Gender in the Film Indutsry Stephenfollows-Com

GENDER IN THE FILM INDUSTRY

Thank you for downloading this free report. This report is the result of research carried out for my blog www.stephenfollows.com/blog. I was preparing to publish new data about gender within the film business and I wanted to understand more about what was already available online on the topic. The film industry is a hard sector to study, not least due to the fact that there are no barriers to entry. Unlike professions such as law, there are no required qualifications to enter the industry, which makes it hard to track new entrants and to assess who is and isn’t a valid participants. Recent new technologies in both production and distribution have lowered this even further, meaning that the concept of one ‘film industry’ is a nebulous idea. What follows are all of the major studies I could find which look at various aspects of gender within film. I cannot vouch for them all and some may even contain contradictory findings. My aim is to provide the data as clearly as possible, in order that they may be used by campaigners, industry professionals and interested parties. If you require any further data on these studies please contact me and I'd be happy to share what I have. I have endeavoured to provide full attribution to every party involved in creating the studies cited. If I have missed anything, please let me know and I'll add the missing information to future copies. I have been ably supported in this project by Alysa Throne, to whom I am very grateful. All the best,

Stephen Follows January 2014 www.stephenfollows.com/blog

StephenFollows.com “Gender in Film Industry” Report 1 CONTENTS

THE BUSINESS OF FILM  Film Markets o ‘Most Female’ Countries within Business Sectors of the Film Industry o ‘Most Male’ Countries within Business Sectors of the Film Industry  Marketing, Publicity and PR o ‘Most Female’ Countries within Film Industry Marketing, Publicity and PR o ‘Most Male’ Countries within Film Industry Marketing, Publicity and PR FILM PROFESSIONALS  Gender Ratios in American Film Industry  Status of Women in the US Media  Employment of Women in Top 250 Films of 2012  Historical Comparison of Percentages of Women Employed in Key Behind-the-Scenes Roles  Historical Comparison of Percentages of Women Employed Behind the Scenes on Top 250 Films by Role  Comparison of Percentages of Women and Men Employed on Top 250 Films of 2012  Gender Statistics in Norway o Female participation in Norwegian feature releases 2012 o Female participation in Norwegian feature releases 2007–2012  Female Screenwriters and Directors of UK Films  Female Screenwriters in the UK  UK Women in Various Departments  Census of the UK Creative Media Industries FUNDING & TRAINING  Funding of European Female Directors o Eurimages data 2008 – co-production support o Eurimages data 2009 – co-production support o Eurimages data 2010 – co-production support o Eurimages data 2011 – co-production support o Eurimages data 2012 – co-production support  Funding of UK Female Screenwriters & Directors  UK Female Screenwriters in accredited courses  Funding of Norwegian Female Film Professionals o Women in projects applying/supported 2012 o Women in key positions projects with production support 2007-12 o Women in key positions – projects awarded production support 2012 FILM AUDIENCES  Frequency of UK cinema visits o % of UK population who visit cinema at least once a year o % of UK population who visit cinema at least once a month

StephenFollows.com “Gender in Film Industry” Report 2  Film Choices o Films with highest percentage of men in the cinema audience o Films with highest percentage of women in the cinema audience  Are films aimed at women made by women? o Gender of the directors of most male/female films o Gender of the producers of most male/female films o Gender of the lead cast (top 7 names) of most male/female films o Gender of the screenwriters of most male/female films  Most Successful Films by Female Directors (EU)  Most Successful Films by Female Directors (USA) WOMEN ON-SCREEN  On-Screen Characters  Character Attributes and Job Aspirations o Hypersexuality Measures by Character Gender in Family Films o Hypersexuality Measures by Characters’ Age in Prime Time o Character Occupation by Gender in Family Films o Gender Balance within Family Films o STEM Fields by Gender in Family Films o Gender Prevalence by Program Genre in Prime Time o Gender Balance within Prime Time Programs o Hypersexuality Measures by Character Gender in Prime Time o Hypersexuality Measures by Female Characters’ Age in Prime Time o Character Occupation by Gender in Prime Time o STEM Fields by Gender in Prime Time  Age of Love Interests FOLLOW-UPS • See Jane Impact Study REPORTS AND ARTICLES  Sexist Hollywood?: Women Still Struggle to Find Film Jobs, Study Finds, 2013  DGA Report Finds Director Diversity in Episodic Television Remains Static, 2013  Female Film Roles Still Secondary, According to New Study, 2011  Women @ the Box Office: A Study of the Top 100 Worldwide Grossing Films  Women Are on the Rise at Sundance – When Will Studios Take Note? 2013  Women Directors Globally, 2012  At the Movies, The Women Are Gone (2013)  Percentages of Women in Media, 2012  The Hunger Games: Catching Fire: What Marvel, DC and Hollywood Can Learn, 2013  A Report of Canadian Unions for Equality on Screen, 2013  Less Than 30% of Speaking Roles in Blockbuster Films Last Year Went to Women  The Naked Truth: Hollywood Still Treats its Women as Second Class Citizens, 2013

StephenFollows.com “Gender in Film Industry” Report 3 THE BUSINESS OF FILM

Film markets take every few months, the largest of which is the Cannes Marche du Film in May. These events allow the film industry to gather, seek finance, build co-productions and sell the rights to distribute films to audiences around the world. To be ‘officially accredited’ at a major film market you need to prove your participation in the professional film industry and, in most cases, pay a fee. Therefore, I have used data from major film markets in the past five years to look at the gender split within the professional film business. In total, this included over 40,000 people and it is hard to imagine that there are a huge number film business professionals who have not attended a market of any kind in the past five years.

 Female 43%  Male 57%

‘Most Female’ Countries within Business Sectors of the Film Industry

# Country Female Male 1 Taiwan 56% 44% 2 China 56% 44% 3 Thailand 55% 45% 4 Russia 54% 46% 5 Hong Kong 54% 46% 6 Estonia 53% 47% 7 Lithuania 52% 48% 8 Malaysia 51% 49% 9 Ukraine 50% 50% 10 Romania 50% 50% 11 Poland 48% 52% 12 Greece 48% 52% 13 Israel 48% 52% 14 Singapore 48% 52% 15 Denmark 47% 53% 16 Finland 47% 53% 17 Lebanon 47% 53% 18 Luxembourg 47% 53% 19 Uruguay 46% 54% 20 Canada 46% 54% 21 Czech Republic 46% 54% 22 Brazil 46% 55% 23 Turkey 46% 55% 24 Australia 45% 55% 25 Italy 45% 55%

Table shows the gender split of accredited film industry attendees of major film markets between April 2009 and May 2013. Countries with fewer than 100 participants have been excluded.

Source: StephenFollows.com Dates: 2009-13 Location: Global More: http://goo.gl/jGXE7G

StephenFollows.com “Gender in Film Industry” Report 4 ‘Most Male’ Countries within Business Sectors of the Film Industry

# Country Female Male 1 Iran 24% 76% 2 India 32% 68% 3 Mexico 37% 63% 4 Chile 37% 63% 5 Indonesia 38% 62% 6 Hungary 38% 62% 7 USA 39% 61% 8 Norway 39% 61% 9 United Kingdom 39% 61% 10 United Arab Emirates 39% 61% 11 Portugal 40% 60% 12 Spain 40% 60% 13 Germany 40% 60% 14 Argentina 40% 60% 15 South Korea 41% 59% 16 Belgium 41% 59% 17 Sweden 42% 58% 18 Colombia 42% 58% 19 Japan 42% 58% 20 Switzerland 43% 57% 21 South Africa 43% 57% 22 Austria 44% 56% 23 France 44% 56% 24 Ireland 45% 56% 25 Netherlands 45% 55%

Table shows the gender split of accredited film industry attendees of major film markets between April 2009 and May 2013. Countries with fewer than 100 participants have been excluded.

Source: StephenFollows.com Dates: 2009-13 Location: Global More: http://goo.gl/jGXE7G

StephenFollows.com “Gender in Film Industry” Report 5 Marketing, Publicity and PR

‘Most Female’ Countries within Film Industry Marketing, Publicity and PR

# Country Female Male 1 Russia 79% 21% 2 Finland 74% 26% 3 Czech Republic 72% 28% 4 Greece 71% 29% 5 Ukraine 70% 30% 6 South Africa 69% 31% 7 Brazil 68% 32% 8 Netherlands 68% 32% 9 Thailand 68% 32% 10 Taiwan 65% 35% 11 Spain 63% 37% 12 Switzerland 63% 37% 13 Austria 61% 39% 14 Australia 61% 39% 15 China 60% 40% 16 Singapore 59% 41% 17 Canada 59% 41% 18 Poland 59% 41% 19 Turkey 57% 43% 20 Portugal 57% 43% 21 Belgium 57% 43% 22 Hong Kong 55% 45% 23 Malaysia 55% 45% 24 South Korea 55% 45% 25 United Kingdom 54% 46%

Table shows the gender split of accredited film industry attendees of major film markets between April 2009 and May 2013 who work within the Marketing, Publicity or PR sectors. Countries with fewer than 20 participants have been excluded.

Source: StephenFollows.com Dates: 2009-13 Location: Global More: http://goo.gl/jGXE7G

StephenFollows.com “Gender in Film Industry” Report 6 ‘Most Male’ Countries within Film Industry Marketing, Publicity and PR

# Country Female Male 1 Mexico 33% 67% 2 India 41% 59% 3 Iran 43% 57% 4 Hungary 45% 55% 5 United Arab Emirates 47% 53% 6 Norway 50% 50% 7 USA 51% 49% 8 France 52% 48% 9 Argentina 53% 47% 10 Italy 53% 47% 11 Japan 54% 46% 12 Denmark 54% 46% 13 Germany 54% 46% 14 Sweden 54% 46% 15 United Kingdom 54% 46% 16 South Korea 55% 45% 17 Malaysia 55% 45% 18 Hong Kong 55% 45% 19 Belgium 57% 43% 20 Portugal 57% 43% 21 Turkey 57% 43% 22 Poland 59% 41% 23 Canada 59% 41% 24 Singapore 59% 41% 25 China 60% 40%

Source: StephenFollows.com Dates: 2009-13 Location: Global More: http://goo.gl/jGXE7G

StephenFollows.com “Gender in Film Industry” Report 7 FILM PROFESSIONALS Gender Ratios in American Film Industry A Report by the New York Film Academy entitled ‘Gender Inequality in Film’ found…

• There is a 5:1 ratio of men:women working on films

• Women direct more documentaries (34.5%) than narrative films (16.9%)

• Percentages of women and men employed behind the scenes on the top 250 films of 2012 — Directors: 9% female, 91% male; writers: 15% female, 85% male; exec. producers: 17% female, 83% male; producers 25% female, 75% male; editors: 20% female, 80% male; cinematographers: 2% female, 98% male

• Top 10 highest paid actresses in 2013 earned $181 million, actors received $465 million

• In 2013 the highest paid actress (Angelina Jolie) made $33 million, roughly equivalent to the two lowest paid actors (Denzel Washington, Liam Neeson)

• In the 85th Academy Awards across all 19 categories, 140 men were nominated v. 35 women. There were no female nominees for directing, cinematography, film editing, writing (original screenplay), or music (original score).

• 77% of Oscar voters are male.

Source: New York Film Academy Dates: 2007-12 Location: USA More: http://goo.gl/Qta0IM

StephenFollows.com “Gender in Film Industry” Report 8 Status of Women in the US Media Diana Mitsu Klos, Women’s Media Center

Women made up…

o 18% of the behind the scenes roles in film in 2012 and 2011 o 17% in 2005 o 19% in 2001 o 17% in 1998

In 2011–2012 television, women made up…

o 26% of creators o 25% of executive producers o 38% of producers o 30% of writers o 11% of directors o 13% of editors o 4% of DPs

Female characters portrayed as leaders:

o 7% Political Government o 8% religious o 17% business o 27% social o 30% scientific/intellectual

Source: Women’s Media Center Dates: 1997-2012 Location: USA More: http://goo.gl/OcoQ2a

StephenFollows.com “Gender in Film Industry” Report 9 Employment of Women in Top 250 Films of 2012 “The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 2012” by Dr. Martha M. Lauzen, Executive Director, Center for the Study of Women in Television and Film, San Francisco

• This study analysed behind-the-scenes employment of 2,813 individuals working on the top 250 domestic grossing films of 2012 • In 2012, women comprised 18% of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films (no change from 2011 and an increase of 1% from 1998) • Women accounted for 9% of directors and 89% of the films had no female directors • 38% of films employed 0 or 1 woman in the roles considered, 23% employed 2 women, 28% employed 3-5 women, and 10% employed 6-9 women • Women comprised 20% of all editors working on the top 250 films of 2012; 77% of the films had no female editors • 98% of the films had no female cinematographers • Women were most likely to work in the documentary, drama, and animated film genres; they were least likely to work in the action, horror, and sci-fi genres

Historical Comparison of Percentages of Women Employed in Key Behind-the-Scenes Roles*

*Includes directors, writers, executive producers, producers, editors and cinematographers.

StephenFollows.com “Gender in Film Industry” Report 10 Historical Comparison of Comparison of Percentages of Women Percentages of Women Employed Behind the and Men Employed on Scenes on Top 250 Films Top 250 Films of 2012 by Role

Source: Martha M. Lauzen, Ph.D. Dates: 2012 Location: Global More: http://goo.gl/eTIRgP

StephenFollows.com “Gender in Film Industry” Report 11 Gender Statistics in Norway

 Statistics based on "Key functions" have been defined as the posts of director, producer and scriptwriter. Each function is assigned the basic maximum calculation value of 1,00. If one woman occupies a function, or if several women share the same function, this function is assigned the total value 1,00. If a function is shared between a woman and a man, the function in question is assigned the value 0,50. If a function is shared by two women and a man, the function is assigned the value 0,66 – and so on. Summing up the "female value" of the different key positions of projects within a scheme thus becomes a straight-forward exercise in percentage calculation. Since the value set is bi- polar (female/male), male representation in each function is taken to be the difference between 100 per cent and the percentage of women in key positions.  The goal was to reach a 40% female share of key positions, which had not been reached by 2012.  The percentage of key positions in 2012 was 26%, greater than the 25% total from 2011.

Female participation in Norwegian feature releases 2012

2012 feature releases Director Scriptwriter Producer Total N % N % N % N % Cinema releases 5 22 % 7 30 % 6,25 27 % 18,25 26 % - of which WITH ex ante support 4 33 % 5,5 46 % 3 25 % 12,5 35 % - of which WITHOUT ex ante 1 9 % 1,5 14 % 3,25 30 % 5,75 17 % support

Female participation in Norwegian feature releases 2007–2012

Feature releases, historical series 2007 2008 2009 2010 2011 2012 Director 37 % 9 % 20 % 24 % 15 % 22 % Scriptwriter 9 % 13 % 17 % 32 % 23 % 30 % Producer 25 % 24 % 17 % 20 % 35 % 27 % Total 10 % 23 % 24 % 29 % 25 %

Source: Norwegian Film Institute Dates: 2007-12 Location: Norway More: http://goo.gl/500Jp1

StephenFollows.com “Gender in Film Industry” Report 12 Female Screenwriters and Directors of UK Films A BFI-lead report concluded that…

 After many years of under-representation, female screenwriters appear to have made a breakthrough over the last three years, with an unusually high representation in the top 20 UK independent films (37%) and profitable UK independent films (30%).

 This contrasts with continued under-representation of women among directors of UK independent films, although the proportion of female directors in the top 20 UK independent films (18%) was slightly higher than in the whole population of UK independent films (11%).

 Study also suggests that the problem of female representation in film is not related to education, but to the commissioning process, where male filmmakers are more likely to be commissioned

StephenFollows.com “Gender in Film Industry” Report 13 StephenFollows.com “Gender in Film Industry” Report 14 Source: BFI Dates: 2010-12 Location: UK More: http://goo.gl/prIjEk

StephenFollows.com “Gender in Film Industry” Report 15 Female Screenwriters in the UK This report is older than the previous BFI study mentioned but still have some useful data within it.

 43% broadcast radio workforce was female, 49% of broadcast TV workforce was female, 57% of cable and satellite TV workforce was female, 27% corporate production workforce was female, 58% independent production workforce was female, 38% audio-visual industry (on a whole) workforce was female compared to 38% of screenwriters being women  Percentage of female screenwriters 1999-2003 was 14.6%, percentage of broader female writing input was 18%, and 15% were unknown.  1998-2005 BIFA had 13.5% female nominees and 0 female winners.  1990-2005 BAFTA had 9.9% female nominees and 7% of the winners were women.  1990-2006 Golden Globes had 8.2% female nominees and 17.4% of the winners were women.  1990-2005 Oscars had 11.8% female nominees and 18.2% of the winner were women.  Also provides statistics for Box Office gross in the UK and the US for films with female vs. male screenwriters (pg 18), but the numbers are stupid and useless because it then points out that the budget for films by women vs. films by men are different, with the max budget for a film written by a man being roughly £158 million as opposed to £16 million for women.  In 2002 – 2004, the female proportion of the total audience (average female viewership was 52.4% based on the numbers they gave for the three individual years) was greater for UK films than for films of wider origin.  Based on the following graphs, genres with higher percentages of female screenwriters draw a higher percentage of female viewers, generally.

StephenFollows.com “Gender in Film Industry” Report 16 Source: BFI Dates: 2001-3 Location: UK More: http://goo.gl/Dj6UfM

StephenFollows.com “Gender in Film Industry” Report 17 UK Women in Various Departments

• Representation of women has increased to 35% from 27% in 2009. • Representation of women is highest in… o makeup and hairdressing (81%) o costume and wardrobe (73%). • Women also make up… o over half (56%) of the legal workforce o distribution, sales & marketing (55%) o business management (52%) o broadcast management (51%) o but less than half in every other occupational group. • Women in TV take up 45% of the total work force. Pretty consistent from 2004 on. The areas that fall under the 45% average are… o studio operations (26%) o transport (21%) o audio/sound/music (20%) o editing (18%) o technical development (16%) o lighting (16%) o camera/photography (15%) o engineering and transmission (13%) o animators (3%) o servicing (3%). • Areas above the average are… o legal roles (66%) o strategic management roles (48%) o creative development (48%) o broadcast management (61%) o production (56%).

Source: EWA Dates: 2012 Location: UK More: http://goo.gl/EcQz5X

StephenFollows.com “Gender in Film Industry” Report 18 Census of the UK Creative Media Industries

StephenFollows.com “Gender in Film Industry” Report 19 Source: Creative Skillset Dates: 2012 Location: UK More: http://goo.gl/ttiZn4

StephenFollows.com “Gender in Film Industry” Report 20 FUNDING & TRAINING Funding of European Female Directors Analysis of data in the Eurimages database by Francine Hetherington Raveney found:

 The number of women directors among the top 500 European films has increased from 1997 to 2011, but not consistently. From 1997-2001, 47/500 were directed by women. From 2002-2006, 56/500 were directed by women. From 2007-2011, 55/500 were directed by women.  Stats for Europe are better than the stats for the US. Out of the top 500 US films, there were 29 women directors from 1997-2001, 29 from 2002-2006, and 20 from 2007-2011. So it’s actually decreased.  Based on Eurimages data in 2008, out of 114 projects applying for funding, 15 had female directors attached, and 7 of these projects were supported (12.3%). Of Eurimages over 20-million euro budget, a little over 2-million went to projects with female directors.  Eurimages data for 2009 shows a slight increase — projects with female directors comprised 27 out of 109, and 20% of female-director projects were supported, though the success rate of projects with female directors dropped slightly from half. Over three million euros were given to projects with female directors out of the just-under 20-million euro budget.  Eurimages data for 2010 shows that out of 125 applicant projects, 23 had female directors, 8 of which were supported (14.3%) making the success-rate for projects with female directors markedly less than in previous years. Funding remained about the same.  Eurimages data for 2011 shows that out of 139 applicant projects, 32 had female directors, 18 of which were supported (25%), which is higher than previous years. The success rate rose to 56.3%.  Eurimages data for 2012 shows that out of 148 applicant projects, 25 had female directors, and 9 of these projects were supported (13.24%), a significant decrease from 2011, but similar to the data from 2008-2010. The success rate was 36%, and the funding remained relatively similar.

Eurimages data 2008 – co-production support

Total no. of projects supported 57 Total amount support awarded €20 200 000 Total no. of projects applying 114 Total no. of projects applying with male directors 99 Total no. of projects applying with female directors 15 Total no. of female-directed projects supported 7 % of projects supported with female directors 12.30% Success rate among female directors 47% Total amount awarded to female directors €2 480 000 Female directors' share of total amount awarded 12.30% % of 1st or 2nd-time female directors receiving support 29.00% % of projects with female directors receiving support with a budget of €1 million or under 0%

Eurimages data 2009 – co-production support

StephenFollows.com “Gender in Film Industry” Report 21 Total no. of projects supported 55 Total amount support awarded €19 460 000 Total no. of projects applying 109 Total no. of projects applying with male directors 82 Total no. of projects applying with female directors 27 Total no. of female-directed projects supported 11 % of projects supported with female directors 20.00% Success rate among female directors 40.70% Total amount awarded to female directors €3 610 000 Female directors' share of total amount awarded 18.60% % of 1st or 2nd-time female directors receiving support 18.20% % of €1 million or under projects out of those supported and with female directors 0.00%

Eurimages data 2010 – co-production support

Total no. of projects supported 56 Total amount support awarded €19 260 000 Total no. of projects applying 125 Total no. of projects applying with male directors 102 Total no. of projects applying with female directors 23 Total no. of female-directed projects supported 8 % of projects supported with female directors 14.3% Success rate among female directors 34.8% Total amount awarded to female directors €2 120 000 Female directors' share of total amount awarded 9% % of 1st or 2nd-time female directors receiving support 12.5% % of projects with female directors receiving support with a budget of €1 million or under 0% Eurimages data 2011 – co-production support

StephenFollows.com “Gender in Film Industry” Report 22 Total no. of projects supported 72 Total amount support awarded €22 350 000 Total no. of projects applying 139 Total no. of projects applying with male directors 107 Total no. of projects applying with female directors 32 Total no. of female-directed projects supported 18 % of projects supported with female directors 25.00% Success rate among female directors 56.30% Total amount awarded to female directors €4 090 000 Female directors' share of total amount awarded 18.29% % of 1st or 2nd-time female directors receiving support 44.40% % of projects with female directors receiving support with a budget of €1 million or under 16.70% Eurimages data 2012 – co-production support

Total no. of projects supported 68 Total amount support awarded €21 710 000 Total no. of projects applying 148 Total no. of projects applying with male directors 123 Total no. of projects applying with female directors 25 Total no. of female-directed projects supported 9 % of projects supported with female directors 13.24% Success rate among female directors 36.00% Total amount awarded to female directors €1 720 000 Female directors' share of total amount awarded 7.90% % of 1st or 2nd-time female directors receiving support 66.67% % of projects with female directors receiving support with a budget of €1 million or under 55.56%

Source: European Women’s Audiovisual Network Dates: 2008-12 Location: Europe More: http://goo.gl/oyqtYX

StephenFollows.com “Gender in Film Industry” Report 23 Funding of UK Female Screenwriters & Directors A 2006 study by the BFI found the following statistics for the funding of female directors:

Source: BFI Dates: 2004-5 Location: UK More: http://goo.gl/Dj6UfM

StephenFollows.com “Gender in Film Industry” Report 24 UK Female Screenwriters in accredited courses

Source: BFI Dates: 2002-4 Location: UK More: http://goo.gl/Dj6UfM

StephenFollows.com “Gender in Film Industry” Report 25 Funding of Norwegian Female Film Professionals

 33% of key positions on projects awarded production support in 2012 have been held by women. This represents a small increase from 2011, when female presence in key positions was 31%.  The percentage of women in projects applying for support in 2012 is equal to that of 2011, i.e. 27%.  More than two-thirds of projects with female participation in key positions that applied were awarded production support. This is an increase since 2011, when 45% of projects with women in key positions.

Women in projects applying/supported 2012

PRODUCTION SUPPORT Applications Support granted N % N % FEATURE FILMS (CINEMA) 31,5 28 % 21,5 33 % - OF WHICH SUPPORT ON MARKET CRITERIA 7 18 % 3 25 % - OF WHICH SUPPORT ON ARTISTIC CRITERIA 16 27 % 12 29 % - OF WHICH FEATURE DOCUMENTARIES 8,5 47 % 6,5 54 % DOCUMENTARIES 144,5 37 % 38,5 41 % SHORT FILMS 85,75 32 % 24 36 % TOTAL 259,75 33 % 79 35 %

Women in key positions projects with production support 2007-12

PRODUCTION SUPPORT – HISTORICAL SERIES 2007 2008 2009 2010 2011 2012 FEATURE FILMS 19 % 24 % 32 % 27 % 31 % 33 % DOCUMENTARIES 40 % 48 % 43 % 45 % 32 % 41 % SHORT FILMS 34 % 39 % 48 % 42 % 42 % 36 %

Women in key positions – projects awarded production support 2012

PRODUCTION SUPPORT Director Scriptwriter Producer Total N % N % N % N % FEATURE FILMS 27 % 7,5 34 % 8 36 % 21,5 33 % 6 DOCUMENTARIES 8,5 27 % 11 36 % 19 61 % 38,5 41 % SHORT FILMS 7 32 % 7 32 % 10 16 % 24 36 % TOTAL 19,5 26 % 23,5 31 % 36 48 % 79 35 %

Source: Norwegian Film Institute Dates: 2007-12 Location: Norway More: http://goo.gl/500Jp1

StephenFollows.com “Gender in Film Industry” Report 26 FILM AUDIENCES Frequency of UK cinema visits

% of UK population who visit cinema at least once a year

80%

70%

60%

50%

40%

% populationof UK 30%

20%

10%

0% 2003 2004 2005 2006 2007 2008 2009 2010

% of UK Men % of UK Women

Source: UKFC / BFI Dates: 2003-10 Location: UK More: http://goo.gl/w0lQ6A

StephenFollows.com “Gender in Film Industry” Report 27 % of UK population who visit cinema at least once a month

30%

25%

20%

15% % populationof UK

10%

0% 2003 2004 2005 2006 2007 2008 2009 2010

% of UK Men % of UK Women

Source: UKFC / BFI Dates: 2003-10 Location: UK More: http://goo.gl/w0lQ6A

StephenFollows.com “Gender in Film Industry” Report 28 Film Choices

Films with highest percentage of men in the cinema audience

Film Male Female Year

United 93 89% 11% 2006 V for Vendetta 82% 18% 2006 Captain America: The First Avenger 78% 22% 2011 Green Zone 76% 24% 2010 Resident Evil: Apocalypse 75% 25% 2004 Severance 74% 26% 2006 Dredd 74% 26% 2012 Alien Vs Predator 74% 27% 2004 Layer Cake 73% 27% 2004 Senna 73% 27% 2011 Transformers: Dark of the Moon 73% 27% 2011 Mission: Impossible – Ghost Protocol 73% 27% 2011 300 72% 28% 2007 Terminator Salvation 72% 28% 2009 Alexander 72% 28% 2005 Iron Man 71% 29% 2008 Match Point 71% 29% 2006 Dodge Ball: A True Underdog Story 71% 29% 2004 Wrath of the Titans 70% 30% 2012 Shaun of the Dead 70% 31% 2004

Table shows the film with the highest percentage of men in the cinema audience, drawn from the 251 top performing films (top 20 films and top UK films) released in the UK and Republic of Ireland, between 2003 and 2012.

Source: UKFC / BFI / Stephen Follows Dates: 2003-12 Location: UK More: http://goo.gl/KQbuE9

StephenFollows.com “Gender in Film Industry” Report 29 Films with highest percentage of women in the cinema audience

Film Male Female Year

Penelope 10% 90% 2008

Jane Eyre 14% 86% 2011

Wild Child 15% 85% 2008

Angus, Thongs and Perfect Snogging 16% 84% 2008

Sex and the City 19% 81% 2008

One Day 19% 81% 2011

Bridesmaids 21% 79% 2011

Hairspray 22% 78% 2007

Miss Potter 22% 78% 2007

The Other Boleyn Girl 22% 78% 2008

Marley & Me 22% 78% 2009

The Devil Wears Prada 22% 78% 2006

The Queen 23% 77% 2006

High School Musical 3 24% 76% 2008

Mamma Mia! 25% 75% 2008

Evelyn 26% 74% 2003

Calendar Girls 27% 73% 2003

Sex and the City 2 27% 73% 2010

S Club Seeing Double 28% 72% 2003

Enchanted 29% 71% 2007

Source: UKFC / BFI / Stephen Follows Dates: 2003-12 Location: UK More: http://goo.gl/KQbuE9

StephenFollows.com “Gender in Film Industry” Report 30 Are films aimed at women made by women? Based on audience data (see previous research in this report), I took at a look at the key creatives behind the ‘most male’ and ‘most female’ films released in the UK between 2003 and 2012.

Gender of the directors of most male/female films

Male (by Female (by Male (%) Female number) number) (%)

Directors of the films most popular with men 20 0 100% 0%

Directors of the films most popular with women 17 3 85% 15%

Gender of the producers of most male/female films

Male (by Female (by Male (%) Female number) number) (%)

Producers of the films most popular with men 61 8 88% 12%

Producers of the films most popular with women 41 17 71% 29%

Gender of the lead cast (top 7 names) of most male/female films

Male (by Female (by Male (%) Female number) number) (%)

Top 7 billed cast members of the films most 95 37 72% 28% popular with men

Top 7 billed cast members of the films most 53 75 41% 59% popular with women

Gender of the screenwriters of most male/female films

Male (by Female (by Male (%) Female number) number) (%)

Screenwriters of the films most popular with men 38 0 100% 0%

Screenwriters of films most popular with women 15 11 58% 42%

Source: StephenFollows.com Dates: 2003-12 Location: UK More: http://goo.gl/w0lQ6A

StephenFollows.com “Gender in Film Industry” Report 31 Most Successful Films by Female Directors (EU) Using data from the European Audiovisual Observatory's LUMIERE database, European Women’s Audiovisual network published the following results of the most successful films directed by women within 1997-2011 based on EU cinema admissions.

Source: European Women’s Audiovisual Network Dates: 1997-2011 Location: Europe More: http://goo.gl/oyqtYX

StephenFollows.com “Gender in Film Industry” Report 32 Most Successful Films by Female Directors (USA) Using data from the European Audiovisual Observatory's LUMIERE database, European Women’s Audiovisual network published the following results of the most successful films directed by women within 1997-2011 based on American cinema admissions.

Source: European Women’s Audiovisual Network Dates: 1997-2011 Location: USA More: http://goo.gl/oyqtYX

StephenFollows.com “Gender in Film Industry” Report 33 WOMEN ON-SCREEN On-Screen Characters A Report by the New York Film Academy entitled ‘Gender Inequality in Film’ found…

• 30.8% of speaking characters are women, 29.8% of women wore sexually revealing clothes (as opposed to 7% of men), 26.2% of actresses get partially naked (as opposed to 9.4% of men), 10.7% of movies features a balanced cast where half of the characters are female

• Average ratio of male actors to female actors is 2.25:1, percentage of teenage females depicted with some nudity has increased 32.5% from 2007 to 2012, roughly ⅓ of female speaking characters are shown in sexually revealing attire/are partially naked.

• 10.6% increase in female characters on screen when a woman is directing, 8.7% increase when a female screenwriter is attached

Source: New York Film Academy Dates: 2007-12 Location: USA More: http://goo.gl/Qta0IM

StephenFollows.com “Gender in Film Industry” Report 34 Character Attributes and Job Aspirations

Hypersexuality Measures by Character Gender in Family Films

Hypersexuality Measures by Characters’ Age in Prime Time

Character Occupation by Gender in Family Films

StephenFollows.com “Gender in Film Industry” Report 35 Gender Balance within Family Films

STEM Fields by Gender in Family Films

Gender Prevalence by Program Genre in Prime Time

Gender Balance within Prime Time Programs

StephenFollows.com “Gender in Film Industry” Report 36 Hypersexuality Measures by Character Gender in Prime Time

Hypersexuality Measures by Female Characters’ Age in Prime Time

Character Occupation by Gender in Prime Time

STEM Fields by Gender in Prime Time

StephenFollows.com “Gender in Film Industry” Report 37 Source: See Jane Dates: 2012 Location: USA More: http://goo.gl/yrfAPg

StephenFollows.com “Gender in Film Industry” Report 38 Age of Love Interests Kyle Buchanan at Vulture compared the ages of male actors and their on-screen female counterparts…

Tom Hanks

Liam Neason

StephenFollows.com “Gender in Film Industry” Report 39 Brad Pitt

Steve Carell

StephenFollows.com “Gender in Film Industry” Report 40 Richard Gere

George Clooney

StephenFollows.com “Gender in Film Industry” Report 41 Tom Cruise

Johnny Depp

StephenFollows.com “Gender in Film Industry” Report 42 Harrison Ford

Denzel Washington

StephenFollows.com “Gender in Film Industry” Report 43 FOLLOW-UPS See Jane Impact Study Impact of the Geena Davis Institute’s efforts in bringing awareness to the lack of women in the media

Statistics on actual change:

 27% increase in aspirations or occupations of female characters  27% increase in dialogue  18% increase in story development  16% increase in female characters as secondary characters  11% increase in female lead characters  11% switched male characters to female  11% changed the look of the characters  7% more female characters as extras  7% more female characters as supporting characters

Statistics on the need for change:

 39% increase in desexualizing female roles  12% increase in the number of females in children’s programming  12% increase in breaking from traditional gender roles  12% increase in broader/more diverse physical representation in kids’ programming  12% increase in female characters in non-traditional gender stereotypes and roles  9% increase in girls/women in professions usually associated with men/boys  3% increase in male characters in non-traditional gender stereotypes and roles

Source: Geena Davis Institute Dates: 2013 Location: USA More: http://goo.gl/WGF43U

StephenFollows.com “Gender in Film Industry” Report 44 REPORTS AND ARTICLES

Sexist Hollywood?: Women Still Struggle to Find Film Jobs, Study Finds, 2013

Alexander C. Kaufman & Brent Lang, The Wrap http://www.thewrap.com/music/article/sexist-hollywood-women-still-struggle-find-film-jobs-study-finds-74076

• In 2012, women represented 18% of all directors, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films. It was also 18% in 2011 and has increased only 1% since 1998. • Women accounted for 15% of writers working on the top 250 films of 2012. 78% of films had no female writers. • Women make up 17% of all executive producers working on the top 250 films of 2012. 61% of the films had no female executive producers. • Women accounted for 25% of all producers working on the top 250 films of 2012. 32% of the films had no female producers. • Women directed 24% of the films at Sundance between 2002 and 2012. • Women directed 4.4% of the top 100 films at the box office from 2002 to 2012.

DGA Report Finds Director Diversity in Episodic Television Remains Static, 2013

Director’s Guild of America http://www.dga.org/News/PressReleases/2013/100213-DGA-Report-Finds-Director-Diversity-in-Episodic- Television-Remains-Static.aspx

• In television from 2012–2013, white men directed 72% of all episodes, white women directed 12% of all episodes, minority males directed 14% of all episodes, and minority females directed 2% of all episodes. • From the previous year’s study, the percentage of episodes directed by white men decreased by 1%, the percentage of episodes directed by white women increased by 1%, the percentage of episodes directed by minority males increased by 1%, and the percentage of episodes directed by minority females decreased by 2%.

Female Film Roles Still Secondary, According to New Study, 2011

Andrea Canning and Michael Murray http://abcnews.go.com/US/men-dominate-film-industry-study/story?id=13439590

• An analysis of the top 100 grossing movies of 2008 found that only 32.8% of speaking parts were given to women. • 8% of directors, 13.6% of writers, and 19.1% of producers were female. • 39.8% of females wore revealing attire in movies, compared to 6.7% of males. • Females were shown partially naked 30.1% of the time, compared to 10.3% for males. • When women are involved in penning a script, the percentage of female characters jumps by 14.3% • In 2008, three of the biggest-grossing movies were geared toward girls (Twilight, Mama Mia, Sex and the City)

StephenFollows.com “Gender in Film Industry” Report 45 Women @ the Box Office: A Study of the Top 100 Worldwide Grossing Films

Martha M. Lauzen, PhD http://womenintvfilm.sdsu.edu/files/Women%20@%20Box%20Office.pdf

• Women comprised 13% of all directors, executive producers, producers, and writers for the top 100 worldwide grossing films of 2007. • 29% of the top 100 worldwide grossing films had no women in any of these roles considered. Obviously not a single film lacked a man in one of these roles. • Female characters comprised 10% of clearly identifiable protagonists • 31% of films featured ensemble casts with at least one prominent female character • Films with female protagonists or prominent females in an ensemble cast had significantly lower budgets than films featuring male protagonists ($45 million vs. $77.9 million). • Films with female protagonists/ensembles with a female character earned on average $54.5 millions vs. $101 million for men

Women Are on the Rise at Sundance – When Will Studios Take Note? 2013

Lucas Shaw, The Wrap http://www.thewrap.com/movies/column-post/women-are-rise-sundance-what-gives-studios-73941

• Women directed 24% of films at Sundance between 2002 and 2012 • Women comprised 29% of all directors, writers, producers, cinematographers, and editors of those films • Women directed 50% of the films in the competition this year • Women directed just 4.4% of the top 100 films at the box office from 2002 to 2012

Women Directors Globally, 2012

Marian Evans (Wellywood Woman Blog) http://wellywoodwoman.blogspot.co.nz/2012/11/after-i-completed-my-survey-of-new.html

Percentages of female directors:

 Australia (five years to mid 2011) 18% (theatrically released features only, probably most state-funded) via Screen Australia  Canada (2010) 16% (all state-funded) via Women in View  France (2010) 21% (state-funded, but with lower budgets than men-directed films)  New Zealand (2010) 16% (same percentage in both state-funded and not state-funded lists) my research  Norway (2010) 19% (from the Norwegian Film Institute database, not known if all state-funded)  Sweden (2010) 11% (19% of all state-funded films) via Swedish Film Institute  United States (2011-12) 18% (films from round the world shown at selected United States festivals) via Martha Lauzen at the Center for the Study of Women in Television & Film  United States (2010) 7% (250 top-grossing films, a steady decrease from 9% in 1998; 5% in 2011) via Martha Lauzen at the Center for the Study of Women in Television & Film.

At the Movies, The Women Are Gone (2013)

StephenFollows.com “Gender in Film Industry” Report 46 Linda Holmes (NPR) http://www.npr.org/blogs/monkeysee/2013/06/14/191568762/at-the-movies-the-women-are-gone

• On June 14, 2013, in the D.C. metropolitan area, there were 617 movies showing within 10 miles of the author’s house. • 561 of these 617 shows (90%) were stories about men or groups of men wherein women played supporting roles or filled out ensembles primarily focused on men. • 31 of the 617 were about balanced pairings or ensembles of men and women. • 25 of the 617 showings were movies about women or girls. • Only one of these films was directed by a woman. • There were nearly 6x as many showings of Man of Steel alone as there were of any of the films about women put together. • If you did not live in a metropolitan (possibly American, because cinemas in London at least didn’t tend to have nearly as many films on tap) you literally would not be able to find a movie about a woman. At all.

Percentages of Women in Media, 2012

Media Report to Women http://www.mediareporttowomen.com/statistics.htm

• 67% of guests on MSNBC, Fox News Channel, and CNN were men. • of NPR’s major shows are hosted by women. However, of 12 commentators who appeared at least 20x in a 15 month period, only one was female. • Worldwide,⅗ on major media outlets, 24% of people interviewed, heard, seen, or read about in mainstream broadcast and print news were female. (Compare to 1995, when the number was 17%.) Of popular opinion polls on these outlets, 47% were women. Of experts/authorities, 82% were male. Only 16% of all stories focus on women. • In 2007, men reported 48% of stories (compared to 73% in 1987.) • In 2010-2011 primetime television, women were: creators (18%), executive producers (22%), producers (37%), directors (11%), writers (15%), editors (20%), and directors of photography (4%) working on sitcoms, dramas, and reality programs airing on the broadcast networks. • In 2010 feature films, women comprised: 7% of directors, 10% of writers, 15% of executive producers, 24% of producers, 18% of editors, and 2% of cinematographers.

The Hunger Games: Catching Fire: What Marvel, DC and Hollywood Can Learn, 2013

Russ Burlingame (Comicbook.com) http://comicbook.com/blog/2013/11/24/the-hunger-games-catching-fire-what-marvel-dc-and-hollywood- can-learn/

• Top three highest grossing films in Lionsgate’s history are all adaptations of Young Adult lit with female protagonists. • Sandra Bullock is the main character of Gravity, and yet they billed George Clooney alongside her due to the pervasive belief that female protagonists can’t carry films — yet Bullock’s box office gross since 2008 is $891 million, significantly more than Clooney’s $634 million (even more staggering when it’s noted that Clooney made 9 films in that time, compared to Bullock’s 6.) • Budget for Clooney’s films since 2008 was about $307 million, and Bullock’s was $214 million. Which means that for every dollar a studio spent producing Clooney’s films, they saw $2.07 back. Which is almost exactly half of the $4.15 they saw back on Bullock’s films.

A Report of Canadian Unions for Equality on Screen, 2013

Dr. Amanda Coles

StephenFollows.com “Gender in Film Industry” Report 47 http://www.actra.ca/actra/focus/

• Statistics for female dominated categories: hair department is 77% women, makeup is 79% women, 88% of costuming is women, 93% of script supervisors are women, 85% of publicity is women, 73% of accounting is women, 75% of production office workers are women. • Statistics for male dominated categories: camera is 17% women, grip is 5% women, lighting is 5% women, sound is 6% women, construction is 6% women, special effects is 20% women, editing is 28% women. • Statistics for more balanced areas: 38% of assistant directors are women, 42% of the art department is women, 39% of props/set decoration is women, 61% of props/set decoration are women (the graph looks off for this, though, so I’m not totally sure if the numbers are right), 36% of production assistants are women. • There are graphs mapping the career path of men and women by occupation, and while there aren’t any numbers to summarize, men’s career paths trend upward, whereas women’s stay essentially the same over time. • Percentage of working ACTRA members by performance category 2010–2012: principal performers were 41% women, actors were 38% women, background performers were 42% women.

Less Than 30% of Speaking Roles in Blockbuster Films Last Year Went to Women

Susana Polo, The Mary Sue http://www.themarysue.com/speaking-roles-in-film-women/

• Of the top grossing movies of 2012, only 28.4% of characters who spoke a line of dialogue were women, down from 32.8% in 2009. • 31.6% of women are shown wearing sexually revealing clothing, the highest percentage in the five years USC researchers have been studying the issue. • 56.6% of teen girl characters in 2012 movies wore sexy clothes, an increase of 20% since 2009.

The Naked Truth: Hollywood Still Treats its Women as Second Class Citizens, 2013

Edward Helmore, The Guardian http://www.theguardian.com/lifeandstyle/2013/dec/01/hollywood-women-inequality-film-industry

StephenFollows.com “Gender in Film Industry” Report 48 StephenFollows.com “Gender in Film Industry” Report 49