SchspIN

An Actress's Thoughts

16. September 2019
by SchspIN
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Hat der BFFS das Zeug zur Serie?

In den letzten Wochen haben manche hierzulande oder in der Onlinewelt das Brexit-Spektakel in London mit einer Fernsehserie verglichen, die schon seit mehreren Staffeln das Publikum in Atem hält. Es wurden Plottwists bewertet und über neue Figuren und Handlungsstränge spekuliert. Das ist nicht die einzige Parallele zum BFFS, der umso mehr unterhält, je weniger man fürchten muss von den Auswirkungen der tatsächlichen oder fehlenden Verbandspolitik betroffen zu sein.

BFFS: Fact and Fiction

Hat der BFFS das Zeug zu einer Fernsehserie? Oder zu einer Reihe von 60- oder 90-Minütern? Davon handelt der heutige Text, der in einzelne Episoden unterteilt ist, Zeitsprünge und Rückblenden inklusive. Unvollständig. Ein erster Entwurf.

BFFS – DIE SERIE handelt von Macht und Manipulation, und ist in der Glamourwelt des Films und ihren Schattenseiten angesiedelt – aber nicht nur da.
Also ein ähnliches Thema wie zum Beispiel DER DENVER-CLAN (Ölbranche. USA, 9 Staffeln mit insg. 218 45-min. Folgen, 1981-89) und BAD BANKS (Finanzwelt. D / LUX, bislang 1 Staffel mit 6 ca. 50-min. Folgen, 2018).
Ich werde am Rande auch einen kurzen Blick auf das Potenzial von BFFS – DIE SERIE als Comedyformat werfen, wo es sich anbietet.

Die Patriarchen

Dass die Hauptfiguren / die autokratischen Vorstandsmänner eher unsympathisch rüber kommen muss nicht unbedingt schaden und ist auch kein Seriennovum. Gehen wir zurück zum erwähnten DENVER-CLAN. Dort steht der alte, megareiche Partriarch Blake Carrington im Zentrum, ein skrupelloser Businessmann mit aggressiven Zügen und Kontrollzwang. Er lässt seine junge zweite Frau Krystle (die ehemalige Sekretärin) überwachen, stellt sie regelmäßig auf die Probe, macht Psychospielchen mit ihr, vergewaltigt sie als sie einmal keinen Sex mit ihm will. Den Lover seiner Tochter Fallon lässt er zusammenschlagen, den Exlover seines schwulen Sohns Steven tötet er fahrlässig und gegen den Sohn, der zwischenzeitlich ein Kind gezeugt hatte (das waren die 80er, da schwankte der Schwule im Film zwischen schwul und hetero hin und her) strebte er einen Sorgerechtsstreit um seinen Enkel an. Beruflich trat er aggressiv auf, lehnte Kooperationen mit anderen ab und war eigentlich darauf aus, alle Gegner platt zu machen oder aufzukaufen. Seine zweite Frau liebte ihn natürlich trotzdem, fast die ganze Zeit. Mehr erinnere ich gerade nicht, wir hatten vor ein paar Monaten mal die ersten beiden Staffeln gebingt.

Aber wie gesagt, das waren die 1980er. Ein reiner Männerhauptcast (BFFS-Vorstandsmänner) mit Frauen als Staffage (Vorstandsfrauen) passt dramaturgisch eigentlich schlecht in die Kreativbranche des 21. Jahrhunderts. Und in einer Branche, in der Teamarbeit fundamental ist – wir reden hier ja nicht von der Ölindustrie – einen Alleingang nach dem anderen zu betreiben und die gewöhnlichen Mitglieder vorrangig als Masse, Beitragszahlende sowie als fleißige Helfer*innen zu sehen…. Hm. Selbst in einer Serie wie BAD BANKS waren zwar alle irgendwie unsympathisch, aber niemand so einseitig. Auch den Hauptanwalt der Serie – den Justiziar des Vorstands – würde man heute eigentlich mit einer Frau besetzen, das ist gut, endlich einmal eine böse Frauenfigur. Aber neben den alten weißen Männern einen weiteren alten weißen Mann, der knallhart agiert und gleichzeitig gewissermaßen vom System profitiert (div. Geschäftsführungs- und andere Posten, eine ausgelastete Kanzlei und eine gut finanzierte Bürogemeinschaft), das ist alles zu glatt.

Gut, man könnte in den Vorstand einen Guten als Sympathieträger und einen Nerd als Comic Relief einbauen, Hahnenkämpfe erfinden, Mobbing, gar einen Aufstand der Vorstandsfrauen (häufig überlieferter Satz: „da muss ich die Männer fragen“), Schicksalsschläge und Affairen, – da könnte noch einiges die Monotonie aufbrechen. Oder es wird eine Comedy, da bleiben Figuren ja auch meistens ein bisschen stereotyp und entwickeln sich nicht weiter. Aber selbst da wären vermutlich „die da oben“ die Bösen, und die Sympathie läge bei den Kleinen. Wobei die ,Bösen‘ durch Humor punkten könnten. Aber das kommt in der Realität bislang nicht vor. Continue Reading →

27. August 2019
by SchspIN
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Germany’s Top TV Cop Drama, Locations, Trends and Surprises

TATORTs and their Locations, 2011 to the Summer of 2019

In my analysis with 15 illustrations today, I take a look at the 22 new TATORTs in the first half of 2019, especially at the distribution of women and men in the six departments directing, screenplay, photography, sound, editing and music. Additionally I will look at the first mentioned roles in the scripts and the main casts, which are the roles listed on the ARD TATORTE pages, on average 12 roles per film. 

Secondly I added the 2019 values to those of the TATORTs 2011 to 2018, again with regard to the six team divisions, and confront it with my suggestion 2 of 6 (#2v6pN).

Finally, the third part deals with the TATORT locations and copper teams. I checked the gender shares for the six departments there. Are there differences between the cities? Yes, there are. In some cities there has never been a script that was only written by female authors. Actually, 15 out of 28 cities haven’t had them. That’s not good. There was no female director in 9 of the 28 TATORT cities during the investigated years. More on this below.

This article is sort of a sequel to my most recent TATORT- und POLIZEIRUF-analyses Crimes from a Male Perspective und Polizeiruf 110: The Other Top Cop Drama.

The source for my investigations is broadcaster ARD’s TATORT subpage with all the cases and first TV dates, main casts and some information about the crew. The rest I researched mainly on Filmportal and Crew United. For the age analyses of the actors I used the databases Filmportal, Filmmakers, Crew United / Schauspielervideos as well as actors’ and agency websites.

 

What happened so far in 2019 up to the Summer Break?

Behind the Camera

Usually there are 35 to 36 new TATORTs every year. There is a break in the summer, I investigated the 22 TATORTs up to that point.

Good news is that the proportion of female directors for the 22 TATORTEN is 22.7 %, which is a new high since the start of my evaluations in 2011. Of course, it is still a long way from there to the share of female graduates in directing at film schools – because that is 44 % – but at least it is coming close to the 25.3 % share of female directors in the Crew United database, and it meets the 20 % target that the production company Degeto has set. But here, as already described in Crimes from a Male Perspective, the simultaneous disadvantage of a single-focus target  becomes clear: the tunnel view on the directors ignores the other departments. Only one female DoP was responsible for a 2019 TATORT (Jutta Pohlmann at the Lucerne-Swiss Tatort  AUSGEZÄHLT / Counted Out). Female sound mixers? Just like in the previous year, there have been none so far. A Frankfurt TATORT had a female composer: Iva Zabkar (DAS MONSTER VON KASSEL / The Monster from Cassel). 12.1 % of the TATORT scripts were written by female authors (summer 2018: 7.1 %), however none independently but in three teams with male authors. No TATORT was written only by a woman or a women’s team. As usual, the stories are told primarily from a male perspective. Once again, the editors are predominately female (22.7 % male editors). Continue Reading →

8. August 2019
by SchspIN
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UK Television: The State of Affairs

Gender and Inclusion Policies in British Television

Momentarily we hear quite a lot of bad news from the United Kingdom (UK), which actually should have been called UQ United Queendom ever since 1952. The Brexit, the proposed No-Deal Brexit, the new Prime Minister Alexander Boris de Pfeffel Johnson, who was only elected by members of the Conservative Party, the lack of discussion about returning stolen art and cultural assets to their countries of origin (think of the British Museum), an astonishing waste policy (do they really not have a refundable bottles system?) and so on and so forth. But that’s not what today’s text is about; on the contrary, I want to write about something quite positive, where the UK/UQ is more advanced in comparison to other countries, e.g. to Germany: initiatives and programmes for gender equality and inclusion in the television industry, especially behind the camera.

Why I went to London, again

A few months ago, Oliver Ratcliffe from Westminster Insight invited me to London for the one-day event Gender Equality in Television: Behind the Scenes and on the Screen. A week later, at the invitation of ITV Head of Diversity Ade Rawcliffe, I was able to present my gender and diversity tool NEROPA to a small, high-profile group at ITV and advise them on its use in serial productions.

I met both Ratcliffe and Rawcliffe – the names probably are coincidental – through Anjani Patel, Head of Diversity at Pact (Producers Alliance for Cinema and Television). Anjani & Pact organize Inclusive Casting Workshops for independent producers. In these workshops NEROPA is also discussed, and I may get the chance to present it there myself in the near future.
Anjani in turn was introduced to me by filmmaker Rebecca Brand, whom I mentioned for the first time here in the article Tis early practice…. . Or was it Jennifer Smith, Head of Diversity at the BFI British Film Institute, after the NEROPA Symposium in January 2017? Or both? Everyone seems to know each other, and I have been getting to know quite a few of them as well, some only digitally or via telephone so far. Thus the Westminster Insight Event was also a great opportunity to finally meet old acquaintances in real life on the by – like for example Leila Kurnaz and Natasha Connors from Ofcom. Whose colleague Vikki Cook, Director of Standards and Audience Protection at Ofcom, gave the keynote lecture that day.
There was a five day gap between the two dates, but I didn’t want to jet back and forth, so I stayed on until the ITV meeting and then went back via train, including the Eurostar, and yes, the connection Berlin-London by train is feasible without problems, it takes longer than the flight and is more expensive, but you have more space to work or sleep than in a plane, it is quieter and the view is more varied. Also the route leads through a number of German and Belgian cities, so you can also interrupt and visit people. Or drive through. 10 hours from city centre to city centre is doable, isn’t it? 

Westminster Insight: Gender Equality in Television

Westminster Insight Logo

Use by kind permission from Westminster Insight

The conference provided a condensed insight into the current state, data monitoring, initiatives and programmes, achievements, existing shortcomings, challenges and more. From the announcement: Continue Reading →

18. July 2019
by SchspIN
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Wood Water Air

It has been three  months today since I published my last blog text (“Why aren’t you working with Female scriptwriters?”) and since then several film and film political texts as well as statistical analyses are in the works, which I plan to publish soon, hopefully. In the meantime, here’s something quite different.

I’ll water a Tree Tonight

Everyone is talking about dry summers, about climate change, everyone is thinking about the environment – no, not everyone, of course. But many. Some? And many are wondering what to do, they commit to not taking domestic flights (even if they are cheaper than the train), have no car, do without plastic and disposable packaging as far as possible, always carry a shopping bag with them, buy only regional fruit and vegetables and so on. Now the question is whether this changes anything and whether it causes the environmental impact caused by big car- people or the ones taking 6 domestic flights every week or the permanent online shoppers, or whether it only calms one’s conscience, or whether it is simply a basic attitude, ultimately inconsistent, but a guideline for one’s own social or ecological aspirations. I don‘t really know. But I prefer doing something, however little it may be, to an “it doesn’t help anyway” attitude. But that is not really the topic today.

Watering an urban tree in the summer.

In warm summers street trees need 60 to 100 litres of water a week, depending on their age. Photo: SchspIN

And enjoy Urban Flower Beds

Actually I only want to talk briefly about trees and plant beds, and ackknowledge that city plants are a good thing. And that we can be responsibility for it. Trees, green spaces, flowers, they are good for the urban climate (photosynthesis!), and for the social climate as well. Sitting on a bench in a small park or next to a flower tub is nicer than sitting in a concrete desert. Most of the time anyway. And when I walk through Berlin or cycle or run (urban running!) I am always happy when I see beautiful beds in tree slices. How imaginative and elaborate! Sometimes like a small jungle, sometimes a colorful conglomeration, sometimes a sea of flowers, and sometimes it’s just grass under a tree, but even that’s nicer than dry grey earth with garbage and dog poo mosaics. In the  Continue Reading →

29. June 2019
by SchspIN
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Moving Day at the Blog

Um die deutsche Version dieses Textes zu lesen ändere einfach die Spracheinstellungen der Seite (über die kleinen Fahnen rechts).

A week or two ago it was time to move my blog SchspIN – An Actress’s Thoughts. The old (still existing) address was schspin.wordpress.com, the new one is schspin.stieve.com, so it is now a subdomain of my stieve.com website (where you can also find NEROPA: neropa.stieve.com).
Why did I move? Well, I found it annoying that the free WordPress page displayed ads (for obvious reasons). And I found it a pity that I couldn’t make the blog bilingual, like for example the NEROPA page is. Just to mention two reasons.

So here we are, Welcome Everybody!

The move isn’t quite finished yet, many boxes still have to be unpacked (meaning that I have to split up the texts and place them on two different – German and English – pages, I have to upload all images by hand (I could move all texts automatically), I have to give the gallery system so it works the same way as before – clicking through a group of images, and I also have to reformat all internal links on the English page by hand. At the same time I can take this opportunity to check all external links for up-to-dateness and make some linguistic corrections. This takes time. What unfortunately doesn’t work yet: a “Subscribe to Blog”-Plugin. But hopefully that will come soon.

The first texts (i.e. the most recent ones) have already formatted and checked to some extent, all others will follow sooner or later. By the way, all internal links in the not-yet-checked articles – i.e. links to another blog text within SchspIN – still lead to the old schspin-wordpress blog.

For the moment both blog sites will be available, containing roughly the same information. However all new investigations and texts will be published at the new address (this will also be announced on the ‘old’ blog). ..

17. April 2019
by SchspIN
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“Why aren’t You working with Female Scriptwriters?”

German and British Female Authors ask Broadcasters


In the Beginning there were Numbers

For just over six years now I have been analysing and commenting on the film and television industry, and my primary concern has not been to describe the – bad – actual state, but to work for change. That’s why I make suggestions like #eyesopen, #2v6pN and of course NEROPA. And I provide basic data that others can use for their work. Speaking of which, a few weeks ago I was called by a female screenwriter who wanted to know how many TATORT scripts in 2018 had been written by women. I call that perfect timing, a few weeks before I had published my 6-divisions-check of the TATORTE 2011 to 2018 (Crimes from a Male Perspective). A slow increase in the number of women directors towards the targeted 20 % share of women is visible, but at the same time the proportion of female authors has been rapidly falling and even zero values were reached for camera and sound.
The TATORT is considered to be the highest paid 90-minute format, why should this source of income be withheld from women? Why does a broadcaster financed with public funds not act in accordance with the Basic Law and discriminate against people on the basis of their gender? And last but not least: what does it mean for the audience if the stories are (almost) only filmed and told by men? I wrote about this problem in connection with the series BABYLON BERLIN (Two German Series: BABYLON BERLIN and CLASH OF THE FUTURES), where producers and cameramen and above all three directors who also wrote the scripts were male – which had an unfavourable effect in terms of design and, of course, content. Yesterday I heard that the second season of BAD BANKS, unlike the first season, is not written by a head author (Oliver Kienle) and two staff authors (Jana Burbach and Jan Galli), but only by men. The season in which the young banker Jana Liekam (Paula Beer) and the older banker Christelle Leblanc (Désirée Nosbusch) will be in the centre. Doesn’t anyone notice this?
But back to the screenwriter‘s call.

Female Authors Write Back


So then my TATORT analyses gave the impulse for a rapidly growing informal [Weiterlesen – Read On]

2. April 2019
by SchspIN
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Of Little Mice and Little Men

Small Children

Did you know that in German some people, when they talk of a baby or toddler, and when it is binary, they call it little man or little mouse. “Oh, the little man is so cute / shy!” and “Oh, the little mouse is so tired / awake!” Now I don’t want to talk about the possible attributed characteristics, but only about the terms. Little man respectively little mouse. Some mothers or fathers even talk about their little son and their male partner as “my two men“. However, I have never heard of “my two mice” for female partner and little daughter. (Neither “my two women“, although once someone said “my two girls“).

So, the male infant, the male toddler or child is a man, but only a small or little one. When the boy gets older, he is sometimes called a big boy or a junior. And later he becomes a real man. Basically, a penis seems to be enough to turn a child into a (little) man, like his father, but smaller.

The female baby, toddler or child is a small mouse, a little mouse or a just a mouse. What if she gets bigger? Will she be a big mouse, perhaps a jumping mouse or even a rat? When does she become a woman, like her mother? And is there also the intermediate stage “little woman”? I’ve never heard that said of girls. For a girl (in German „das Mädchen“ which is the grammatical neutrum!) the vagina is not enough to make her a (little) woman. Why? Does that sound weird, does it feel strange to speak of a newborn female human being as a (little) woman? Does that sound too sexual, like developed breasts, like sexual maturity? Or is “little woman” simply an outdated paraphrase for good, hard-working housewife?

In the twitter sphere [Weiterlesen – Read On]

18. March 2019
by SchspIN
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Polizeiruf 110: The Other German Top Cop Drama

Last month I published my research including a 6-divisions-check on Germany‘s top cop drama (produced by German public broadcaster ARD) TATORT / CRIME SCENE 2011 to 2018 (Crimes from A Male Perspective), after my other TATORT analysis at the end of Juli on six and a half years of th show (Who‘s been Seen on the Crime Scene?) As a reminder: the development is anything but good, in 2018 only 5.5 % of TATORTs scriptwriters and 0 % each of DoPs and sound mixers were female. When someone asked me about the POLIZEIRUF 110 numbers I had to pass, because I never really looked at them before. Mainly because there are always only a handful of films per year, from which it is difficult to draw substantial conclusions. Or is it?
So today, let‘s look at all POLIZEIRUFs that came out in the years 2011 to 18, individually and together with the respective TATORTs, with heartfelt thanks to Ariela and Susanne for the incentive.

Whoop Whoop, the Police is coming!

POLIZEIRUF 110 literally translates to police call 110, with 110 being the national emergency  number to call the policein Germany of the past and present. POLIZEIRUF 110 is a television series from the GDR, which first broadcast on 27.6.1971 the film DER FALL LISA MURNAU. Until 1990 it was produced by the GDR television, until 1993 by DFF Deutscher Fernsehfunk and afterwards by the various ARD broadcasting stations within the combined Germany. For comparison: the first of the originally West German TATORTs was broadcast on 29.11.1970, called TAXI NACH LEIPZIG.
The first decades of POLIZEIRUFE obviously were filmed in the GDR, later in East German cities. But there were and still are exceptions: Vienna (4 films), Heilbronn (3), Munich/Nuremberg (6), Offenbach (8), Volpe (8), Bad Homburg (4) and Munich (36) (all figures without guarantee, they are from Wikipedia, and that is not a 100% reliable source. More about the history of POLIZEIRUF is compiled on the ARD website).

I can only guess why there are POLIZEIRUFs in West German cities as well now. But I don’t understand why they installed one in Munich as well in 1998, because there’s a TATORT-Team already, played by Miroslav Nemec (*1954) and Udo Wachtveitl (*1958) since 1991, so far with about 80 cases.

Even though it feels like there are currently around 612 TATORT-Teams active, it’s only 22. POLIZEIRUFs are rarer, at the moment they operate in four cities:
Rostock: since 2011 with Charly Hübner (* 1972) and Anneke Kim Sarnau (* 1972)
Frankfurt / Oder: since 2012 Maria Simon (*1976) and Lukas Gregorowicz (*1976)
Magdeburg: since 2013 Claudia Michelsen (*1969) and Matthias Matschke (*1968)
Munich: from 2019 Verena Altenberger (*1987).

I mentioned the years of birth of the Continue Reading →

1. March 2019
by SchspIN
0 comments

German Top 100 Film 2012-18

A Look at Germany’s Top 100 Films 2012 to 18

After recently having taken a look at six departments behind the camera at the TATORTE 2011 to 2018 (Crimes from a Male Perspective), I now present an analysis of the 100 most successful German cinema films of the last seven years, again with a special focus on the women and men heading the divisions director, screenplay, director of photography, composer, sound and editor. I have further divided the film groups, so there are studies of the Top 50 and Top 100 films, sometimes also of the Top 10 and Top 20 films. As source I used the film hit lists of the FFA, and researched the crew data at Filmportal.de, crewunited.com and IMDB.com.
That today‘s images are very colourful is because I assigned a color every year without a system as soon as it appeared in the investigations for the first time, and continued with these colours. And finally: the pictures are arranged as galleries, i.e. you can simply click on a picture, e.g. the first one, and then flip through the enlarged pictures.

What Sort of Films are there?

The first illustrations show the Top 50 and Top 100 films, divided into feature films, animated films and documentaries. It’s obvious that the largest group is made up of feature films, also including quite a few feature films for children, one of them was even ranked number one in 2018 (LUKAS DER LOKOMOTIVFÜHRER), in most other years they included the various editions of FACK JU GÖTHE. Animated (Read On)

6. February 2019
by SchspIN
2 Comments

Crimes from a Male Perspective

TV-Crimes from the Male Perspective

Last summer I had done an evaluation of German top cop drama TATORT, all first screenings from 2011 to the summer of 2018, I looked at six departments off-screen – directing, script. DoP, sound, music and editing – and onscreed at the first-named roles and the main casts (Who‘s to be seen in CRIME SCREEN?).
Today I have some additional statistics with the complete 2018 TATORTs, a total of 37, and some research regarding the female and male directors, like e.g. their age at their TATORT debuts and the number of TATORTs each has directed.

20 % Female Directors, how great is that?

It is nothing new to state that there are considerably fewer films directed by women than by men, and at the same time considerably fewer than the share of women among the directing graduates from film school (44 %), and also less than is their share among those active (reference: database of crew united, share of female directors is 25,3 %). This is something I have been researching and writing about since January 2013 (SchspIN – an Actress‘s Thoughts), Pro Quote Regie (Pro Quota Directing) first went public in October 2014, calling for a graded female quota for their department as well as calling for „scientific research into the development and professional situation of female directors in Germany as well as into the practise of commissioning contracts by broadcasting companies and funding bodies“, and the 94 page First Repofgerrt on Diversity by the German directing association BVR „on the share of female directors for the film and tv productions between 2010 and 2013“, published in November 2014.

Maybe a bit on the slow side is the way in which broadcasters, production companies and commissioners are reacting to this, sometimes you hear statements on a target of 20 % female directors, sometimes a lot more is achieved. And how is it with the TATORTs?

In 2018 a total of 30 TATORTs were directed by men, and 7 by women. This is a share of 18,9 % – so quite close to the often proclaimed 20 %. In the summer of 2018 the number was 19 %, so no big change in the second half of the year.
To go into greater detail, it were actually 6 female directors for the 7 TATORTs: Samira Radsi, who at 50 directed her first and her second TATORT last year, Theresa von Eitz (40) also debuted. Barbara Eder directed her second TATORT, she debuted at 41 the year before. Christine Hartmann was in charge of her 7th, her first was in 2002 when she was 34. Hermine Huntgeburth on the other hand had her TATORT debut only in 2016, 59 years old, in 2018 she directed her second, and finally there is Maris Pfeifer who directed her fourth in 2018, her debut was in 2006 when she was 46.
The average ages at which female and male directors are given their first TATORT are not far from each other, as can be seen in the following table on the left. Only the range differs, for the men it‘s from 30 (Lars Kraume in 2003) to 68 (Robert Dornheim in 2015), for the women from 33 (Katrin Gebbe in 2016) to 59 (Hermine Huntgeburth in 2016).
A big difference occurs in another context, and that is when the average number of TATORTs per male or female directors are compared. The table on the right show this, both for all directors and also for the statistics when the highest values are substracted (Claudia Garde with 11 and Kaspar Heidelbach with 20 TATORTs). On average the men directed 2 TATORTs more than the women.

A total of 17 female and 70 male directors directed TATORTs from 2011 to 2018.

… and what about Script, DoP, Sound, Music, Editing?

To start with a high number: the share of female editors is unproportionally high with figures between 50 and 70 %. What is interested is to compare these with the female editors of the top grossing 50 German feature films of 2013 to 2017, their share is quite low, between 20 and 30 %. But this is a topic for another day.
To see low shares of women it is enough to look at the following figure, especially for 2018 – the year that female directors nearly touched the 20 % mark is deplorable with 5,5 % of female writers, 0 % of female DoP and 0 % of female sound mixers.

Which crimes occur, how the stories are told and how they are visualized, all this is quite firmly in male hands. (Please also refer to my text 19 ideas for film / tv / stage, especially to the chapter #femicide-detox.
Since I don‘t want to implicate that the ARD (German public broadcaster) are determined to leave all TATORT narratives and images completely to men, or even more active, to consciously exclude women there is only room for the somewhat unsatisfactory assumption that simply nobody noticed this. This might be advantaged by the fact that in the TATORT series, a number of regional broadcasters and different production companies are involved and perhaps nobody saw the overall picture. Well, this can‘t be the case anymore from now on, because the last figure sends a clear message.

We promise to improve!

Admittedly, so far nobody has said this, but if they did that would commendable and also easy to start. Pledge to apply my suggestion „2 of 6 plus NEROPA“ #2v6pN. In other words: in every production, at least two of the six departments directing, script, cinematography, sound, music and editing should be headed by a woman (and also the NEROPA method should be applied, more on this later).
I have mentioned in the past that I see some difficulties that need to be overcome, when funding bodies, broadcasters, commissioners or others should work with more than one female quota in film teams. As far as I know there are no models that integrate quotas. Furthermore, each production is released from their responsibility, because – in accordance with the not-in-my-backyard-principle – they can hope that some other production will hire a female director, DoP or composer, and that way balance their own all-male team positions.

With #2v6pN it‘s a different matter because there each production has to do something, each production has to comply with the „at least 2 departments“obligation if they want public money or work for public television. Which two (or more) of the six departments are to be headed by women is up to the production itself. And if someone simply only want to give the six departments to men – or as happened in the case of BABYLON give 5 1/3 of the six departments to men – then of course they can do that. But not with public money.

The following three diagrams show

  • On the left: the number of TATORTs 2011-18 where 0 to 6 from the six departments had a woman at the top. The vertical line separates the one who passed (to the right) from those TATORT productions that didn‘t (to the left).
  • In the middle: to make the discrepancy more visible we see the shares of films for each year that would have passed or surpassed the 2 of 6-requirement (in the future, after #2v6pN has been made compulsory, all colums should be 100 % of course).
  • On the right: the table, only for 2018, shows how many, or rather how few, directors – female and male – had one (other) or more woman working in the.five positions.

Who hires the people for the departments, does the director have no say in this, or does it depend on their reputation or c.v.? Samira Radsi and Barbara Eder directed their three 2018 TATORTs with the five other positions being men-only. Both are newcomers in this format, is their a connection or was it their active choice?

Two questions I get asked regularly when I talk about #2v6pN:

  • “Are there really enough female directors, female scriptwriters, female DoP, female sound mixers, female composers and female editors to fill two positions in each production?”
    Answer: Yes.
  • “Why do you only call for 2 of 6 and not 3 of 6, which would be 50 %?”
    Answer: Not the same numbers of women and men are trained over all these six film professions, so a third would conform with the ratio. Therefore saying that #2v6pN favours women is untrue, it‘s just a way to help them to creative equality (and at the same time improve film quality, because if 40 % of the talent pool are ignored…..)

More female Superintendents, but still male biased casts

In June 2018 when I was writing about the TATORTs I already predicted that the share of female first roles on the cast list, which was more than 50 % in the summer of 2018, would decrease in the second half, because many of the TATORTs from the first half-year period had a lot of female coppers in the centre. And indeed, the overall share for 2018 is only 43,2 % female leads / first roles (see the next diagram). The darker blue columns, depicting the share of women for the main casts don‘t vary that much (approx. 39 %), and until someone proves otherwise I continue to aussume that the rest of the casts, with all those small, nameless parts, is even more male biased.

Apparently a focus on the leads does not do much for the whole situation. But of course, if my method NEROPA were applied (as is proposed in #2v6pN – remember, that‘s „two of six plus NEROPA“), there would be more roles for women in most scripts, even for the TATORTs. (To find out more about the method and how it works please refer to the official NEROPA website or call me, I am happy to consult and coach your production during the process).

Outlook

If things continue at this rate, how long will it take for the share of female directors to reach 44 or even 50 %? And how long, until more women are introduced to other central departments of a film team and until film casts are gender equal? I don‘t know. But I am afraid it will be quite a long while. That is why I propose the implementation of “two of six plus NEROPA“ in all film and television productions fully or partly financed with public money.
Maybe you think that the producers would refuse to go along. Are you sure? What if they don‘t get the TV slot or funding without it, would they do it then?
Are there enough female screenwriters in the first place? Yes. Are there enough female DoPs? Yes. Are there enough female directors? Yes. Are there enough female editors? Yes, of course. Are there enough female sound mixers and composers? Certainly more than zero. And also, there don‘t need to be women in all six positions in every production. But then again, that might be interesting, considering that  opposite – all six departments men only – happened 63 (sixty-three) times in TATORTs from 2011 to 2018. So how about reversing this all women only?