As 2023 begins, two major academic institutions measuring inclusion progress in Hollywood are looking back at the performance of 2022 in the field of film.
The latest USC Annenberg Inclusion Initiative report “Directors’ Seating” analyzes the gender and race/ethnicity of the directors behind last year’s 100 highest-grossing films in the United States, while The San Diego State Center for the Study of Women in Television and Television The film’s most recent “Celluloid Tran” report looked at recruiting women in key backstage roles in both 100 and The 250 highest-grossing films at the domestic box office.
In a category shared by both studies — the percentage of female directors among the top 100 — the schools gave slightly different numbers (possibly due to the criteria each group used to compile the Box Office sample). my mojo). SDSU reported that 11% of 2022’s helpers are women (down from 12% in 2021 and a high of 16% in 2020), while USC accounts for 9% in 2022 (down from 12.7 % in 2021 and a high of 15% in 2020). The total number of women directing a film in the top 100 — 10 out of 111 directors — is small enough for USC to list them by name: Olivia Newman (Where do Crawdads sing?), Prince Gina-Bythewood (Queen), Wilderness (Don’t Worry My Love), Jessica M. Thompson (invitation), Kat Coiro (Marry me), Rosalind Ross (Father Stu), Halina Reijn (Body Organs Organs), Kasi lemon (Whitney Houston: I want to dance with someone), Chinonye Chukwu (until) and Maria Schrader (She speaks).
“Five years after the #MeToo boom and two years after the murder of George Floyd, Hollywood has had little change for women and underrepresented directors — especially women of color,” founder AI2 Stacy L. Smith said in a statement accompanying the USC report, which noted that only three women of color — Prince-Bythewood, Lemmons and Chukwu — directed a top 100 film by 2022. and during the 16 years of AI2 research, women of color directed only 21 (1.3 percent) of the 1,600 films. “We want to see not only changing traditions but hiring practices continue to marginalize women and people of color as directors.”
The SDSU study notes that films with at least one female director tend to hire more women to take on key behind-the-scenes roles than films directed by men alone: Among films directed by men, women direct, women make up 53% of screenwriters (compared to 12% of films directed by men), 39% of editors (versus 19%), 19% of cinematographers (vs. %) and 18% composers (versus 6%).
Overall, since the release of the first “Tran Celluloid” report 25 years ago, the percentage of women taking on important roles behind the camera (director, screenwriter, producer, production executive) producers, editors and cinematographers) for the top 250 films has grown from 17 percent in 1998 to 24 percent in 2022.
CSWTF founder Martha Lauzen said in a statement: “Given the number of seminars, research reports and research effort devoted to this issue over the past two and a half decades, one would expect many benefits. more substantial benefit”. “It took more than two decades of EEOC advocacy, research and investigative efforts to double the proportion of female directors from 9% to 18%, and women are still undervalued. remarkably low in that role…. It’s easy to miss the larger story of women as filmmakers because the number may increase slightly one year, only to drop slightly the next. We are distracted by the incremental movement of numbers from year to year, but often fail to notice the lack of significant gains in the long run.”