See Jane? Or don’t see Jane.. not in the movies anyway

Women the world over face stark disparities in health, nance, education, politics, and other arenas. Persistent gender inequality may threaten economic growth and/or social progress.1 At the most micro level, discrimination impedes girls and women from achieving their individual hopes and dreams. Through its Millennium Development Goals, the United Nations has championed an increase in equality for women and girls across different sectors by 2015.2 Despite a push to promote females worldwide, one example
of where progress remains stagnant is the U.S. lm industry.

Research reveals that the percentage of female speaking characters in top-grossing movies has not meaningfully changed in roughly a half of a century.3 Further, women are often stereotyped and sexualized when they are depicted in popular content. Occupationally, our previous research shows that few women hold positions of power and importance on screen. While Hollywood is quick to capitalize on new audienc- es and opportunities abroad, the industry is slow to progress in creating compelling and complex roles for females. Is this tendency to under- and misrepresent women an American phenomenon, or does gender imbalance occur on a worldwide scale?

The purpose of this study is to explore the visibility and nature of female depictions in lms worldwide. To address this goal, we content analyzed gender roles in popular lms across the 10 most pro table territories internationally (Australia, Brazil, China, France, Germany, India, Japan, Russia, South Korea,and the United Kingdom) as reported by the Motion Picture Association of America (MPAA) in 2012.4 Films had to be theatrically-released between January 1st 2010 and May 1st 2013 and “roughly equivalent” to a MPAA rating of G, PG, or PG-13.5 Given our desire to see how other territories compare to current U.S. lms, we also selected 10 domestically popular movies during the same time frame. Because many successful lms were collaborations between the U.S. and U.K., we created an additional sample of the 10 top hybrid lms from these countries. Only one lm was allowed per franchise worldwide. In total, 120 global lms were examined.


CONTENT CREATOR GENDER. Out of a total of female and 79.5% were male. This translates into a gender ratio behind the camera of 3.9 males to every

1,451 lmmakers with an identi able gender, 20.5% Gender Prevalence Behind the Camera by Country 1 female. Females comprised 7% of directors, 19.7% of writers, and 22.7% of producers across the sample.

Read the rest of the results here……..


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