Creating space for authentic voice in Canada’s screen industry: A case study of “Women In the Director’s Chair (WIDC)” by Carol Whiteman B.F.A. (Hons.), York University, 1984 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Education in the Transformational Change Program Faculty of Education Ó Carol Whiteman 2019 SIMON FRASER UNIVERSITY Spring 2019 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Approval Name: Carol Whiteman Degree: Doctor of Education Title: Creating space for authentic voice in Canada’s screen industry: A case study of “Women In the Director’s Chair (WIDC)” Examining Committee: Chair: Charles Scott Adjunct Professor, Faculty of Education Carolyn Mamchur Senior Supervisor Professor Rita Deverell Supervisor Member, President’s Committee on Truth and Reconciliation Lakehead University David Kaufman Supervisor Professor Michael Ling Internal Examiner Senior Lecturer Ardra Cole External Examiner Professor Faculty of Education Mount Saint Vincent University Date Defended/Approved: January 25, 2019 ii Ethics Statement iii Abstract Using an appreciative inquiry approach and sharing a reflexive 4-D (i.e., discovery, dreams, design, delivery / destiny) narrative that explores societal, organizational and personal perspectives, this action research study describes a specially designed, internationally respected Canadian national professional development initiative for women screen directors, entitled ‘Women In the Director’s Chair (WIDC)’. The narrative traces how this initiative came to be, and within the context of North America’s ‘waves’ of feminism, where it is placed on the landscape of Canada’s screen industry. While foregrounding a well-documented socio-cultural ‘lack of confidence’ in women leaders and in particular in women screen directors in Canada, the study contextualizes the personal ‘leadership experience’ narratives of WIDC director participants while the author makes meaning of her own leadership journey as a co-creator of the WIDC initiative. The author further explores the twenty-one-year evolution of WIDC’s transformation-oriented pedagogical design as she reflects on the positive core of WIDC and asks, ‘What has made the difference for WIDC alumnae?’ Sharing leadership metaphors that offer guidance for navigating a ‘continuum of confidence’ and offering a theoretical map towards transformation for individual women as well as feminist or like-minded organizations, the study concludes with a call to action to adopt an appreciative growth-minded stance in order to create space for authentic voices to thrive in Canada’s screen industry, in particular the voices of female leaders. Keywords: Authentic voice; confidence; leadership; women screen directors; appreciative inquiry; transformation iv Dedication For my mother and father who gave me my first opportunities to be a leader, and who gave me space to grow my authentic voice. v Acknowledgements Reflecting on my path towards this place of understanding, I am grateful for the space to live, learn, and create on the traditional and unceded lands that we share with First Peoples and the ancestors who guide us all on this journey. It is no surprise that the metaphor of a journey is reflected throughout this work. Especially during the final push, when I was literally writing in a vehicle driving from coast to coast, I was inspired again and again by the diversity of the land we know as Canada; such a gift. Somehow seeing gifts in my own differences, my dear parents, Nancy and Clayton Whiteman instilled in me a belief that I could be whatever I wanted to be. It is not insignificant that my father died a few weeks after WIDC was first piloted in 1997, and my mother died during WIDC’s 20th anniversary year, in 2017. My dad modeled a tireless work ethic and commitment to integrity and fairness: what he simply called good ‘sportsmanship’, and my mom shared with me the value of life-long learning, and service to others. I drew added courage from my grandparents: Leila and James (Jim) Griffin who quietly and consistently supported us all, Lucy Whiteman who always cheered for the underdog, and Clarence Whiteman whose legendary inventiveness inspired in me a belief that mastery is attainable. My late husband Michael Cutler’s faith in me, even in the face of his early onset of Alzheimer’s disease, inspired me with courage that helped accelerate me along the path of leadership. Our son Dodd Cutler, a steadfast realist, has been a guiding light towards authenticity. Dodd’s long-time partner Andrea Millard commiserated through her own studies to be a teacher, and my step-daughter Taliesin Sanford has taught me more about female relationships than I could imagine; I’m still learning. My in-law parents, and siblings by blood, marriage, and choice have each played a role, listening, challenging and cheering me on. And I could not have completed this endeavour were it not for my dear, sweet husband and newest collaborator Garwin Sanford, who lovingly supported and held a space for me while I laboured through the curve of emotions that came with authoring this work. To those women who have gone before, to those I consider my colleagues, and to those who will come after: suffragettes, scholars, artists, filmmakers, advocates for gender vi parity, inclusion, and social justice; feminists, I am humbled by your courage to share your voices in unwelcoming and often hostile terrains. I am honoured to tread the path with you. I am immensely grateful for the collegiality, support and guidance of WIDC co-founding organizations’ personnel past and present, including the Creative Women Workshops Association (CWWA) Board of Directors, with thanks to E. Jane Thompson during the early editing process, the Banff Centre for Arts and Creativity (the Banff Centre), and the Alliance of Canadian Cinema Television Radio Artists (ACTRA). The Women In the Director’s Chair (WIDC) initiative would not have been dreamed of without the ACTRA Women’s Committees (British Columbia and National), especially Daphne Goldrick, Amanda O’Leary, Christina Jastrzembska, Doris Blomgren, and staffers Deborah Strulow, Arden Ryshpan, Louise Chwin; Women In Film and Television Vancouver, Peg Campbell, Gabrielle Rose, Michelle Bjornson, Mary Ungerleider; The Banff Centre, Sara Diamond, Kerry Stauffer, and the first WIDC Mentor Director, Anne Wheeler. The generosity of spirit and allied engagement of esteemed male colleagues also cannot be overstated, including long-time ACTRA councillor and CWWA co-founder Brian Gromoff; cinematographer, WIDC collaborator, (and chosen big brother) Roger Vernon CSC; The Banff Centre’s Luke Van Dyk, Aubrey Fernandez, Tom Montvila; National Film Board of Canada’s (NFB) Selwyn Jacob; and Telefilm Canada’s John Dippong. I also thank Telefilm Canada, the NFB, CBC, and the many valued WIDC sponsors over the last twenty-two years, and especially the more than one thousand WIDC participants (directors, mentors, industry guests, actors, crew, volunteers and Banff Centre staff) whose voices, too many to name here, have all been imprinted on me and have inspired me in writing the following pages. To my EdD cohort and instructors, it was an intense journey, which I would not change for all that I learned from each of you. I offer many, many thanks to my doctoral committee members Dr. David Kaufman whose expertise with data analysis, and Dr. Rita Shelton Deverell whose first-hand experiences of WIDC as a director participant alumna and past Board member along with her insights into diversity and the screen industry landscape have been invaluable gifts. And I’ve saved to last, my mentor, friend, colleague and senior supervisor, Dr. Carolyn Mamchur, and her daughter Michelle (Mickey) Mamchur. Without their confidence in me, I would not have dared to begin this scholarly journey, and I would not have been able to so confidently share this story in my own authentic voice. vii Table of Contents Approval ............................................................................................................................. ii Ethics Statement ............................................................................................................... iii Abstract ............................................................................................................................. iv Dedication .......................................................................................................................... v Acknowledgements ........................................................................................................... vi Table of Contents ............................................................................................................ viii List of Tables ..................................................................................................................... xi List of Figures ................................................................................................................... xi List of Acronyms .............................................................................................................. xii Glossary .......................................................................................................................... xiii Preface ...........................................................................................................................