|This is based on a study done by the USC Annenberg School for Communications & Journalism and comes from Equality Myth|
- Academic Stuff
- Activist Sites
- Competitions, Awards & Funding Opportunities for Women (only)
- Development Project FAQs
- Gender Issues & New Zealand #womeninfilm
- Gold Star Guys aka 'The Sunflowers'
- Real Talk About Implicit Bias
- Sister Galvan
- Women's Film Festivals Around the World
- Writer & Director Gender in NZ Feature Films 2003-2016
Monday, July 30, 2012
Tuesday, July 17, 2012
|Pietra Brettkelly Oasis image|
Here they are, under links to the earlier posts. Some directors have nothing they want to share at the mo.
Friday, July 6, 2012
Thursday, July 5, 2012
|Still Maori Boy Genius|
More details and bookings through the New Zealand International Film Festival site.
1. Pietra Brettkelly's Maori Boy Genius is a coming of age film about Ngaa Rauuira Pumanawawhiti, an astonishing 16 year old. It debuted at the Berlinale earlier this year. It is a must-see, the followup to Pietra's highly successful The Art Star and the Sudanese Twins, and has just had two sold-out screenings at the Sydney Film Festival. (NB This is not the same film as the one you may have seen on television.) Maori Boy Genius is edited by Molly Stensgaard, known as Lars Von Trier's favorite editor.
Wednesday, July 4, 2012
|Still from The Red House|
Tuesday, July 3, 2012
When people ask me why films by women writers and directors matter, I find it quickest and easiest to respond with Jane Campion's classic question: "Women may be 50% of the population but they gave birth to the whole world. Why wouldn't we want to know what they think and feel?" And this year, I've decided that because I so much want to know what women think and feel I'm going to watch only movies that women have directed, for twelve months. I do believe that men can write women and direct women just as women can write and direct men but I want to challenge myself to commit to films women write and direct to see how I'm entertained, educated, stimulated and nourished (or not).
This is difficult. I love some men's films and learn a lot from them. I'm envious of a mate's New Zealand International Film Festival (NZFF) list, filled with movies men directed which I'd like to see. I'm going to cheat a bit, watch a couple of films men directed which have women as central characters (and if you see someone who looks like me at the animation sessions, please pretend it's not). But I'm thrilled that some of the NZFF women-directed features are among those I've longed to see. And now will see, in my very own women's film festival, courtesy of the NZFF. Starting with Existence.
Monday, July 2, 2012
|Helen Mirren at the Karlovy Vary Festival|
Between them, these actors cover many of 'gender' problems that affect the films we see in cinemas and at festivals: the under-representation of women behind the camera; the under-representation and misrepresentation of women in front of the camera; funders' unwillingness to invest in films by, about, and for women; gender imbalances at festivals; the societal context that affects all of these things. And they highlight the essential complexity that underlies even a brief discussion about the issues: what 'women's' filmmaking means. Does it mean films about women that are made for a 'women's' audience, as Meryl Streep implies (and who does the 'women's audience' include, given our diversity?) Does it mean films by women, that women write and direct, like those that Helen Mirren wants to see? When is the by, about and for combination necessary, and when is it less important? No wonder many conversations get bogged down.