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The Celluloid Ceiling

Behind-the-Scenes Employment of Women in the Top 250 Films of 2001

Martha M. Lauzen, Ph.D., School of Communication, San Diego State University, 
San Diego, CA 92182, 619.594.6301

Copyright © 2002 -- All rights reserved.

Men directed more than 9 out of 10 films released in 2001 and served as cinematographers on virtually every film. 

Overall, women comprised 19% of executive producers, producers, directors, writers, cinematographers, and editors working on the top 250 domestic grossing films of 2001. This slight increase of two percentage points over last year is due solely to small gains in the representation of women executive producers and producers. In contrast, the percentage of women directors dropped dramatically from 11% in 2000 to 6% in 2001. Further, the representation of women writers declined from 14% in 2000 to 10% in 2001. The percentages of women editors and cinematographers remained stable at 19% and 2% respectively.

The following summary provides employment figures for women in each of the above stated roles and offers a historical comparison of 2001 figures with similar data dating back to 1987.

Findings


 

This study analyzed behind-the-scenes employment of 2,155 individuals working on 214 films (36 foreign films omitted) with combined domestic box office grosses of approximately $7.9 billion.
 

Approximately one-fifth (22%) of the films employed no women in any of the roles considered.
 

Overall, women comprised 19% of all executive producers, producers, directors, writers, cinematographers, and editors working on the top 250 grossing films of 2001. This represents an increase of two percentage points over 2000.
 

Women accounted for 17% of all executive producers, producers, directors, writers, cinematographers, and editors working on the top 100 grossing films of 2001. This represents an increase of two percentage points over 2000 but is even with 1998 levels.
 

A historical analysis of women working on the top 250 grossing films indicates that while the percentages of women executive producers and producers increased slightly, the representation of women directors and writers decreased substantially. The percentages of women editors and directors of photography remained stable. The representation of women executive producers increased one percentage point from 16% in 2000 to 17% in 2001. Similarly, the percentage of women producers increased one percentage point from 24% in 2000 to 25% in 2001. In contrast, the representation of women directors dropped from 11% in 2000 to 6% in 2001. The percentage of women writers declined from 14% in 2000 to 10% in 2001. The percentages of women editors and cinematographers remained stable at 19% and 2% respectively.
 

A historical analysis of women working on the top 100 grossing films reveals that the percentage of women producers increased while the representation of women directors, writers, executive producers, editors, and directors of photography decreased. The percentage of women producers increased from 22% in 2000 to 25% in 2001. In contrast, the representation of women directors fell from 7% in 2000 to 4% in 2001. The percentage of women writers declined from 13% in 2000 to 8% in 2001. The representation of women executive producers decreased from 17% in 2000 to 15% in 2001. The percentage of women editors declined from 13% in 2000 to 12% in 2001. The representation of women directors of photography decreased from 2% in 2000 to 1% in 2001.
 

A comparison of women’s employment on the top 100 films in 2001 with 1987 figures reveals virtually no movement for women directors, writers, cinematographers, and editors. Over the last 15 years, the percentages of women directors, writers, and cinematographers have increased one percentage point. The representation of women editors has decreased one percentage point. Since 1987, virtually all gains for behind-the-scenes women can be attributed to increases in the percentages of women executive producers and producers.
 

Films with women directors employed significantly greater percentages of women than films with male directors. Films with male directors employed an average of 2 women in the other behind-the-scenes roles considered. In contrast, films with women directors employed 4 women in the other behind-the-scenes roles considered.
 

Domestic box office gross did not differ significantly by the gender of directors. In other words, films directed by women and films directed by men generated similar box office grosses.
 

By genre, behind-the-scenes women were most likely to work on romantic comedies and romantic dramas and least likely to work on action and horror films. It is unclear whether women chose to work in certain genres or were relegated to these genres as a result of stereotypical expectations.
 

Women comprised 17% of all executive producers working on the top 250 films and 15% of executive producers working on the top 100 films of 2001. Sixty-eight percent (68%) of the top 250 films and 69% of the top 100 films had no female executive producers.
 

Women accounted for 25% of all producers working on the top 250 films and the top 100 films of 2001. Forty-two percent (42%) of the top 250 films and 35% of the top 100 films had no female producers.
 

Women comprised 6% of all directors working on the top 250 films and 4% of directors working on the top 100 films of 2001. Ninety-four percent (94%) of the top 250 films and 96% of the top 100 films had no female directors.
 

Women accounted for 10% of writers working on the top 250 films and 8% of writers working on the top 100 films of 2001. Eighty-six percent (86%) of the top 250 films and 87% of the top 100 films had no female writers.
 

Women comprised 2% of all cinematographers working on the top 250 and 1% of cinematographers working on top 100 films of 2001. Ninety-eight percent (98%) of the top 250 films and 99% of the top 100 films had no female cinematographers.
 

Women accounted for 19% of all editors working on the top 250 films and 12% of editors working on the top 100 films of 2001. Seventy-nine percent (79%) of the top 250 films and 85% of the top 100 films had no female editors.

 

FILMS FOR TWO ADDENDUM:

Dr. Martha M. Lauzen, a Professor in the School of Communications at San Diego State University in California, is a prominent national “go to” person on the subject of women in the media. She holds a Ph.D. in Public Communication from the University of Maryland, and she conducts academic and industry research on the role of women in television and film. The findings of her annual studies have been featured in trade publications as well as the popular press, and she has authored numerous articles which have appeared in well-known academic journals.

Here are some kernels of truth from recent publications in which Professor Lauzen’s voice has been prominently featured: 

“IN 2001 an obscure screenwriter named Stephen Gaghan won an Oscar for TRAFFIC, a complex and highly acclaimed tale of the drug wars as seen from all sides. Today Mr. Gaghan is directing a $25 million thriller he wrote called ABANDON starring Katie Holmes and Benjamin Bratt. … ‘They call it the boy wonder syndrome,’ says Martha Lauzen, the communications professor who led the study at San Diego State. '’After these guys do their first picture, they take on a presence larger than life. That does not happen for women.'’ (From AN IMPATIENT SISTERHOOD; New York Times; 6/2/02)
 

"On prime-time TV, when you have at least one woman in a position of power, not only do you get more female characters on screen, but you get a different kind of female, one that tends to be more powerful," Lauzen said. (From A HOLLYWOOD LEAGUE OF THEIR OWN: Women Run the Top Guilds But Female Actors and Directors Still Struggle; LA TIMES; 4/40/02)
 

“Lauzen has found that the number of women working behind the scenes on television series invariably influences women’s on-screen status, both in raw numbers and in the manner in which they’re depicted. In other words, the path to equality in front of the camera usually begins behind it. ‘Many of the things we can say about women in entertainment programming apply to women in news programming, which is their underrepresentation and misrepresentation, as well as their trivialization,” she said. (From ALL THE NEWS THAT’S FIT TO FLAUNT; LA TIMES; 11/14/01)

FILMS FOR TWO appreciates Professor Lauzen’s ground-breaking research, and we are grateful to her for allowing us to use the Executive Summary of her 2002 report “THE CELLULOID CEILING: Behind-the-Scenes Employment of Women in the Top 250 Films of 2001” as our July Feature.

The following table provides the names of the 44 films in our database that are (1) recommended and (2) directed by women. In compiling this list, we discovered something interesting about our own database: even though we make it a point to see films by women directors, films by women directors still only represent approximately 10% of our database. (As of today, 6/27/02, there are 545 films in our database, and 53 of them were directed by women.) 

One caveat: please keep in mind that we began FILMS FOR TWO in 1999. Our method of selection is to try to stay current on new releases, and fill in “history” as films appear on our premium cable stations. Therefore, many important films have yet to be included (e.g., Jane Campion’s THE PIANO & Kasi Lemmons’s EVE’S BAYOU).

 


44 RECOMMENDED FILMS DIRECTED BY WOMEN

Film's Title

Film's Director

GRACE OF MY HEART Allison Anders
THINGS BEHIND THE SUN Allison Anders
BLUE STEEL Kathryn Bigelow
POINT BREAK Kathryn Bigelow
RAVENOUS Antonia Bird
FAT GIRL Catherine Breillat
HOLY SMOKE Jane Campion
PORTRAIT OF A LADY Jane Campion
WHAT'S COOKING? Gurinder Chadha
HIGH ART Lisa Cholodenko
VIRGIN SUICIDES Sofia Coppola
SLEEPLESS IN SEATTLE Nora Ephron
THIS IS MY LIFE Nora Ephron
BEAUTIFUL Sally Field
AMERICAN RHAPSODY Eva Gardos
GOVERNESS Sandra Goldbacher
TAO OF STEVE Jenniphr Goodman
LUZHIN DEFENSE Marleen Gorris
BALLAD OF LITTLE JO Maggie Greenwald
SONGCATCHER Maggie Greenwald
CHILDREN OF A LESSER GOD Randa Haines
EUROPA, EUROPA Agnieszka Holland
WALKING & TALKING Nicole Holofcener
RETURN TO ME Bonnie Hunt
SLUMS OF BEVERLY HILLS Tamara Jenkins
DIVINE SECRETS OF THE YA-YA SISTERHOOD Callie Khouri
WILD MAN BLUES Barbara Kopple
GIRLFIGHT Karyn Kusama
MY FIRST MISTER Christine Lahti
BRIDGET JONES'S DIARY Sharon Maguire
BIG Penny Marshall
RIDING IN CARS WITH BOYS Penny Marshall
EARTH Deepa Mehta
HOW TO MAKE AN AMERICAN QUILT Jocelyn Moorhouse
MISSISSIPPI MASALA Mira Nair
MONSOON WEDDING Mira Nair
BOYS DON'T CRY Kimberly Peirce
CAPTIVES Angela Pope
MAN WHO CRIED Sally Potter
LOVE & BASKETBALL Gina Prince
DOUBLE HAPPINESS Mina Shum
13 CONVERSATIONS ABOUT ONE THING Jill Sprecher
CLOCKWATCHERS Jill Sprecher
YENTL Barbra Streisand