{"id":1528,"date":"2013-10-25T15:46:58","date_gmt":"2013-10-25T14:46:58","guid":{"rendered":"http:\/\/schspin.wordpress.com\/?p=1528"},"modified":"2019-06-15T16:22:31","modified_gmt":"2019-06-15T16:22:31","slug":"revolution","status":"publish","type":"post","link":"https:\/\/schspin.stieve.com\/gb\/2013\/10\/25\/revolution\/","title":{"rendered":"Vive la Nouvelle R\u00e9volution du Cin\u00e9ma!"},"content":{"rendered":"<p><span style=\"color: #4d4d4d;\"><strong>Vive la Nouvelle R\u00e9volution du Cin\u00e9ma! <\/strong><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">After the French Revolution 1789-1799, the invention of the cinematograph by the Lumi\u00e8re brothers in 1890 and the new women&#8217;s movement of the 1970s, France is once again very active in cracking old structures and innovating the film industry.<\/span><\/p>\n<p><a href=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/freiheit_brs1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1532\" src=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/freiheit_brs1.jpg\" alt=\"\" width=\"700\" height=\"473\" srcset=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/freiheit_brs1.jpg 700w, https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/freiheit_brs1-300x203.jpg 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/a><span style=\"color: #4d4d4d;\"><strong>The Charter for Equality among Women and Men in the Film Sector<\/strong><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">Paris, October 10, 2013. <strong>Aur\u00e9lie Filippetti<\/strong> (Minister for Culture and Communications Minister) and <strong>Najat Vallaud-Belkacem<\/strong> (Minister for Women&#8217;s Rights \/ Government Spokesperson) signed <i>La Charte pour l\u2019\u00c9galit\u00e9 entre les Femmes et les Hommes dans le Secteur du Cin\u00e9ma<\/i>, in the presence of <strong>V\u00e9ronique Cayla<\/strong> (President of Arte France), <strong>Fr\u00e9d\u00e9rique Bredin<\/strong> (President of the state film funding body CNC) and <strong>B\u00e9r\u00e9nice Vincent<\/strong> (President of\u00a0 Le Deuxi\u00e8me Regard).<\/span><br \/>\n<span style=\"color: #4d4d4d;\">Le Deuxi\u00e8me Regard\u00a0 (The Second Vision, a little hint at Simone de Beauvoir&#8217;s philosophical benchmark \u201eLe Deuxi\u00e8me Sexe\u201c<i>) <\/i>\u00a0was founded in March 2013 by the fhree Paris based female filmmakers B\u00e9r\u00e9nice Vincent, Delphyne Besse and Julie Billy. They presented a number of ideas to the French Minister for Culture, ideas on how to increase the number of women in the film industry and how to improve their situation. Among these ideas was the draft of a Charter, the one that was signed this month, as a declaration of intent, an appeal and a commitment.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">This did not come out of the blue of course. Things started happening in June when the senate (= the French Upper House) published the report\u00a0 \u201e<\/span><a href=\"http:\/\/www.senat.fr\/rap\/r12-704\/r12-704_mono.html\" target=\"_blank\" rel=\"noopener noreferrer\">La place des femmes dans l&#8217;art et la culture<\/a>:<span style=\"color: #4d4d4d;\"> le temps est venu de passer aux actes\u201c \/ \u201cThe Place of Women in Art and Culture: time has come to act\u201d. This study addresses the imbalance in the cultural sector and labels three main problems: 1. holding on to gender stereotypes in cultural context, 2. a relative invisibility of female artists (their absence from retrospectives, festivals, awards) and 3. male dominance in strategically important positions.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">These are the main issues of the<\/span> <a href=\"http:\/\/www.ledeuxiemeregard.com\/doc\/CHARTE%20DEUXIEME%20REGARD.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Charter<\/a>:<\/p>\n<p><span style=\"color: #4d4d4d;\">The signatories pledge to<\/span><\/p>\n<ul>\n<li><span style=\"color: #4d4d4d;\"><em>gender their statistics, in order to isolate\u00a0 today\u2019s problems and to participate in a collective consideration of the situation of the place of women in film today<\/em><\/span><\/li>\n<li><span style=\"color: #4d4d4d;\"><em>secure equal representation of men and women in their decision-making committees<\/em><\/span><\/li>\n<li><span style=\"color: #4d4d4d;\"><em>stimulate cinematographic creativity by encouraging projects that overturn the traditional representation of women and men<\/em><\/span><\/li>\n<li><span style=\"color: #4d4d4d;\"><em>sentizise their personel on equality\u00a0 issues, especially by fighting stereotypes\u00a0 <\/em><\/span><\/li>\n<li><span style=\"color: #4d4d4d;\"><em>secure equal payment for women and men.<\/em><\/span><\/li>\n<\/ul>\n<p><a href=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/enjeux.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1556\" src=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/enjeux.jpg\" alt=\"\" width=\"500\" height=\"345\" srcset=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/enjeux.jpg 500w, https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/enjeux-300x207.jpg 300w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">We can look forward to finding out who else from the French film industry will join this pledge, since Le Deuxi\u00e8me Regard will start to contact some 50 key corporations, organizations and festivals. And we can look forward to check the possible changes\u00a0 to the current situation in a year\u2019s time. How seriously will these commitments be taken? Will there be a change in the presentation of men and women in the cinema and on television, will there be more work for actresses and female directors?<\/span><br \/>\n<span style=\"color: #4d4d4d;\">In any case, this Chater is an extraordinary measure that exceeds merely demanding the fulfillment of a preset quota, it calls for an engaging preoccupation with stereotypes and clich\u00e9s, and on top this with addresses an unpleasant situation that is not being talked about in public a great deal with its call for \u201cequal payment\u201d.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">Do we need something like this Charter in Germany? Well, we will really only be able to answer that question after we have evaluated some reliable statistics. After we know how many men and how many women exist in the industry, how many are being trained and find work, what are the productions they work in, how they are being paid, which awards and grants they win and get, and after we get the break-downs on how the told stories are cast \u2013 then as a next step we can see if things are alright or if we need to talk about causes, consequences and possible countermeasures and start implementing the other four demands of the Charter.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\"><strong>The State promotes the actual Implementation of Equality<\/strong><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">This is a quote from the Grundgesetz, the German constitution (article 3 (2) GG). So based on this regional ministries and funding bodies could start by abiding to the standards of the Charter, and by inviting national film schools, public TV broadcasting corporations, publically funded festivals and film productions to pledge to the agreement as well. Other organisations from the industry (e.g. unions) and private broadcasting corporations could follow. Just as a theoretical thought.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">As far as Item 1 \u2013 the genderized statistics \u2013 is concerned, this would not be something new, but something that has been neglected quite a bit. Two detailed investigations are as old as 10 years:<\/span><br \/>\n<span style=\"color: #4d4d4d;\">In 2004 the Kulturrat (cultural council, a central association) published the survey \u201e<strong>Women in Art and Culture II, 1995 \u2013 2000<\/strong>\u201c. 10 of the 92 pages deal with the film industry.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">And in 2002 Angela Haardt and the Friends of the German Cinematheque (now: Arsenal, Institute for Film and Video Art) published a documentation of: \u201e<strong>So Far and No Further: Hearing on the Situation of Women in the Film Professions Directing, Cinematography, Sound and Composition<\/strong>\u201c.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">I have not been able so far to find a systematic analysis of the casts of German cinema and TV productions.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">The second item on the Charter \u2013 the composition of decision making bodies \u2013 is on the agenda in Germany already, there is a large number of committees and juries with female members, although their represantation is sometimes way below 50 %, and boards \u2013 also from unions etc. \u2013 are occasionally quite male dominated, so it does not come as a big surprise that they don\u2019t really push forward discussions on the situation of female filmmakers. And furthermore, an equal representation does not automatically solve all problems, as we can see from this French example:<\/span><br \/>\n<span style=\"color: #4d4d4d;\">The funding committees of the <strong>CNC<\/strong> (Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e) show a nearly balanced set-up by gender, nonetheless in 2012 only a quarter of the funded feature film debuts were directed by women, and this despite the fact that the output of male and female directors at La F\u00e9mis, the French State Film School for Image and Sound, is split evenly.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">This is something I also found when I look at two national film funding bodies and their decisions in 2012: the <strong>BKM<\/strong>, the Federal Appointee for Culture and Media, and the <strong>FFA<\/strong>,\u00a0 the German Federal Film Board. By the way, there is no national Minstry for Culture in the federal government since according to the German constitution, culture and education are regional responsibilities.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">So, BKM and FFA, both have balanced juries: the BKM\u2019s has 4 women and 5 men, and the FFA\u2019s 6 each. Last year the BKM funded 13 full lenth feature films with a total of 2,7 Mi. \u20ac, and the FFA granted funding for the productio of 49 films, with a total of 15,9 Mio. \u20ac (often as a loan). I could not find genderized statistics on how many directors had applied for funding.<\/span><\/p>\n<p><a href=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/foerderung_bkmffa_en.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-1535\" src=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/foerderung_bkmffa_en.jpg\" alt=\"\" width=\"385\" height=\"514\" srcset=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/foerderung_bkmffa_en.jpg 500w, https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/foerderung_bkmffa_en-225x300.jpg 225w\" sizes=\"auto, (max-width: 385px) 100vw, 385px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">Films by male directors received the bigger part of the funding, on top of this female directors on average received some 12 % less money per film.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">As I mentioned cultural issues are dealt with by the regions, so the film funding by the different L\u00e4nder (= regional states) plays a major part. The only summarized and genderized statistics on this are old, they are from the already mentioned survey \u201eWomen in Art and Culture II, 1995-2000\u201c, that unfortunately does not distinguish between documentaries and feature films.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">Here we see two distinct phenomena: number one, that the financial share for female directors is lower than their share of the number of funded films, for example from the regional funding in Hamburg films by female directors make up 28 % of the funded projects, but in total they only received 15 % of the \u20ac\u20ac. And number two: half the regional agencies only give 20 % or less of the total funding sums to films by female directors.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">I could not find any mention on the (genderized) composition of the juries, but it was stated that in 11 (of 16) L\u00e4nder (regions) the film funding institutions are led by men. Also again I could not find the numbers for the total amout of film projects that applied for funding, and even less genderized information on their directors.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">Again (as seen in the BKM-FFA-comparison) the share of women is bigger when the funding is smaller.\u00a0 In Bremen female directors received 45 % of 47.9000 \u20ac, in Schleswig-Holstein they received 37 % of 134.700 \u20ac &#8211; on the other hand in Bavaria only 9 % of 4,05 Mio. \u20ac and in North Rhine Westphalia only 15\u00a0 of 6,85 Mio. \u20ac went to projects with female directors.<\/span><\/p>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/laenderfrg_2000_en.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1536\" src=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/laenderfrg_2000_en.jpg\" alt=\"\" width=\"597\" height=\"374\" srcset=\"https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/laenderfrg_2000_en.jpg 597w, https:\/\/schspin.stieve.com\/wp-content\/uploads\/2013\/10\/laenderfrg_2000_en-300x188.jpg 300w\" sizes=\"auto, (max-width: 597px) 100vw, 597px\" \/><\/a><br \/>\n<span style=\"color: #4d4d4d;\">Prizes and awards can be considered as another type of film funding, regarding this in the mentioned survey we find this statement: \u201e<em>Film prizes given to women were very often small or without prize money, awards that were different, i.e. with prize money, were mostly awards for actresses<\/em>.\u201c<\/span><br \/>\n<span style=\"color: #4d4d4d;\">Well, all these findings are of course only snap-shots. And again loads of questions arise: what was the funding like in the years before and after the study? Are there changes? How many female and male directors actually work in the industry? What was the directors\u2019gender ration for all films that applied for funding, and indeed for all films that were produced? What\u2019s the distribution by age and gender among directors? Is the female\/male ratio the same for each age group or do we find a buldge of men in the older generations? How many women and men attend and finishi the film schools each year?<\/span><br \/>\n<span style=\"color: #4d4d4d;\">On this, the report (Women in Art and Cuture II, 1995-2000\u201c we read: &#8220;<em>Whereas the share of women was 44 % in 1998 as in 1995, it rose via 47 % (1999) to 53 % (2000<\/em>)\u201c. (this is for the field of study \u201ePerforming Art, Filma and Television, Dramatics\u201c), and the comittee on cultural affairs of the Berlin regional parliament stated on April 11 in 2005: \u201e<em>At all artistic university of Berlin (UdK, KHB, HfS and HfM) the share of female students was 58 \u2013 59 % in the autumn of 2002, 2003 and 2004<\/em>\u201c when the university courses started. Genderized statitstics on the students according to the branch of study for the national film universities were not given.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">So maybe female directors are actually underrepresented when they only account for one fifth of the 50 top grossing German films of 2012. Maybe their share in their profession is larger than the 24 % in their union and in the data base of crew united (please refer to<\/span> <a href=\"http:\/\/schspin.stieve.com\/2013\/06\/10\/kunst-kommerz\">\u201cGive me Art, Give me Money\u201d Female Filmmakers Part 1: Behind the\u00a0Camera<\/a> <span style=\"color: #4d4d4d;\">for further information). At this point we just don\u2019t know.<\/span><\/p>\n<p><span style=\"color: #4d4d4d;\"><strong>We don&#8217;t really talk about money<\/strong><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">Item 5 of the Paris Charter with it\u2019s call for equal pay actually breaks the unwritten law that no one speaks about wages in public. I don\u2019t know of any detailed evaluations of salaries in the film industry. In public conversations and of course in the tabloids you sometimes hear and read of the top earning people in the business. Behind closed doors you sometimes find out about unequal pay, of a slope not only when you compare typical male and female crew positions but also within one crew department, and of course in front of the camera. Agents talk about differently paid jobs for acting beginners depending on their gender, the same sometimes goes for leads in TV series, and we even find sometimes on an audition call-out for a new TV show.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">Yes of course, all these can be the exceptions to the equal pay rule. We will only know for certain when serious research is being done. In any case, it might be a good idea for professional organizations \/ unions to start or to once again engage in this topic.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">Last month negotiations were started on the renewal of the \u201eLabour Agreement for Film and TV Technicians\u201c (\u201eTarifvertrag f\u00fcr die auf Produktionsdauer besch\u00e4ftigten Film- und Fernsehschaffenden\u201c), the current is only valid until December 31. Maybe in the negociations the topic of possible gender-related wage discrimination will be brought up.<\/span><br \/>\n<span style=\"color: #4d4d4d;\">This is a chance that the acting union<\/span> <a href=\"http:\/\/www.bffs.de\/\" target=\"_blank\" rel=\"noopener noreferrer\">BFFS<\/a> <span style=\"color: #4d4d4d;\">unfortunaltey missed in their negociations with the producers, the<\/span> <a href=\"http:\/\/www.produzentenallianz.de\/\" target=\"_blank\" rel=\"noopener noreferrer\">Produzentenallianz<\/a> <span style=\"color: #4d4d4d;\">that was recently completed and that resulted in the first ever \u201eLabour Agreement for Actresses and Actors\u201c, which will come into effect on January 1, 2014.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">In the \u201ePreamble for Pay and Wages&#8221; (3.1.) we read:<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\"><em>The parties of this labour agreement are aware of the fact that actors and actresses are very distinct, individual artist personalities, that among other things are employed among other things based on their (&#8230;) <strong>gender<\/strong> (&#8230;) very differently and that have very different current values. (&#8230;)<\/em><\/span><br \/>\n<span style=\"color: #4d4d4d;\"><em> It is the believe of the parties of this labour agreement that the practice within the film and TV industry, to individually negociate the basic pay (&#8230;)\u00a0 shall remain unchanged.<\/em><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #4d4d4d;\">This describes the current situation, there are less parts for women, and they probably earn less. A statement along the lines of ,gender may not be a criterion for diverging role offers and different current values\u2019 unfortunately cannot be found in the agreement<\/span><br \/>\n<span style=\"color: #4d4d4d;\">In another three years this document will be renegociated. So until then there is enough time for a thorough survey of the wage reality of actresses and actors in Germany.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Nach der franz\u00f6sischen Revolution 1789-1799, der Erfindung des Cinematographen durch die Gebr\u00fcder Lumi\u00e8re 1890 und der neuen Frauenbewegung der 1970er Jahre ist Frankreich 2013 wieder einmal vorne dabei, wenn es um das Aufbrechen alter Strukturen und Innovationen in der Filmbranche &hellip; <a href=\"https:\/\/schspin.stieve.com\/gb\/2013\/10\/25\/revolution\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[697,699],"tags":[102,107,127,136,222,231,234,250,252,412,490,601],"class_list":["post-1528","post","type-post","status-publish","format-standard","hentry","category-filmpolitik-film-politics","category-international","tag-bffs","tag-bkm","tag-charta","tag-cnc","tag-ffa","tag-filmfoerderung","tag-filmhochschule","tag-frankreich","tag-frauenanteil","tag-le-deuxieme-regard","tag-politik","tag-tarifvertrag"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"gb","enabled_languages":["de","gb"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"gb":{"title":true,"content":true,"excerpt":false}}},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Vive la Nouvelle R\u00e9volution du Cin\u00e9ma! 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