supporting Actress 36 CHAPTER 4: The Struggles of Race Womanhood and Conclusion 57 BIBLIOGRAPHY 60 ii ABSTRACT OF THE THESIS The Modern Race Woman: Josephine Baker, Hattie McDaniel, and the Black Press by Ashley Robles Master of Arts in History University of California, Irvine, 2021 Associate Professor Jessica Millward, Chair During the early twentieth century, the Black press—including newspapers such as the Chicago Defender, the New York Amsterdam News, and the Baltimore Afro-American—became a source for debating and reiterating notions of race, gender, and sexuality. Through the figures of female celebrities such as Josephine Baker and Hattie McDaniel, the writers of the Black press articulated Blackness, Black femininity and sexuality, and older conceptions of race womanhood and uplift.
  • Future of Work in Film and Television

    Future of Work in Film and Television

    Future of Work in Film and Television Panel: Careers in Comedy Television Moderator: Dani Klein Modisett ’84 Writer/Comedian, Founder "Laughter On Call" Dani Klein Modisett is a comedian/writer/actor and, most recently, the CEO and Founder of “Laughter on Call.” She is also the author of two books on the importance of laughter in family life, “Take My Spouse, Please,” and “Afterbirth…stories you won’t read in a parenting magazine.” She has written for The LA Times, NY Times, Parents Magazine, AARP and a lot of websites. She started out as an actor in NYC and did various NBC shows, a few Oliver Stone movies, and a few Broadway comedies. She taught stand-up at UCLA for undergrads and adults for 10 years and wrote and performed several comedy shows which toured colleges. After her mother was diagnosed with Alzheimer’s disease, she created “Laughter On Call” which brings comedians around the country to people with dementia and runs workshops for healthcare workers and families teaching simple comedian’s tools to help break tension, create connection and, most of all, shared laughter between those who need it most. “Laughter on Call” has been featured in The Washington Post, The London Times, AARP, and on Dr. Oz and The Doctors. She has two teenage sons and is married to Tod Modisett ’94. Ayla Glass ’09 Associate Producer and Executive Assistant to Seth Green at Stoopid Buddy Stoodios, Actress Ayla Glass is a stand-up, writer, performer and producer from Kansas City (the Kansas side) and a graduate of Dartmouth College.

  • Possible Child Abuse Went Underreported

    EXPANDED SPORTS COVERAGE SUBSCRIBER EXCLUSIVE Questions? Call 1-800-Tribune Monday, October 22, 2018 Breaking news at chicagotribune.com BETRAYED UPDATE Possible child abuse went underreported Despite law, data show CPS held fewer But that has not been of district data shows a ing to call the state child- CPS did not alert law en- enough to instill a culture at troubling trend: CPS has abuse hotline immediately. forcement or the Illinois workers accountable in recent years CPS of consistently report- held fewer employees ac- From 2010 through 2014, State Board of Education ing these cases. countable for failing to alert there were an average of 10 after one of its employees By Jennifer Smith Richards, Juan Perez Jr. In documenting hun- child-welfare workers discipline cases per year. failed to act on behalf of an and David Jackson | Chicago Tribune dreds of sex crimes against about possible abuse in re- Then punishments abused child. That means CPS students for the “Be- cent years even though re- dropped off; just three em- those educators not only Chicago Public Schools’ mediately. And the state trayed” series earlier this ports of student sexual ployees were disciplined faced few consequences child-abuse reporting pol- “mandated reporter” law, year, the Tribune found that abuse in Chicago schools last year, district records from their employer, they icy is clear: School workers enacted more than four educators sometimes had did not decline. show. also escaped potential crim- must report suspected decades ago, makes failure failed to report the abuse. In 2009, CPS disciplined The Tribune also found abuse to authorities im- to report abuse a crime.
  • Sex in the Multiplex: a Qualitative and Quantitative Analysis of Sex in the 250 Most Popular Films on Domestic Release, 2011-2015

    Sex in the Multiplex: a Qualitative and Quantitative Analysis of Sex in the 250 Most Popular Films on Domestic Release, 2011-2015

    Sex in the Multiplex: A Qualitative and Quantitative Analysis of Sex in the 250 Most Popular Films on Domestic Release, 2011-2015 by John Moran, BA, MA Thesis Submitted for the Award of PhD Dublin City University Dr Debbie Ging, supervisor School of Communications July 2020 DECLARATION I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of PhD is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: __________________________ ID No.: ___________ Date: ________ ii TABLE OF CONTENTS Declaration ii List of Tables iii List of Figures iv Abstract v Chapter 1: Introduction 1 Chapter 2: Literature Review 14 Chapter 3: Methodology 48 Chapter 4: Findings 71 Chapter 5: Analysing & Discussion 118 Chapter 6: Conclusion 159 Bibliography 167 Filmography 178 Appendix A 183 Appendix B 188 Appendix C 189 3 List of Tables, 2.1: Details of major studies on sexual content 24 3.1: Extract from spreadsheet for scene descriptions & dialogue 57 4.1: Number of films released & rated per MPAA, BoxOfficeMojo, The-Numbers 71 4.2: Annual box office admissions in millions per MPAA, BoxOfficeMojo, The-Numbers 72 4.3: Number & percentage share of all films on domestic release, 2011-2015, by distributor type 73 4.4: Number & percentage share
  • Download Scriptie

    Download Scriptie

    Women: the disenfranchised Een beschrijvend onderzoek naar genderongelijkheid en intersectionaliteit Samira Abid Master in de Meertalige Professionele Communicatie Academiejaar 2019-2020 Promotor: Prof. dr. Olga Van Oost Co-promotor: Prof. dr. Tom Van Hout Derde lezer: Prof. dr. Dieter Vermandere Faculteit Letteren en Wijsbegeerte Faculteit Toegepaste Economische Wetenschappen Women: the disenfranchised Copyright © Copyright: Universiteit Antwerpen Zonder voorafgaande schriftelijke toestemming van zowel de promoter(es) als de auteur(s) is overnemen, kopiëren, gebruiken of realiseren van deze uitgave of gedeelten ervan verboden. Voor aanvragen tot of informatie i.v.m. het overnemen en/of gebruik en/of realisatie van gedeelten uit deze publicatie, neemt u contact op met Universiteit Antwerpen, Master in de Meertalige Professionele Communicatie, Prinsstraat 13, 2000 Antwerpen (België) | [email protected] Voorafgaande schriftelijke toestemming van de promoter(es) is eveneens vereist voor het aanwenden van de in dit afstudeerwerk beschreven (originele) methoden of producten en voor de inzending van deze publicatie ter deelname aan wetenschappelijke prijzen of wedstrijden. Without written permission of the supervisor(s) and the authors it is forbidden to reproduce or adapt in any form or by any means any part of this publication. Requests for obtaining the right to reproduce or utilize parts of this publication should be addressed to Universiteit Antwerpen, Master in de Meertalige Professionele Communicatie, Prinsstraat 13, 2000 Antwerpen (België) | [email protected] A written permission of the supervisor(s) is also required to use the (original) methods or products, and for submitting this publication in scientific contests. Plagiaatsverklaring Ondergetekende, Samira Abid, student Master in de Meertalige Professionele Communicatie (TEW- FLW) verklaart dat deze scriptie volledig oorspronkelijk is en uitsluitend door haarzelf geschreven is.
  • Console-Ing Passions Abstracts

    Console-Ing Passions Abstracts

    Console-ing Passions Abstracts Kristian Adamson, University of Sydney, Australia “Three Percent, Rounded Up: The Problem with Positive Representations of Women” In this paper I will present the results of my own research on the last thirty years of above-the-line creative labour in Hollywood. The changes in women’s participation in Hollywood as writers, producers and directors will be outlined, and sites of fracture in men’s dominance of the industry will be identified as part of the process of mapping the prevailing trends across the period. This demonstration of gender inequality in Hollywood will do more than merely confirm what might have already been suspected as true. The identifiably gendered divisions of labour in Hollywood will also be used to inform and propose methodological principles for researchers approaching other elements of the ‘cinematic institution’. To illustrate the utility of a more complete empirical understanding of Hollywood I will use the data compiled in my study to situate feminist engagement with post-feminist film within the context of an industry which not only excludes women but actively rewards men who do so. Post-feminist film has at its core an ambiguity. On the one hand it offers “positive representations” of empowered women and on the other these are always within a larger narrative framework that undermines feminist demands. This ambiguity has proven resilient and resulted in a kind of stalemate in recent debates about postfeminism. I argue that one means to think beyond this impasse is to combine an empirical analysis of creative labour practices with a critique of cinema centred on feminism as an ethical demand.
  • Where Are the Asians in Hollywood? Can §1981, Title VII, Colorblind Pitches, and Understanding Biases Break the Bamboo Ceiling?

    Where Are the Asians in Hollywood? Can §1981, Title VII, Colorblind Pitches, and Understanding Biases Break the Bamboo Ceiling?

    UCLA Asian Pacific American Law Journal Title Where Are the Asians in Hollywood? Can §1981, Title VII, Colorblind Pitches, and Understanding Biases Break the Bamboo Ceiling? Permalink https://escholarship.org/uc/item/2cm1r6db Journal Asian Pacific American Law Journal, 21(1) ISSN 2169-7795 Author Chong, Christina Shu Jien Publication Date 2016 DOI 10.5070/P3211031952 eScholarship.org Powered by the California Digital Library University of California Where Are the Asians in Hollywood? Can §1981, TITLE VII, Colorblind Pitches, and Understanding Biases Break the Bamboo Ceiling? Christina Shu Jien Chong* INTRODUCTION New Republic selected the title “The Triumph of Asian-Americans” to de- scribe Asian Pacific Americans (“APAs”) as “America’s greatest success story.”1 American media portrays APAs as an assimilated race “that adds more to . society than it takes away.”2 In 2004, U.S. census data showcased APAs and Whites with similar incomes.3 However, this data is distorted because many APAs did not report their unemployment status due to language barriers.4 APA families also have more working members than White families and are concentrated in areas where the cost of living is higher than the national average, such as California, Hawaii, and New * Christina Chong received her B.A. and J.D. from the University of California (UC), Berkeley. She is an Assistant Professor of Law and Assistant Director of the Law+Plus and Bar+Plus programs at the University of San Francisco (USF). Before joining USF, Chong was the Assistant Director of Academic Skills at UC Irvine School of Law and worked in Academic Support at UC Berkeley School of Law.
  • Addressing and Preventing Sexist Advertising an Analysis of Local And

    Addressing and Preventing Sexist Advertising an Analysis of Local And

    — Addressing and preventing sexist advertising An analysis of local and global promising practice Abstract This research paper explores the efficacy of interventions that aim to address sexism or promote progressive gender representations in advertising, highlighting examples of local and global promising practice. Interventions to prevent or address sexist advertising may occur through several distinct mechanisms: legislative frameworks; self-regulatory and co-regulatory systems; the provision of educational resources to the broader community; industry initiatives to re-shape advertising culture and promote diverse, inclusive and ethical practice; and the exertion of influence on advertisers and regulators through consumer activism. The paper explores the strengths and limitations of each mechanism and illustrates interventions in practice through a variety of case studies. Critical to addressing sexist advertising is a whole of system approach with mutually reinforcing interventions that capitalise on different opportunities for influence. Concluding summations are offered throughout with a range of recommendations drawn from these at the end of the paper. Authors and researchers This research paper has been written and researched by: Dr Lauren Gurrieri, Senior Lecturer in Marketing, RMIT University Dr Rob Hoffman, Research Assistant, RMIT University This research is funded by Women’s Health Victoria as part of the Advertising (in)equality project and supported by the Victorian Government through its Free from Violence Innovation Fund.