Indie Film Research Paper

Keith Shiri’s Directory of African Film-makers and Films (1992) makes a claim that of the over 250 filmmakers in Africa in the year of 1992, less than 10 were women, cited by the article “The emergence of women’s film-making in francophone sub-saharan Africa: from pioneering figures to contemporary directors” written by Lizelle Bisschoff (159). Bisschoff goes on to explain, however, that others studying this topic have more recently pointed to figures way higher, with there now being over a hundred women filmmakers in Africa (159). Still, women are primarily limited to behind the scenes roles such as makeup artistry, editing, production management, and wardrobing. Therefore, they direct far fewer films than men. Bisschoff says this is a problem “because it results in an imbalanced representation of sociocultural complexities as well as disproportionate representations of individual and collective subjectivities and identities” (159). The uniqueness of being an African filmmaker is that there are so many routes to take when conveying a message. It is true that many women filmmakers focus on women’s issues, but this can include many things, such as being a mother, being a wife, being a target for sexual assault, and going through periods. In addition, they can talk about the same cultural themes as men. Safi Faye explains that she does not only focus on women, but on society as a whole, and she

What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?

There are several successful women making fiction feature films within the UK, such as Clio Barnard, Lynne Ramsay, however ‘there are still relatively few British women directing feature films. In the areas of documentary and experimental film, however, women have directed a substantial body of work. This suggests that away from the constraints of the commercial film industry, greater opportunities still exist to explore the representation of women’s lives and their subjective experience within Britain’ (Helen Wheatley Aitken, 2005). Pratibha Parmer, a UK documentary maker, believes that women have trouble getting into fiction filmmaking and states that, ‘some female directors have produced fictional work, but we can still say that this is the exception rather than the rule. These are two very different worlds, and the passage between them is not easy. There are very few women who can break through into the world of fiction filmmaking, partly because of the enormous budgets involved, the great risks and the

“Strides also have to be made for female nominees. Once again, women were shut out of the best director category and of the 10 nominated screenplays, “Hidden Figures” co-writer Allison Schroeder was the only woman nominated. And after all these years, a woman has yet to be nominated in the cinematography category.” Through the years movies had primarily been directed by male directors and many of the famous films and works of cinematography have been directed and produced by men, so when a talented director that happens to be a women is being snubbed from nomination that is going to be an area that I believe will be highlighted and touched upon in the

Diverse women writers are just as important in the movie and television sector as their white male counterparts in Hollywood. Per several journal articles that have researched this issue, they have concluded that diversity issues among women writers have long been a struggle in Hollywood. These issues have raised questions, considering ticket sales have skyrocketed through the roof at the box office when movies and television shows included diverse characters. If given the right opportunity, diverse women writers can bring more compelling stories to the theaters that appeal to a vast number of women, since they count for more than half of the movie-going audience.

Now, something I like to do when I watch movies is to look up everything about the production. The cast, the trivia, the soundtrack… those quizzes to see which character you’re most like… Aww… I got Captain America again? Obviously I’m Iron Man! I looked up the directors of this particular film and found something alarming. There were no women. You might be thinking, if the numbers for female directors are so low, maybe it’s because they aren’t passionate enough or have the right amount of experience. Well, that’s False; 50% of film school graduates are women. There are some women who do get their big break, but it’s not much fun now that they are sitting with the cool kids at lunch. As cited in the letter to the US Equal Employment Opportunity Commission, “More than one award-winning female director has been told a particular showrunner “doesn’t hire women”. Another director stated that producers and studio executives told her agent “not to send women”. Most of these directors were told to stick to more “women oriented” projects, such as women-centered television shows, romantic comedies, or commercials for “girl” products. You know, I was going to add a joke about menstruation, but then I decided that it would seem like I’m ovary-acting. According to a 2015 report by the Sundance Institute and Women in Film’s Women Filmmakers , females seem to not even be considered

In the case of Alicia Huberman (Ingrid Bergman), her father’s prison sentence leaves her skeptical of others, yet longing for a new companion in her life. She has a reliance on alcohol to wash her troubles away. R. Devlin’s (Cary Grant) a stranger from the party, a very mystery man. The Party takes place at Miami, FL. The camera pans right across Cary Grant’s back and comes to rest behind his right shoulder. The camera is placed behind and to the right of Cary Grant who is sitting and facing away from the camera. In the immediate foreground masking out a small portion of the bottom left corner

A tiny 5% of the directors that made films between 1994 and 2004 were women. In the top 500 films between 2007 and 2012, 30% of actresses in these films wore sexually revealing clothing while the statistic was only 7% with men. All of these numbers show just how under-represented and over-sexualised women are in the massively unjust film industry. Professor Martha Lauzen of San Diego University states, “90% of the time, the people who you pitch your idea to are male, and even though they might be very sympathetic, they do look at the world from a different perspective.” And so again we see the vicious cycle of women not being able to advance up the corporate ladder which leads to very little women reaching their way to the top. This makes it difficult for women to be understood when pitching their ideas to producers. This approach to women in the film industry is not only belittling to a whole gender but is also making women out to be incapable of creating high-quality films or starring in lead roles without becoming a sex

Women in film production are not a rarity in today’s Hollywood scene; however, they have only begun emerging in recent years. There are many female producers today, but only a few have had great, attributed successes. Throughout this research and analysis paper, I will focus primarily on one successful producer who, throughout her productions, addresses many intersection of life- Shonda Rhimes. She has successfully produced television shows such as Grey’s Anatomy, How to Get Away With Murder, and Scandal. She is also well known for her production company ShondaLand (“Shonda Rhimes”).

After all, girls are actual human beings and they will be recognized as such. Eventually, people will look back upon these movies and be astounded by the archaic ideals they enforce. They will even wonder: “How could people ever live like that? Why would people ever choose to live like that?” By contrast, women with a love for the camera will no longer reconcile themselves to pursuing society’s stylized visions for them. They will be able to follow their own dreams and do what they want. They can tell the stories they wanted to see as a kid. And with these new cinematic works, women in the film industry will inspire a whole new generation of empowered women. Like a traditional Hollywood movie ending, the world will finally be their oyster. They just have to go out and take

Backers are supporting projects to help them come to life, not to profit financially. Instead, project creators offer rewards to thank backers for their support. Backers of an effort to make a book or film, for example often get a copy of the finished work. A bigger pledge to a film project might get you into the premiere or land you a private screening for you and your friends. One artist raised funds to create a wall installation, then gave pieces of it to her backers when the exhibit ended.

The Film industry moves ways too fast, and it’s simply impossible to know everything. The filmmaker is going to be spent learning and refining their skills. They are not going to sit down and know everything. In film school, you will write essays, study theory, and take a lot of basic classes. (Murdoch University 2016). Thus, It has nothing to do with filmmaking. You are going to school to be lawyer and doctor, but you are not going to school to be a filmmaker. Film school is unnecessary for a student for three reasons.

Women are often underrepresented in many fields and occupations in today’s day in age, whether it be STEM careers, big business CEOs, or in the case of this paper, film directors. Often the females that are present and well-known, still face a large amount of discrimination. Male directors make more than 90 percent of films, reinforcing the anonymity of women in the film industry. In 2015, women only accounted for seven percent of the directors of big Hollywood movies. In Brent Lang’s article, “Number of Female Directors Falls Over 17 Year Period, Study Finds”, he discusses a study that found that “women are best represented as producers (23%) followed by executive producers (19%), editors (18%), writers (11%), cinematographers (5%), sounds

Methods for sourcing donations have evolved dramatically in recent years through the use of online crowdfunding platforms and social media. Crowdfunding is defined by Oxford dictionary as the practice of funding a project or venture by raising small amounts of money from a large number of people, typically via the Internet. Examples of popular crowdfunding methods are Facebook’s “Donate Now” button along with standalone donation platforms such as Gofundme, Kickstarter, Crowdrise, Spot.us, Gojournalim.ca, Kiva.org, and Indiegogo.

There are many problems that plague the current state of media production. One of main problems for consumers is the increasing corporatization of media. Large production companies placing strict deadlines on developers and forcing them to produce incomplete or broken products. Furthermore, succeeding as an independent producer is becoming more and more difficult. Developers no longer have the tools to compete with big producers who have millions to spend on advertising. As such, devoting time towards a project as an independent developer is risky as success in this area is few and far between. It is for these reasons that crowdfunding seems like such a great concept. Now popular sites such as Kickstarter or Indiegogo can showcase games