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Liberating Hollywood: Thirty Years of Women Directors

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Liberating Hollywood: Thirty Years of Women Directors BY Maya MONTAÑEZ SMUKLER CSW u p d atJANUARY e2011 THIRTY YEARS OF WOMEN DIRECTORS 5 5 csw update: january 2011 Liberating t the 82nd Academy Awards Within this exchange, the legacy of feature films targeting commercial audi- ceremony on March 7, 2010, American women directors dating back to ences, either within the studio system or as AAmerican filmmaker Kathryn the 1970s was acknowledged by the suc- independent filmmakers.2 Bigelow became the first woman to win cess of Kathryn Bigelow’s win, the disap- Throughout the 1970s the feminist an Academy Award for Best Director. The pointment in Barbra Streisand’s lack of movement impacted the entertainment Hurt Locker, the film that she directed, equivalent recognition, and the way in industry in various ways influencing Hol- also won an Oscar for Best Picture. It which the two women recognized each lywood’s own political consciousness- was a contemporary historical moment other’s place in history. As if this symbol- raising. On-screen the women’s movement very much rooted in the historical past of ism was not enough, the two directors and its objective of female autonomy were Hollywood and American culture during the exited the stage as the orchestra played represented by characterizations and nar- 1970s. Bigelow, who attended Columbia Helen Reddy’s 1975 women’s liberation rative themes in several kinds of movies University’s Graduate School of Film in the anthem “I Am Woman.” A clichéd but including critically acclaimed studio films 1970s and directed her first feature film, resonate soundtrack, the song served as a (most directed by men) such as Klute The Loveless, in 1982, was presented the link between women directors of the pres- (1971, dir. Alan J. Pakula), Alice Doesn’t award by Hollywood icon Barbra Streisand ent, their formative years of the 1970s, and Live Here Anymore (1974, dir. Martin who in the 1970s also began cultivating her the feminist movement of the same era. Scorsese) and Unmarried Woman (1978, ambition to direct and made her directorial The 1970s was a crucial decade for dir. Paul Mazursky). Off-screen, myriad debut, Yentl, in 1983. The significance of women directors working in Hollywood as female industry employees formed vari- the 2010 Oscar “first” was emphasized by it marked a period of significant increase ous kinds of networking organizations. For Streisand’s enthusiasm in her presentation in their employment statistics compared instance, Women in Film, a non-political of the award to Bigelow: “Well, the time has to previous decades. Between the early association created by established women come [pause] Kathryn Bigelow. Whoahoo!” 1930s up until the late 1960s, there was in the industry, was formed in 1973; and in Off mic, as the music swelled, Bigelow never more than one woman making com- 1974 the American Film Institute, a main- could be heard saying to Streisand: “I am so mercially oriented movies in Hollywood or stream conservatory for a new generation honored. I am so honored,” while Streisand within the independent film communities of filmmakers, still run by an old-guard joked about the statue: “Can I hold this?” adjacent to the studio system.1 By the late Hollywood patriarchy, founded the Direct- Although her output as a director has 1960s and increasingly—ever so gradu- ing Workshop for Women, a hands-on pro- received much acclaim, Streisand has ally—throughout the 1970s the number gram that trained individual women to be- never been nominated for Best Director by of women directing feature films grew. come film and television directors. Several the Academy of Motion Picture Arts and Between 1966 and 1980 there were an professional guilds, such as the Directors Sciences. estimated fifteen women who had made Guild of America (DGA), Screen Writers 6 csw update: january 2011 OFF MIC, AS THE MUSIC the low employment numbers of its female directors until the very end of the 1970s. SWELLED, BIGELOW While the DGA was slow to organize within its membership ranks around issues of COULD BE HEARD SAYING employment discrimination, ultimately the Guild’s involvement extended beyond just TO STREISAND: “I AM press coverage and into the court of law. At the end of the decade, in 1979, the SO HONORED. I AM SO DGA Women’s Committee was formed. Original members of the Committee were HONORED,” WHILE STREISAND Susan Bay, Nell Cox, Janet Davidson, Jo- elle Dobrow, Cheryl Downey, Pat Eyerman, JOKED ABOUT THE STATUE: Dolores Feraro, Anne Goodall, Nancy Heydorn, Victoria Hochberg, Ann Kind- “CAN I HOLD This?” bery, Valeria Kircher, Flora Lang, Lynne Litman, Lisa Rich, Susan Smitman, Leslie Waldman.5 Composed of award-winning television, documentary, and feature-film Guild (SAG), and Writers Guild of America often linking the data to a specific studio, directors, the group was formed because (WGA), were significant in projecting the network and in several cases individual of mounting frustration with their inability influences of the feminist movement in the television shows. These efforts were to get hired within the industry. Determined United States on the film and television spearheaded by the two organizations’ to assess their current employment status, industries during this period by involvement individual Women’s Committees, which the Committee was granted permission with sexual and racial discrimination within the press reported on widely.4 The WGA from the Guild to examine decades of em- equal employment debates. addressed the low numbers of women ployment records of studios, networks, and Advocating for their female constituents writers working in film and television, and leading independent production compa- both the WGA and SAG each formed their SAG called for improved roles for ac- nies. Between 1949 and 1979, according own Women’s Committees in 1972.3 From tresses. More reticent then its colleagues to the Committee’s findings, 7,332 feature 1974 to 1976, both guilds compiled statisti- in matters of public activism, the DGA films were made and released by major cal surveys that explicitly documented the was late to the era’s feminist awareness distributors. Fourteen—0.19 percent--were disfranchisement of their women members; not making a concerted effort to address directed by women. These statistics were 7 csw update: january 2011 given to the media to draw attention to tan- gible evidence of sexism within the industry and to show specific percentages of women hired (or not hired at all in some cases) at individual companies, studios, and televi- sion shows. On June 18, 1980, as a consequence of the DGA Women’s Com- mittee’s actions in publically address- ing industry sexism thirty-two executives from prominent produc- tion companies, television networks and film studios agreed to a meet with more than one hundred members of the DGA Women’s Commit- tee. Industry representatives included Barry Diller, chairman of the board and CEO, Para- BETWEEN 1949 AND 1979, 7,332 FEATURE mount; Ned Tanen, president, Universal Pictures; Frank Wells, president FILMS WERE MADE AND RELEASED BY and co-CEO, Warner Bros.; Steve Bochco, MTM’s Hill Street Blues; James Brooks, MAJOR DISTRIBUTORS. FOURTeen—0.19 executive producer, John Charles Walters Productions; and programming representa- PERCENT—WERE DIRECTED BY WOMEN. tives from ABC, CBS, and NBC. The Com- mittee introduced affirmative-action quota recommendations for studios and networks: 8 csw update: january 2011 negotiations…the Guild refused to…unless Columbia acquiesced in imposing quotas ON JUNE 18, 1980, AS A CONSEQUENCE OF as to the numbers of women and members of minority groups to hired.8 THE DGA Women’s COMMITTee’s acTIONS IN While the DGA used statistical evidence documenting the low number of women PUBLICALLY ADDRESSING INDUSTRY SEXISM and minorities actually hired by the studios to justify their demands for the usage of THIRTY-TWO EXECUTIVES FROM PROMINENT such programs, both film companies held the Guild responsible for those low num- PRODUCTION COMPANIES, TELEVISION bers. Warner Bros. and Columbia cited culpability in the DGA contract which set NETWORKS AND FILM STUDIOS AGREED TO A certain provisions that controlled the hiring process supposedly making it difficult for MEET WITH MORE THAN ONE HUNDRED MEMBERS the studios to access female and minority job candidates. OF THE DGA Women’s COMMITTEE. As a result of this impasse, in 1983 the DGA filed a class-action lawsuit with the U.S. District Court for the Central District of California alleging discriminatory hiring for every thirteen television episodes con- affirmative-action quotas. Michael Frank- practices towards women and racial mi- tracted, producers were requested to hire lin, executive director of the Guild at the norities: against Warner Bros. on July 25 at least one woman director.6 However, time, explained that: and against Columbia Pictures on Decem- eight months later, discussions between ber 21.9 In 1985, Judge Pamela Rymer the two sides had fallen apart. Aljean the DGA was forced into the suit because ruled in favor of Columbia and Warner of Columbia’s [and Warner Bros.] refusal to Harmetz, writing for the New York Times in Bros., and effectively against the DGA.10 negotiate…based on a system of numerical February of 1981, reported that “accord- goals and timetables.” She stated that the Guild was partially re- ing to the guild’s complaint, each employ- sponsible for the small amount of women er ‘unilaterally withdrew’ from a voluntary In response, Columbia released a press and minority film and television directors affirmative-action program.’”7 Each side release stating that “despite [the studios] hired due to the way in which the organiza- staunchly opposed the other’s stance on expressed willingness to continue tion’s contract perpetuated the “old boys’ 9 csw update: january 2011 IN 1985, JUDGE PAMELA RYMER RULED IN FAVOR OF COLUMBIA AND WARNER BROS., AND EFFECTIVELY AGAINST THE DGA.
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