{"id":2258,"date":"2011-02-01T13:32:00","date_gmt":"2011-02-01T13:32:00","guid":{"rendered":"https:\/\/marieclaudearnott.com\/?p=2258"},"modified":"2021-11-05T20:26:44","modified_gmt":"2021-11-05T20:26:44","slug":"of-genres-and-gender","status":"publish","type":"post","link":"https:\/\/marieclaudearnott.com\/?p=2258","title":{"rendered":"Of Genres and Gender"},"content":{"rendered":"\n<p class=\"has-text-align-center wp-block-paragraph\"><strong>The Film Industry Conundrum<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Unless women direct action films, there is a slim chance they win the Best Director Award. No one knows this better than the accomplished filmmaker Nancy Meyers. At the base of this conundrum is a greater demand for action films than for chick flicks. The reason is that more men watch movies and they like action.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Best Director &#8211; The Turf of Male Filmmakers<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Movies with a male in the leading role and a female in the supporting role do better in the box office than movies with females in the leading role. It happens because action movies, with gangsters, for example, don\u2019t suit a female in the leading role (hello, <em>Bonnie &amp; Clyde<\/em>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To this day, Nancy Meyers is the most financially successful director in Hollywood despite having received no such award. She knows her style and sticks to it with rigorous attention to detail. Her films appeal to women, an underserved audience. They tend to feature mature women, typically affluent professionals who are concerned with their families and desired by multiple suitors. This helped her claim a spot as one of the leading female directors in Hollywood.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And yet, <em>Philadelphia<\/em> isn\u2019t an action film. Then, the <em>Hurt Locker<\/em> was written by a man and directed by a woman\u2013who directed a man\u2019s movie. <em>The Prince of Tides<\/em>, a blockbuster psychological drama that earned seven awards, but none for Barbra Streisand as director raises the question. Can a film impart excellence on major filmmaking areas and not on the director?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Something could change if, for example, in the Fall of 2007, men hadn\u2019t written 70 percent of all film reviews in the nation\u2019s top newspapers, and women 30 percent. If action films resonate more for men than for women, wouldn\u2019t a male voter\u2019s choice of review affect other genres? And what is the percentage of women who vote at the Academy (the USA, and Canada)? The answer to these questions could help <a href=\"https:\/\/marieclaudearnott.com\/other-stories\/women-in-film-and-television-breakfast-at-the-grind\/\">female filmmakers<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Some even ask why there is a Best Actor and Best Actress award, but only the Best Director Award for both? As if a woman director isn\u2019t supposed to get one as \u201cBest Directoress.\u201d The truth is that masculinity and femineity define people just as they define art. If men like action and violence and women don\u2019t &#8230;. there is no hope of solving the best director award problem when men and women are in competition. Action wins!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This brings Canada\u2019s National Screen Institute (NSI) to ask, \u201cWhere are the Women?\u201d They are noticeably absent, and it\u2019s called <em>The Celluloid Ceiling<\/em>. &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Overall, women are subjected to the same biases as are black characters in films. As women get portrayed in other roles than romantic comedies and psychodramas, the movement could afford them a status with no stigma attached to gender.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Meanwhile, a 2004 national profile on employment in Canadian screen-based media found that women represent under 10 percent of directors who are members of the Directors Guild of Canada. \u201cThe statistics are appalling given the number of women in the business,\u201d says Sadia Zaman, Executive Director at Women in Film &amp; Television-Toronto (WIFT-T). She has dealt with this problem first-hand, through an Ontario-based program for emerging female directors that \u201chas used just about every female director out there,\u201d she says, \u201cBesides, it\u2019s hard for women to enter a male-dominated networking, and there aren\u2019t enough men who are committed to advancing the careers of individual talented women.\u201d<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong><em>Box-Office Facts<\/em><\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><em>What Women Want<\/em> (2000), starring Mel Gibson as a man who tries to understand the female psyche, became the most successful film ever directed by a woman\u2014grossing upward of $370 million worldwide. Nancy Meyers followed suit with the 2003&#8217;s <em>Something&#8217;s Gotta Give<\/em>, chronicling an unlikely relationship between a couple played by Nicholson and Diane Keaton, pulled in more than $200 million worldwide. As did her 2006 feature <em>The Holiday<\/em>, featuring Kate Winslet and Cameron Diaz. However, in <em>Pirates of the Caribbean,<\/em> prominent female actress Keira Knightly did a fabulous job in the supporting role and yet, earned $5 million while Depp earned some $25 million.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And yet, in 2007, Reese Witherspoon was the highest-paid actress commanding $15-20 million per movie. Angelina Jolie, Cameron Diaz, Sandra Bullock, Rene Zellweger, and Nicole Kidman earned $10-15 million per movie. This compares fairly with their male counterparts. Johnny Depp, Brad Pitt, Leonardo DiCaprio, and Denzel Washington earned $15-20 million per movie.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Lack of Funding &#8211; The Bane of Women<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Statistics show that the difference between men and women directors\u2019 participation at film festivals is 48-63 percent. Perhaps women could change that.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But ultimately, it all comes down to cash. When making a film or TV project, women don\u2019t have the same access to funding as men do. &#8220;Women are getting between 20-25 percent of the money from funding organizations in Canada,&#8221; says Roslyn Muir, head of WIFTV. Will this change as film students enter the industry? Remarkably, <em>Twelve Angry Men<\/em> was set in one room, requiring less funding.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kathryn Bigelow says it best with her speech after her 2010 Oscar for Best Director, \u201c&#8230; I hope I\u2019m the first of many&#8230; I\u2019m ever grateful if I can inspire some young, intrepid, tenacious male or female filmmaker and have them feel that the impossible is possible, and never give up on your dream.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>First published 2011 Suite101.com<\/em><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"350\" height=\"371\" src=\"https:\/\/marieclaudearnott.com\/wp-content\/uploads\/2021\/06\/Of-Genres-and-Gender.jpg\" alt=\"\" class=\"wp-image-2260\" srcset=\"https:\/\/marieclaudearnott.com\/wp-content\/uploads\/2021\/06\/Of-Genres-and-Gender.jpg 350w, https:\/\/marieclaudearnott.com\/wp-content\/uploads\/2021\/06\/Of-Genres-and-Gender-283x300.jpg 283w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Film Industry Conundrum Unless women direct action films, there is a slim chance they win the Best Director Award. No one knows this better than the accomplished filmmaker Nancy Meyers. At the base of this conundrum is a greater demand for action films than for chick flicks. The reason is that more men watchContinue reading &rarr;<\/p>\n","protected":false},"author":1,"featured_media":2260,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-2258","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-other-stories","has-thumb"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Of Genres and Gender - Marie-Claude Arnott<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/marieclaudearnott.com\/?p=2258\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Of Genres and Gender - Marie-Claude Arnott\" \/>\n<meta property=\"og:description\" content=\"The Film Industry Conundrum Unless women direct action films, there is a slim chance they win the Best Director Award. 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