According to a study done by the Centre for the Study of Women in Television and Film, In 2010, women comprised just 16% of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films (In the United States of America). The study analyzed behind-the-scenes employment of 2,649 individuals working on the top 250 domestic grossing films (foreign films omitted) of 2010 with combined domestic box office grosses of approximately $10.5 billion.
Here is a summary of their findings:
- Women accounted for 10% of writers working on the top 250 films of 2010. 83% of the films had no female writers.
- Women comprised 15% of all executive producers working on the top 250 films of 2010. 65% of the films had no female executive producers.
- Women accounted for 24% of all producers working on the top 250 films of 2010. 33% of the films had no female producers.
- Women comprised 7% of all directors working on the top 250 films of 2010. 93% of the films had no female directors.
- Women accounted for 18% of all editors working on the top 250 films of 2010. 77% of the films had no female editor
- Women comprised 2% of all cinematographers working on the top 250 films of 2010. 98% of the films had no female cinematographers
Throughout the mid to late 1970s and upwards, Hiroshi Sugimoto packed up a folding 4x5 camera & tripod, surreptitiously entered matinees (and, one can only presume, evening film events) and documented the interior of movie theatres across the United States. He would open the shutter just before the ‘first light’ hit the screen and close it after the credits finished rolling and before the house lights came on. Using this method he was able to invert the subject/object relationship of the movie theatre and use the film itself to illuminate the proscenium and interior. This content, largely unaddressed critically, is what lends the images their incredible power — along wtih the natural fascination of being made privy to the photography’s divine birthright — allowing us to see the normally invisible, to experience a finite collapse of time.
I use the phrase “Good times, noodle salad” on a fairly regular basis. No one EVER knows what I’m talking about, which means I then have to go into a lengthy explanation, after which I’m looked at like a crazy person.
The best damn thing you’ll see all day
Batman fan Doğan Can Gündoğdu has created an opening credits sequence for The Dark Knight Rises which the real movie will be very lucky to top. With a pounding, industrial sounding soundtrack you’ll see the standard opening credits and then flashes of ice and other items as the credit sequence takes on an unsettling tone. Just go watch it!
R.I.P. EIKO ISHIOKA
Production/Costume Designer on Mishima: A Life in Four Chapters (1985); Closet Land (1991); Bram Stoker’s Dracula (1992); The Cell (2000); Cirque du Soleil’s Varekai (2002-present); The Fall (2006); Theresa: The Body of Christ (2007); Immortals (2011); Broadway’s Spider-Man: Turn Off the Dark (2011) and the upcoming Mirror, Mirror (2012).
She cultivates a taste for small pleasures: dipping her hand into sacks of grain, cracking crème brûlée with a teaspoon, and skipping stones at St. Martin’s Canal.
a message from Anonymous
Are you talking about the Jay Rosenblatt film? I don’t know where it’s available online to view in its entirety. Here is the link for the film if you wish to buy it: http://www.jayrosenblattfilms.com/human_remains.php I’m sure maybe your local library can help you out too or a university library. Good luck!
vinh:
The Fantastic Flying Books of Mr. Morris Lessmore was just nominated for an Oscar in the best animated short film category. It’s a story that’s inspired by Hurricane Katrina, Wizard of Oz, and books. You can download the short film for free on iTunes right now. I don’t think we can be Internet colleagues if you don’t like free things like I do, so go check it out.
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