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Gender Inequality in the Movie Industry

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Gender Inequality in the Movie Industry Running head: GENDER INEQUALITY IN THE MOVIE INDUSTRY Gender Inequality in the Movie Industry: A Big Data Analysis of Female Underrepresentation Sebastián Cole Poma-Murialdo Student ID: 11351446 Master Thesis Graduate School of Communication Research Master in Communication Science University of Amsterdam Supervisor: dr. Jeroen Lemmens February 1st, 2019 GENDER INEQUALITY IN THE MOVIE INDUSTRY 1 Abstract The current study aimed to evaluate gender inequality in the movie industry. The gender of the cast and top crew positions from all 4885 feature films that received a wide release in United States between 1982 and 2017 were evaluated. Data was collected by scraping online movie databases. In the first part of the study, three types of representation were considered. First, the analysis of the numerical representation confirmed that there is high gender inequality in both cast and crew. Second, the examination of the quality of these representations revealed that, while all genres are male dominated, comedy, drama, romance and music have a higher proportion of women that the other genres (female genres). An analysis using the Bechdel test, used as a measure of female independence, showed that most movies from female genres pass the test, while movies from other genres fail it. Third, the analysis of the centrality of the representations showed no significant difference between big and small studio size, as both were male dominated. The relationship between cast and crew indicated that a higher proportion of women in the crew increases the proportion of women in the cast, especially for female genres. Finally, the second part of the study evaluated the relationship between the cast and crew’s gender and movie success. Overall, more women in the cast is associated with lower online review scores, awards and tickets sold, while the effect for female crew is positive on online ratings. GENDER INEQUALITY IN THE MOVIE INDUSTRY 2 Gender Inequality in the Movie Industry Over time, the movie industry has achieved a highly economic and cultural importance among the entertainment markets (Eliashberg, Elberse & Leenders, 2006). Hollywood is considered the oldest, most profitable, and most influential of the film industries. As this industry is mostly considered a project and reputation-based system, formed by “a multiplicity of organizations and individuals” (Bielby, 2009; Hadida, 2009, p. 229), it is relevant to study the current demographics of such organizations and individuals. Specifically, it is necessary to understand the characteristics of the industry that produces and reproduces culture and symbolic representations of gender both in movies and among fandoms (Bielby, 2009; Erigha, 2015; Toffoletti, 2014; Cohen, Atwell Seate, Anderson, & Tindage, 2017). Hollywood can be considered as a tool for soft power for the U.S. culture and ideology, as well as a transmitter of its social and political values (Aydemir, 2017; De Zoysa & Newman, 2002). This means, as previous studies on media effects have suggested, that gender under-representations or misrepresentations in movies may have consequences for viewers, possibly reinforcing or contributing gender stereotypes (Lauzen & Dozier, 2005). On the other hand, debates unfolding in Hollywood around issues such as gender pay gap (Lawrence, 2015; Smith, 2015a; Carlin, 2016; Demaria, 2017) and sexual abuse and harassment scandals (Smith, 2015b; Davies & Khomami, 2017; Cooney, 2018) suggest that consciousness around gender representation in the industry may be rising. All in all, research regarding gender representations can contribute to such awareness, by providing new insights on the topic. The disparity of earnings and employment between men and women has been persistent since the 1980s, when data on specific movies became available (Bielby, 2009; Lauzen, 2012; Lincoln & Allen, 2004). The first aim of this study is to address the topic of gender inequality in the movie industry, both on-screen and behind-the-scenes, by reviewing GENDER INEQUALITY IN THE MOVIE INDUSTRY 3 the representation of women. Three main types of gender representation are considered in the current study: 1) numerical representation, 2) the quality of the representation and 3) the centrality of the representation. Together, these determine how well a social group is represented in a specific industry. Furthermore, the relationship between the gender representation of the crew and the cast members will be evaluated. The second aim is to explore the influence of gender representation on film performance and success. Previous studies have suggested mixed results regarding how stars, and members of the production team influence success in terms of popular and critic appeal, such as award nominations and theatrical attendance (Elberse, 2007; Hadida, 2009). The current study aims to clarify the influence of the gender representation of the cast and crew on movie success, as most studies regarding movie performance do not consider gender distributions as a factor that may influence online ratings, ticket sales and award accomplishments. The above elements are tested in the current study using an automated content analysis of websites. This allows the analysis of a larger dataset than previous studies where manual data collection was applied, and the scope was limited to specific years or genres. Scraping allows the use of a bigger sample to expand, update and refine existing knowledge on the topic. Overall, this study will review gender representation in all 4885 movies that received a wide release in United States between 1982 and 2017 by following Erigha’s (2015) three elements of representation: numerical, quality and centrality, and review the relationship between cast and crew and the effect of such representations on movie success. Theoretical Framework Representation of Cast Members Cultural products influence opinions, attitudes and behaviours of the people who consume them, while they reflect their creator’s ideology and opinion (Aydemir, 2017). Therefore, it is necessary to evaluate who produces such products and decides how men and GENDER INEQUALITY IN THE MOVIE INDUSTRY 4 women will be presented in their stories. Erigha (2015) provides an overview of the representation of gender in Hollywood’s film production and distinguishes three main aspects of representation: 1) numerical representation, 2) quality of representation and 3) centrality of representation. These three types of representation refer to both on-screen and behind-the- scenes positions and, as they are interrelated, provide a full image of the marginalization of social groups. First, the numerical representation refers to the presence or absence of the social group or minority (Erigha, 2015). Women are underrepresented in movies, as numerous studies have found that male characters in popular movies outnumber female characters (Lauzen & Dozier, 2005; Lincoln & Allen, 2004; Acevedo Caradeux & Gil Salom, 2013; Coyne, Callister, & Robinson, 2010; Anderson & Daniels, 2016). There is also a decrease in the portrayal and presence of female characters over time (Lauzen, 2018a; Hunt, Ramón, & Tran, 2016). For instance, in the top grossing movies from 2017, only 24% of protagonists were female, which is a decrease when compared to the previous year (29%; Lauzen, 2018a). A tool by Google and the Geena Davis Institute to determine on-screen character’s gender and speaking time in movies confirmed that not only were there fewer female characters than male characters on-screen, but they also had fewer speaking roles (The women missing, 2017; Smith, Pieper, Granados, & Choueiti, 2010; Smith, et al., 2015a). Moreover, female characters are completely absent or used as background characters more often than male characters, possibly increasing the generic perception of anonymity and powerless characteristics of their characters (Acevedo Caradeux & Gil Salom, 2013). In sum, women are underrepresented in all areas, thus it is expected that: H1: Since 1982 there has been women underrepresentation in wide released movies. Second, the quality of representation refers to the roles that members of a social group are assigned to. In addition to being present, social groups in both on-screen and behind-the- GENDER INEQUALITY IN THE MOVIE INDUSTRY 5 scenes positions seek for complex, multi-dimensional roles in a diversity of genres, instead of stereotypical roles and being typecasted (Erigha, 2015). However, not all roles in movies achieve such diversity and complexity. Studies suggest that, for example, actresses are more likely to be sexualised than male actors and top grossing movies in general have fewer female characters in leading roles (Smith, et al., 2015a; Lauzen, 2018a). In line with the above, women are more likely than men to be portrayed in traditional roles, such as being a parent or in a relationship (Smith et al., 2010; Lauzen & Dozier, 2005), suggesting, that women on-screen are still, to some extent, dependent on men. This can be tested using the Bechdel test. To pass the test, a movie must have 1) at least two women, 2) who talk to each other, 3) about something other than a man (Bechdel Test Movie List, 2018; O’Meara, 2016). While the Bechdel test is not a strictly academic measure and has some limitations, it is still considered a valid test to measure the presence (numerical representation) and independence of women (quality of representation) in film in a somewhat quantitative manner (Lindner, Lindquist, & Arnold, 2015; Lindner & Schulting, 2017). It
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