Gender Inequality in The Film Industry

With increasing research into the creative industries, gender inequality is becoming a prevalent feature that exposes women experiencing a marked disadvantage in key leadership roles in film, television and production. It is recognised that gender stereotypes can unfortunately have direct influence upon decision making for job placements and career objectives and this is heavily reflected in composing for film. Reports such as Skipping a Beat, by University of Sydney academic Rae Cooper confirms this chronic gender inequality. There is a major underrepresentation of women in film composition stemming from various barriers that present an issue of concern for women seeking to work within the industry. Organisations such as APRA AMCOS and the Australian Guild for Screen Composers have begun to offer strategies to improve women representation, with APRA AMCOS recently commissioning RMIT University to provide further study into the gap between gender equity. Gaging results from the research, they have begun to implement initiatives such as women specific mentorships to help aid the development of women within the composition industry. On a smaller scale, female film composers Lolita Ritmanis and Hildur Guðnadóttir have personally been affected by the barriers to equality and individually are striving to enhance women representation in the film industry. The analysis of data illustrates the male dominance in key decision-making roles that design the industry expectations, values and practices. This gender hierarchy is reinforcing women inequality, ultimately resulting in further absence of women in the industry.

A recent 2017 report commissioned by APRA AMCOS, Australian Women Screen Composers: Career Barriers and Pathways, by RMIT University scholars Dr Catherine Strong and Dr Fabian Cannizzo explores the limiting factors of the development of women’s careers in music. This research has not previously been undertaken in Australia, making its outcomes advantageous in determining strategies to close the gap between gender inequalities in the music industry. This also presses concern for further research to be undertaken to build upon this discussion and see change in gender equality in the industry. There are multiple barriers to equality that effect women such as gendered music, education and child rearing. These all have effect in individual lives as well as the choices of those hiring the composer. Gendered music is the idea that women compose in a specific style and are not capable of achieving the full spectrum of music. This stereotype depends on the type of film and perhaps could potentially act as a pathway for women, however still restrictive and degrading. It is thought that women have a greater ability to translate a story, creating feminine sounding music. This creates a divide between the genders, creating a limit for women’s composing. This barrier is likely to remain whilst the film industry continues to be male-dominated. Education is often perceived as a pathway, gaining qualifications and making connections to develop professional relationships, however, it in itself can be a barrier. Through conducting a survey, Strong and Cannizzo dictated that female respondents were more highly educated than males with 42% of women holding formal screen composition education compared to 15% of males. Despite taking the time to study and learn to become a better composer, it can delay a women’s entry into the industry in comparison to men. With the male dominance in film, it is also natural to see that women often require more formal qualifications than men to be hired for the same jobs. Despite similar proportions of men and women bearing a child at some point in their career, it is significant to note the difference in the type of care and length of the break that women require for chid care responsibilities which holds back their professional career advancement. It is more common for women to take maternity leave and often this results in an eventual career change, especially when in the film industry. In a survey undertaken by RMIT it was documented that on average, women reported a five and a half year career break whereas men on average only took one and a half years. In Interviews held also by RMIT it was noted that women identified having children as the point at which their career went backwards, stagnated or eventually ended. Surprisingly, men did not have this outcome; in fact having children was rarely mentioned with men, compared to being a significant career event discussed for women. Ultimately the biggest barrier faced is the way the music industry thinks about women, as more often than not, women are perceived in a stereotypical, sexualized way guided by others expectations. Until this changes, women will continue to face these barriers throughout their career.

With the barriers to equality having such significant effect, organisations such as APRA AMCOS are working on building better pathways for women in the film industry. In their research with RMIT University, few recommendations were made to see this through. First Strong and Cannizzo explored the idea of engaging men in equity initiatives, through participation in discussion to gain a better understanding of the female experience in the film industry. These discussions would be heavily directed at male directors and producers, as it is these key roles that see the employment of film composers. It is important to note that it is not purely up to women to take action to encourage change, but also to the men to examine their beliefs and practises to help close the gap in gender inequality. Another suggestion was to increase the visibility of women in the industry to provide role models for emerging composers and further normalise the idea that women can be successful screen composers. This would build confidence for struggling composers, to believe in their work and more importantly themselves. Continuing research of women in film composition would have dramatic effect in building upon what has already been found, to start new initiatives in order to bring about a permanent shift in how women are represented in composition. Broadening this discussion would bring others into knowledge, creating a domino effect that subsequently would provide women a higher appreciation and chance in making it in the world of film composition. APRA AMCOS has contributed to enhancing women representation through the development of mentorships to effect gender participation and equitable financial success of their female composer members. As well as this, they have begun the EQUALIZE music production workshops and the Professional Development Series for Women, featuring VIV Fantin. Similar to the mentorships, these programs are striving to create a positive change for women screen composers, committing to equality, inclusion and diversity.

The Australian Guild of Screen Composers (AGSC) is an organisation dedicated to supporting all established and emerging screen composers in Australia, acting as a representative body for the screen music community. Acknowledging the long-term gender inequity, their Gender Equity Committee is committed to improve equality, inclusion and diversity in the industry. Understanding that treating all people equally will not result in equitable outcomes brings about the organisations targeted support for women to remove barriers and to encourage inclusion. In striving to achieve equity, the AGSC joins with other national screen bodies including Screen Australia, Australian Directors Guild and many others to readdress this imbalance. Members of the AGSC completed a series of successful initiatives over 2 years which resulted in equity roundtables encouraging discussion on the barriers women face, the creation of the inaugural APRA/AGSC film music mentorship for women as well as the She Scores, She Shoots attachment with the South Australian Film Commission which put on a concert showcasing live film music by Australian female screen composers. It is clear that discussion is one of the more important and effective strategies that encourages the growth of gender equality in film composition, however it needs to be inclusive to all genders to be a part of the solution. Despite all these initiatives taking place, it seems that most only offer women one position per year making the process of closing the gap rather slow. This gives plenty of opportunity for further strategies to be created, implemented and improved upon.

With reference to the podcast ‘The Conversation’ hosted by Nelufar Hedayat, two successful female composers Lolita Ritmanis and Hildur Guðnadóttir were interviewed about the underrepresentation of women in film composition. Ritmanis is an American composer known for her iconic superhero themes who is the co-founder of the Alliance for Women Film Composers (AWFC). This organisation is a community of composers who strive to celebrate women composers through recognition and acknowledgement, providing opportunities for filmmakers and decision makers to discover new talent. Ritmanis states that the gap is not due to a lack of female composers as the AWFC alone has 400 female composers, but instead “We [society] are not opening the doors for women” to show their full potential in the film industry. She has personally been affected by the barriers mentioned above, especially from the gender hierarchy, hearing statements such as “I’m a bit worried about giving women a film,” “Will she be able to handle all the production aspects” etc, however these are all just irrational arguments stemming from the nervousness of the producer in a male dominated industry. Guðnadóttir is an Icelandic composer who is the forefront for experimental pop music. She states that she never often gets the chance to talk to other female composers , which is a direct illustration of the chronic gender inequality in the film industry. Personally affected by this in her own situation, her fellow composer (male) was always seen to be the one in charge instead of being viewed as equals. It is often in these cases that it is not intentional however it can have a significant impact in the lives of women composers, lowering self-esteem and confidence in their work. It is noted by both composers that there is a visible shift in attitude around female composers that has taken place over the past few years. Ritmanis notes that there are numerous men that are supporting members of AWFC aiding the transformation for women to feel equal in their workspace. It is composers like Ritmanis and Guðnadóttir that through their successes are representing all women composers, normalising women in key leadership roles and giving hope that gender inequalities will dissolve in the near future.

It is through acknowledgment and understanding that women are given a chance for the gap between genders to minimalize, not only for women in film composition but in all industries. As it is such a complex issue, it calls for further discussion and deliberation for significant change to occur. Explanation for this lies in entrenched industry structures, stereotypes, hierarchy etc. where unless change is implemented, women will continue to be underrepresented, underappreciated and overall not respected in the film industry. It is thanks to research undertaken by universities and music organisations such as the reports Skipping a Beat and Australian Women Screen Composers: Career Barriers and Pathways, that do allow this discussion to be had, making the problem known rather than sweeping it under the mat. The goal is to reinforce women’s equality and equity, to begin to see women in senior leadership roles, contributing to key decisions for women’s voices to be heard. This ultimately would result in more role models for emerging composers, a rise in recognition for sales and awards, and more females being hired for bigger projects around the world.