{"id":3305,"date":"2014-12-18T23:53:19","date_gmt":"2014-12-18T22:53:19","guid":{"rendered":"http:\/\/schspin.wordpress.com\/?p=3305"},"modified":"2014-12-18T23:53:19","modified_gmt":"2014-12-18T22:53:19","slug":"vorstaende2","status":"publish","type":"post","link":"https:\/\/schspin.stieve.com\/gb\/2014\/12\/18\/vorstaende2\/","title":{"rendered":"Filmverb\u00e4nde und Gender Teil 2: Der BVR &#8211; Filmmakers&#8217; Unions and Gender: DIRECTING. Part 2 \/ 3"},"content":{"rendered":"<p><strong><em><a href=\"http:\/\/schspin.stieve.com\/2014\/12\/18\/vorstaende2\/#english\">English Version<\/a> follows German.<\/em><\/strong><\/p>\n<h1><span style=\"color:#336699;\"><strong>Filmverb\u00e4nde und Gender Teil 2: Der BVR <\/strong><\/span><\/h1>\n<h3><span style=\"color:#336699;\"><strong>ZWEITER TEIL: (DER BUNDESVERBAND) REGIE UND GENDER\/-POLITIK<\/strong><\/span><\/h3>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\">Heute geht es u.a. um den Regieverband BVR und den von ihm initiierten Diversit\u00e4tsbericht. Dies ist Teil 2 meiner Verbandsbetrachtungen, nachdem ich im ersten Teil <span style=\"color:#336699;\">(<a href=\"https:\/\/schspin.stieve.com\/2014\/11\/27\/vorstaende1\/\" target=\"_blank\" rel=\"noopener noreferrer\">Wer vertritt hier wen? Teil 1 Die Filmverb\u00e4nde<\/a>) die absolute und relative Repr\u00e4sentanz von Frauen und M\u00e4nnern in den Vorst\u00e4nden von 18 Filmverb\u00e4nden untersucht habe. <\/span><\/span><span style=\"color:#336699;\">Im abschlie\u00dfenden 3. Teil wird es um den Bundesverband Schauspiel BFFS gehen.<\/span><\/p>\n<h3><span style=\"color:#336699;\"><strong>BVR &#8211; Der Bundesverband Regie<\/strong><\/span><\/h3>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\">Der Bundesverband Regie (BVR), der 1975 gegr\u00fcndet wurde und seit 2011 offiziell &#8211; rein m\u00e4nnlich &#8211; <em>BVR Bundesverband der Film- und Fernsehregisseure in Deutschland e.V.<\/em> hei\u00dft, vertritt Film- und Fernsehregisseur\/innen, auch als Drehbuchautor\/innen und Produzent\/innen, sowie Regieassistent\/innen und Script\/Continuities &#8211; allerdings keine Theaterregisseur\/innen. Die teils sehr spannende Verbandsgeschichte ist \u00fcbrigens online (<a href=\"http:\/\/regieverband.de\/de_DE\/bvr\/history%20\" target=\"_blank\" rel=\"noopener noreferrer\">Chronik des BVR<\/a>) anschaulich zusammengefasst &#8211; vielleicht auch eine Anregung f\u00fcr manch andere Verbandswebseite?)<br \/>\nBVR-Vorstandswahlen finden alle zwei Jahre statt. Hier die Ergebnisse der letzten drei:<br \/>\n<\/span><a href=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/vorstand_bvr.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-3339 size-full\" src=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/vorstand_bvr.jpg\" alt=\"Vorstand_BVR\" width=\"400\" height=\"147\" \/><\/a><span style=\"color:#336699;\">Von der Mitgliederversammlung im Februar 2014 wurde au\u00dferdem mit \u00fcberw\u00e4ltigender Mehrheit die Erstellung eines <strong>Regie-Diversit\u00e4tsberichts<\/strong> beschlossen, der <strong>die Regievergabepraxis in den fiktionalen Primetime-Programmen &#8211; d.h. zwischen 18 und Uhr &#8211; von ARD und ZDF 2010 bis 2013 sowie die in diesen Jahren im Kino ausgewerteten Spiel- und Dokumentarfilme<\/strong> analysieren sollte.<\/span><br \/>\n<span style=\"color:#336699;\">Und im November wurde dieser umfangreiche <!--more  [Weiterlesen - Read On] --> und sehr informative Bericht anl\u00e4sslich der TAGE DER REGIE in M\u00fcnchen den BVR-Mitgliedern und der \u00d6ffentlichkeit vorgestellt. (Download des 94-seitigen PDF-Dokuments \u00fcber die BVR-Seite. <strong>Edit 2019<\/strong>: nicht mehr verf\u00fcgbar)<br \/>\n<\/span><\/p>\n<div id=\"attachment_3321\" style=\"width: 460px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/bvrdiversitc3a4tsbericht.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3321\" class=\"wp-image-3321\" src=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/bvrdiversitc3a4tsbericht.jpg?w=150\" alt=\"BVR-Diversit\u00e4tsbericht, erschienen November 2014\" width=\"450\" height=\"253\" \/><\/a><p id=\"caption-attachment-3321\" class=\"wp-caption-text\"><span style=\"color:#336699;\">BVR-Diversit\u00e4tsbericht, ver\u00f6ffentlicht im November 2014<\/span><\/p><\/div>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\">\u00a0\u201e<em>Viele Redaktionen und Produktionsfirmen sind sich aufgrund eines fehlenden Diversit\u00e4ts-Monitorings bisher nicht \u00fcber die niedrige Besch\u00e4ftigungsrate von Regisseurinnen in den eigenen Serien, Reihen und Fernsehfilmen bewusst<\/em>.\u201c hei\u00dft es in dem Bericht, der au\u00dferdem anregt, dass Sender und Filmf\u00f6rderanstalten zuk\u00fcnftig das Monitoring selber in die Hand nehmen.<\/span><br \/>\n<span style=\"color:#336699;\">Gute Idee! Mir f\u00e4llt dazu das ZDF und sein Gleichstellungsbericht ein, in dem nur die Situation der beim Sender Festangestellten beleuchtet wird, aber nicht die der Filmschaffenden vor und hinter der Kamera in den ZDF-Fernsehproduktionen (siehe <a href=\"https:\/\/schspin.stieve.com\/2014\/09\/26\/fernsehrat_pk\/\" target=\"_blank\" rel=\"noopener noreferrer\">Live dabei: Die ZDF-Fernsehrat-Pressekonferenz vom\u00a019.9.14<\/a>).<\/span><\/p>\n<p><span style=\"color:#336699;\">Zwei Zahlen, stellvertretend f\u00fcr viele:<\/span><\/p>\n<ul>\n<li><span style=\"color:#336699;\">Lediglich <strong><span style=\"color:#00ccff;\">11 %<\/span><\/strong> der Gesamtsendeminuten aller fiktionalen Primetime-Programme von 2010-13 wurden von Regisseurinnen inszeniert.<\/span><\/li>\n<li><span style=\"color:#336699;\"><span style=\"color:#ff00ff;\">Mehr als die H\u00e4lfte<\/span> der untersuchten Serien hatten in den vier Jahren keine Regisseurin, in keiner Folge.<\/span><\/li>\n<\/ul>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\">Wie kommt es eigentlich zu einer <strong>Regievergabe<\/strong>, ist das der ber\u00fchmte Zufall? Bewerben sich schlicht kaum Regisseurinnen? Wird auf Altbew\u00e4hrte, Bekannte zur\u00fcckgegriffen, so dass Neue gar nicht erst in den Regie-Kreislauf kommen (Vorabendserie, gro\u00dfe Serie, TV-Reihe, Fernsehfilm, Kino)? Ist etwas dran an den Ger\u00fcchten, dass manche Redaktionen grunds\u00e4tzlich keine Regisseurinnen engagieren, und dass manche Serien-Hauptdarsteller nicht bereit sind, mit Regisseurinnen zusammenzuarbeiten? <\/span><span style=\"color:#336699;\">Wie viele Vorurteile und Klischees verhindern eine ausgewogenere Regie? ,<em>Frauen k\u00f6nnen sich am Set nicht durchsetzen<\/em>\u201c oder \u201e<em>Frauen k\u00f6nnen Action und Krimis nicht inszenieren<\/em>\u2019 h\u00e4lt sich bei manchen ebenso hartn\u00e4ckig wie eine Abneigung gegen fu\u00dfballspielende oder fu\u00dfballspielkommentierende Frauen. Falsch ist beides.<\/span><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\"><strong>Der Diversit\u00e4tsbericht soll in Zukunft j\u00e4hrlich erscheinen, und n\u00e4chstes Mal zus\u00e4tzlich den ethnisch-kulturellen Hintergrund und die Altersstruktur der Regisseur\/innen betrachten<\/strong>. (Interessant w\u00e4ren nat\u00fcrlich auch Honorarauswertungen, aber an diese Angaben wird vermutlich nicht leicht zu kommen sein.)<br \/>\n<\/span><span style=\"color:#336699;\">Vielleicht kann au\u00dferdem der Frage von Regisseurin <strong><span style=\"color:#00ccff;\">Connie Walther<\/span> <\/strong>nachgegangen werden (siehe taz vom 27.11.14, <a href=\"http:\/\/www.taz.de\/1\/archiv\/digitaz\/artikel\/?ressort=me&amp;dig=2014%2F11%2F27%2Fa0160&amp;cHash=ca21d2423a1bdce2b7fb4a97f073cb17%20\" target=\"_blank\" rel=\"noopener noreferrer\">\u201eEs w\u00e4re ein Leichtes&#8221;<\/a>): \u201e<\/span><em><span style=\"color:#336699;\">Wie viele Regisseure verbergen sich eigentlich hinter den knapp 90 Prozent? Ich vermute: Es gibt ein, zwei Handvoll Regisseure, die arbeiten bis zum Umfallen und die anderen schauen komplett in die R\u00f6hre\u201c.<\/span> <\/em><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\">Nun ist es ja so, dass die Regie aller Fernsehproduktionen nicht von einer Stelle vergeben wird, Fernsehfilme haben unterschiedliche Produktionsfirmen und auch die einzelnen Folgen einer Reihe sind sozusagen autonom. Wie kann dann der Frauenanteil in der Regie konkret erh\u00f6ht werden?<\/span><br \/>\n<span style=\"color:#336699;\">Der Diversit\u00e4tsbericht und m\u00f6gliche Konsequenzen wie z.B. Vorschl\u00e4ge f\u00fcr eine andere Vergabepraxis von Regieauftr\u00e4gen und F\u00f6rdermitteln k\u00f6nnten auf der n\u00e4chsten BVR-Mitgliederversammlung diskutiert werden, denn sie hatte den Bericht ja initiiert. Wobei nat\u00fcrlich auch zu hoffen ist, dass beispielsweise die Sender, Produktionsfirmen, Rundfunk- und Fernsehr\u00e4te, und die anderen Filmschaffenden und ihre Verb\u00e4nde \u00fcber dieses Fragen sprechen und L\u00f6sungsvorschl\u00e4ge entwickeln, aber das ist ein Thema f\u00fcr einen anderen Tag.<\/span><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\">Einzelne Regisseur\/innen haben sich bereits in Interviews ge\u00e4u\u00dfert, und auch der BVR-Gesch\u00e4ftsf\u00fchrer <span style=\"color:#ff00ff;\">Dr. J\u00fcrgen Kasten<\/span>. In <a href=\"http:\/\/www.taz.de\/Kaum-Regisseurinnen-bei-ARD-und-ZDF\/!149158\/%20\" target=\"_blank\" rel=\"noopener noreferrer\">\u201eKaum Regisseurinnen bei ARD und ZDF &#8211; Das m\u00e4nnliche Treueprinzip\u201c<\/a> von Anne Fromm (taz, 10.11.14) wird er zitiert:<br \/>\n<\/span><em><span style=\"color:#336699;\">\u201eDer BVR wei\u00df noch nicht, welche politischen Forderungen er aus der Studie ableitet. Eine Quote lehnen die meisten Mitglieder aber ab. In einem k\u00fcnstlerischen Metier k\u00f6nne sie keine L\u00f6sung sein, meint BvR-Gesch\u00e4ftsf\u00fchrer J\u00fcrgen Kasten. \u201eWir m\u00fcssen vermeiden, dass ein Riss in den Verband kommt. Wir vertreten M\u00e4nner und Frauen gleicherma\u00dfen und d\u00fcrfen nicht mit der politischen Forderung \u2019Quote\u2018 die Besch\u00e4ftigungssituation der M\u00e4nner gef\u00e4hrden.\u201c<br \/>\n<\/span><\/em><span style=\"color:#336699;\">Das mit der Quote ist so eine Sache, denn sie wurde weder auf der Mitgliederversammlung 2014, die den Diversit\u00e4tsbericht beschloss, diskutiert noch hat es seitdem eine Umfrage dazu gegeben. Und wie geht ,mehr Jobs f\u00fcr Frauen ohne den M\u00e4nnern welche wegzunehmen\u2019? Aber vielleicht ist mit \u201e<em>gef\u00e4hrden<\/em>\u201c ja nur gemeint, dass es zu keiner Umkehrung der Verh\u00e4ltnisse kommen soll, also nicht zu 89 % Regisseurinnen- und 11 % Regisseure-Sendeminuten, sondern zu mehr Chancengleichheit und weniger Einseitigkeit?<br \/>\nEine andere M\u00f6glichkeit w\u00e4re &#8211; rein theoretisch! &#8211; einfach, mehr Filme und Serien zu produzieren (die dann anstelle der ewigen Wiederholungen und internationaler Importe \/ Wiederholungen gesendet w\u00fcrden), dann st\u00fcnden logischerweise mehr Regieposten zur Verf\u00fcgung. Das w\u00fcrde teuer. Aber vielleicht lie\u00dfen sich einige Produktionen finanzieren, wenn z.B. weniger Geld f\u00fcr \u00dcbertragungsrechte von (M\u00e4nner-)Sportereignissen ausgegeben w\u00fcrde (z.B. die 50+ Mio. j\u00e4hrich f\u00fcr die M\u00e4nnerfu\u00dfball-Championsleague &#8211; davon lie\u00dfen sich vierzig 90-Min\u00fcter produzieren), und die Nachfolgesendung von WETTEN, DASS wird vielleicht auch deutlich billiger.<\/span><br \/>\n<span style=\"color:#336699;\"><strong>Wenn aber nicht mehr produziert wird, bedeuten mehr Regiesessel f\u00fcr Frauen zwangsl\u00e4ufig: weniger f\u00fcr M\u00e4nner<\/strong>. Ist klar.<\/span><\/p>\n<h3 style=\"text-align:justify;\"><span style=\"color:#336699;\">Pro Quote Regie<\/span><\/h3>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\">Das Stichwort Quote ist bereits gefallen, deshalb ein kurzer Exkurs zu der 2014 von Regisseurinnen gegr\u00fcndete Initiative <a href=\"http:\/\/www.proquote-regie.de\/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Quote Regie<\/a>, die ihre knappere Analyse der deutschen Regiesituation in einen internationalen Kontext stellt und klare Forderungen aufstellt (<a href=\"http:\/\/www.proquote-regie.de\/pdf\/%20\" target=\"_blank\" rel=\"noopener noreferrer\">hier der komplette Aufruf als PDF<\/a>):<\/span><\/p>\n<ul>\n<li style=\"text-align:justify;\"><em><span style=\"color:#336699;\">eine Studie zu Werdegang und beruflicher Situation von Regisseurinnen, sowie zur Vergabepraxis von Sendern und F\u00f6rdergremien<\/span><\/em><\/li>\n<li><em><span style=\"color:#336699;\">eine parit\u00e4tische Besetzung der Entscheidungsgremien aller Filmf\u00f6rderungen<\/span><\/em><\/li>\n<li><em><span style=\"color:#336699;\">eine Quote f\u00fcr die Vergabe von Regie-auftr\u00e4gen im Fernseh- und Filmbereich:<\/span><\/em>\n<ul>\n<li><em><span style=\"color:#336699;\">30% Frauenquote in 3 Jahren,<\/span><\/em><\/li>\n<li><em><span style=\"color:#336699;\">42% in 5 Jahren und<\/span><\/em><\/li>\n<li><span style=\"color:#336699;\"><em>50% in 10 Jahren<\/em>.<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p style=\"text-align:justify;\"><a href=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/proquote_regie.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-3322\" src=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/proquote_regie.jpg?w=300\" alt=\"proquote_regie\" width=\"400\" height=\"195\" \/><\/a><span style=\"color:#336699;\"><strong>Die erste Forderung ist besonders wichtig, denn im Augenblick kann \u00fcber die Gr\u00fcnde f\u00fcr den Status Quo nur spekuliert werden<\/strong>. <span style=\"color:#00ccff;\"><strong>42 %<\/strong><\/span> Frauenanteil unter den Absolvierenden an Filmhochschulen im Regiefach, aber nur <span style=\"color:#00ccff;\"><strong>23 %<\/strong> <\/span>aktive Regisseurinnen in der crew united Datenbank und nur <strong><span style=\"color:#00ccff;\">11 %<\/span> <\/strong>Frauenanteil an den gesendeten Primetime-Fernsehminuten \u2013 wie kommt das? Kann es an der Qualit\u00e4t liegen (\u201e<em>Regisseure sind einfach besser<\/em>!\u201c), wenn fast genauso viele Frauen wie M\u00e4nner an Filmhochschulen angenommen werden und diese erfolgreich abschlie\u00dfen? Auch die Vermutung \u201e<em>Die kriegen dann Kinder und wollen nicht mehr so viel oder gar nicht mehr arbeiten<\/em>\u201c steht nur so im Raum, ohne Nachweis.<br \/>\n<strong>Nat\u00fcrlich sind Filmproduktionen alles andere als familienfreundlich<\/strong> (<a href=\"https:\/\/schspin.stieve.com\/2014\/04\/14\/kinokinderkarriere\/%20\" target=\"_blank\" rel=\"noopener noreferrer\">Kino, Kinder, Karriere?<\/a>), aber das sind in Deutschland die wenigsten Branchen und eine Altersanalyse aller Besch\u00e4ftigten und Arbeitssuchenden zeigt keine Unterschiede im Verlauf der Alterskurve bei arbeitenden bzw. arbeitssuchenden Frauen und M\u00e4nnern (siehe <a href=\"https:\/\/schspin.stieve.com\/2013\/02\/27\/berufstatige-frauen\/%20\" target=\"_blank\" rel=\"noopener noreferrer\">Von Schauspielerinnen und anderen berufst\u00e4tigen Frauen<\/a>).<\/span><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#336699;\"><strong>Den Aufruf von PQR<\/strong> haben bislang \u00fcber 250 Regisseurinnen unterschrieben, und (leider erst) rund 10 Regisseure mit ihrer Unterschrift unterst\u00fctzt, darunter <span style=\"color:#ff00ff;\">Edgar Reitz<\/span>, <span style=\"color:#ff00ff;\">Anno Saul<\/span> und <span style=\"color:#ff00ff;\">Volker Schl\u00f6ndorff<\/span>. Vielleicht bezieht sich die Aussage von BVR-Gesch\u00e4ftsf\u00fchrer Kasten auf diesen Mangel an Regisseursunterschriften?<\/span><br \/>\n<span style=\"color:#336699;\">Auch eine breite Unterst\u00fctzung durch Filmschaffende anderer Gewerke, geschweige denn durch Vorst\u00e4nde anderer Verb\u00e4nde, blieb bislang aus. Lediglich aus dem BFFS Vorstand gibt es eine Unterschrift (<strong><span style=\"color:#00ccff;\">Julia Beerhold<\/span><\/strong>, einzige Frau im 7-Leute-Vorstand). Warum? <\/span><br \/>\n<span style=\"color:#336699;\">Quote ist ja leider f\u00fcr viele ein Reizwort \u2013 das zeigen aktuell die Diskussionen um die Einf\u00fchrung der Genderquote f\u00fcr Aufsichtsr\u00e4te der Top DAX Unternehmen. Aber wie im letzten Blogtext bereits angemerkt, es geht um Teilhabe, um relative Repr\u00e4sentanz, um Vielfalt und besseres Fernsehprogramm \u2013 und das sind weder Kampfbegriffe noch weibliche Provokation. <strong>Und wenn jemand eine bessere Idee als die Kr\u00fccke Quote hat, wie der eklatanten Benachteiligung von Regisseurinnen im \u00f6ffentlich-rechtlichen Fernsehen begegnet werden kann, Vorschl\u00e4ge sind bestimmt jederzeit willkommen.<\/strong><br \/>\n<\/span><\/p>\n<p><a name=\"english\"><\/a><span style=\"color:#4d4d4d;\"><b>English Version<\/b><\/span><\/p>\n<h1><span style=\"color:#4d4d4d;\"><strong>Filmmakers&#8217; Unions and Gender: DIRECTING. Part 2 \/ 3<\/strong><\/span><\/h1>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">Today\u2019s text is about the German Directors\u2019 Guild BVR and the first diversity report its members initiated earlier this year. This is part 2 of my research on filmmakers\u2019 unions. In part 1 (<a href=\"https:\/\/schspin.stieve.com\/2014\/11\/27\/vorstaende1\/#english%20\" target=\"_blank\" rel=\"noopener noreferrer\">18 Filmmakers\u2019 Associations: Who is representing the Members?)<\/a> I evaluated the absolute and relative representation of women and men in the boards of 18 German filmmakers\u2019 unions. Part three, the final analysis on filmmakers unions for the moment, will be on the Acting Guild BFFS.<\/span><\/p>\n<h3><span style=\"color:#4d4d4d;\"><strong>The German Directors&#8217; Guild BVR<br \/>\n<\/strong><\/span><\/h3>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">The directors&#8217; guild<\/span> <a href=\"http:\/\/regieverband.de\/de_DE\/bvr%20\" target=\"_blank\" rel=\"noopener noreferrer\">Bundesverband Regie<\/a> <span style=\"color:#4d4d4d;\">(BVR), founded in 1975 represents film and TV directors (132 women, 439 men), also when they are working as script writers or producers, as well as directing assistants and script \/ continuity people &#8211; but does not represent theatre directors. It is a professional as well as an artists\u2019 union and is dealing with \u201cartistic, social, legal and economic interests&#8221; of its members. The history of this union which is quite interesting to read is summarized on the website of the BVR &#8211; unfortunately only in German (<a href=\"http:\/\/regieverband.de\/de_DE\/bvr\/history%20\" target=\"_blank\" rel=\"noopener noreferrer\">Chronik des BVR<\/a>).<\/span><br \/>\n<span style=\"color:#4d4d4d;\">The board of directors \/ chairpeople are elected by the general assembly every two years. This table shows the results of the last three elections, a rising share of involved female directors is apparent:<\/span><a href=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/vorstand_bvr_en.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-3367 size-full\" src=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/vorstand_bvr_en.jpg\" alt=\"Vorstand_BVR_en\" width=\"400\" height=\"147\" \/><\/a><span style=\"color:#4d4d4d;\">In February 2014 the annual general assembly took place in Berlin. By he way, quite a few filmmakers\u2019 unions hold their annual meetings at the time of the Berlin film festival Berlinale, since the industry which is usually spread across the country with some 4 or more main centres: Hamburg, Berlin, Cologne, Munich and maybe Frankfurt and Leipzig) gathers in one place.<\/span><br \/>\n<span style=\"color:#4d4d4d;\">This assembly, apart from electing the new chair, by an overwhelming majority decided to iniatiate the <strong>first \u201cDirecting Diversity Report\u201d<\/strong> (Regie-Diversit\u00e4tsbericht), to analyse <strong>the distribution of male and female directors in fictional prime time television (i.e. between 6 pm and midnight) of ARD and ZDF (the two main channels of public TV) between 2010 and 2013 as well as the feature and documentary films for cinema<\/strong> in that time.<\/span><br \/>\n<span style=\"color:#4d4d4d;\">9 months later, in November 2014 this extensive and very detailed report was introduced to the members of the BVR and the public in Munich at the meeting \u201cTage der Regie \/ Days of Directing\u201d. <a href=\"http:\/\/regieverband.de\/de_DE\/magazine\/203349\/index\" target=\"_blank\" rel=\"noopener noreferrer\">The 94-page document <\/a>&#8211; in German, but the figures are internationally understandable &#8211; can be downloaded from the website of the BVR.<\/span><\/p>\n<div id=\"attachment_3321\" style=\"width: 460px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/bvrdiversitc3a4tsbericht.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3321\" class=\"wp-image-3321\" src=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/bvrdiversitc3a4tsbericht.jpg?w=150\" alt=\"BVR-Diversity Report, published in November 2014\" width=\"450\" height=\"253\" \/><\/a><p id=\"caption-attachment-3321\" class=\"wp-caption-text\">BVR-Diversity Report, published in November 2014<\/p><\/div>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">&#8220;<em>Up to now many commissioning editors and production companies have not been aware of the low rate of female directors\u2019 employment in their own series and TV movies due to a lack of diversity monitoring<\/em>\u201d we read in the report that also wants to get the broadcasting corporations and funding bodies to take the monitoring into their own hands in the future.<\/span><br \/>\n<span style=\"color:#4d4d4d;\">As a quite alarming overall result we see that women are strongly underrepresented in the directing sector of most TV formats. As little as <strong><span style=\"color:#00ccff;\">11 %<\/span><\/strong> of all minutes that were broadcast between 2010 &#8211; 13 in fictional prime time programmes were directed by women.<\/span><br \/>\n<span style=\"color:#4d4d4d;\">More than half the investigated TV series did not have a single episode directed by a woman in those four years. As to the rest of the series, there we also find a very strong male majority in directing.<\/span><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">By the way, <strong>how are directing positions assigned<\/strong>? Is there an element of coincidence involved? Don\u2019t female directors send in their applications for TV work? Are well-tried directors the first choice so that newcomers don\u2019t get a chance to get into the directing cycle (pre prime-time series, bigger series, TV movies, feature films)? What about those rumours that some commissioning editors generally don\u2019t hire female directors, and that some leading actors of TV series are generally not willing to work under a female director? How many prejudices and cliches preven a more balanced distribution of male and female directors? \u2019Women are not able to put their foot down on a set\u2019 and \u2018Women are not able to direct crime stories and action films\u2019 come along the same lines as a dislike for female footballers and female football commentators. And just as wrong.<\/span><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">In future years the diversity report is to be published annually, the next time also <strong>including a survey on ethnical-cultural background and age distribution of the directors<\/strong>. (An analysis of the wages would also be interesting of course, but I guess this information would be harder to come by.)<\/span><br \/>\n<span style=\"color:#4d4d4d;\">But another aspect raised by German female director <strong><span style=\"color:#00ccff;\">Connie Walther<\/span> <\/strong>could be well worth examining (newspaper interview from Nov. 27<\/span> <a href=\"http:\/\/www.taz.de\/1\/archiv\/digitaz\/artikel\/?ressort=me&amp;dig=2014%2F11%2F27%2Fa0160&amp;cHash=ca21d2423a1bdce2b7fb4a97f073cb17%20\">\u201eEs w\u00e4re ein Leichtes&#8221;<\/a><span style=\"color:#4d4d4d;\">): \u201e<em>How many different male directors are hidden behind the ,nearly 90 %\u2019-figure ? I would assume that it\u2019s only a handful or two who work until they drop while all others are left out<\/em>.\u201d<\/span><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">As far as TV productions are concerned, it is not that all decisions concerning the directors are made by one person or one small group. TV movies are produced by a number of production companies, and also a series of TV movies (we call them \u201cReihe\u201d, i.e. row) are as a rule organized autonomously. So how can the share of female directors be increased?<\/span><br \/>\n<span style=\"color:#4d4d4d;\">Possible consequences of the diversity report like e.g. ideas and propositions for another method of attributing directors to films and series and of alloting film fundings could be discussed at the next general assembly of the BVR since they are the ones who initiated the report. While I am hoping at the same time that the broadcasting corporations, production companies, the broadcasting commissions and other filmmakers and their unions will talk about this and offer solutions as well. But this is a topic for another day.<\/span><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">Some directors have already commented on the report in interview, and also the secretary of the BVR directors\u2019 union, <span style=\"color:#ff00ff;\">Dr. J\u00fcrgen Kasten<\/span>, has been quoted in a German article titled (translated) <a href=\"http:\/\/www.taz.de\/Kaum-Regisseurinnen-bei-ARD-und-ZDF\/!149158\/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly any Female Directors in ARD and ZDF Productions &#8211; the Male Principle of Fidelity<\/a> (tageszeitung Nov 10, 14):<\/span><br \/>\n<em><span style=\"color:#4d4d4d;\">\u201cThe BVR does not know yet which political demands to derive from the study. Most members reject a compulsory quota. It could not be a solution in an artistic environment\u201d argues BVR secretary J\u00fcrgen Kasten. \u201cWe have to avoid a rift through our organisation. We represent both men and women and must not endager the men\u2019s employment situation by propagating the political demand ,quota\u2019\u201d.<\/span><\/em><br \/>\n<span style=\"color:#4d4d4d;\">I don\u2019t know why he says that most members reject the quota since it was neither discussed at the last general assembly in February nor has there been a poll on it since. And what about this ,create more jobs for women without taking any from the men\u2019 idea? But maybe when he was speaking of \u2019endangering the men\u2019s employment situation\u2019 he wanted to point out that he is against a reversal of the current situation, i.e. does not want men to only get 11 % of the broadcast minutes, which is the female share at the moment. Maybe he just wants to say that he is in favour of equal opportunites and against onesidedness?<\/span><br \/>\n<span style=\"color:#4d4d4d;\">So one &#8211; theoretical &#8211; possibility would be to simply produce more films and series, and broadcast them instead of repeats and international imports. That would mean a larger number of directing positions available. That of course would be a rather expensive solution of the problem. But maybe if the broadcasters spent less money on buying TV rights for male sports events (like men\u2019s football champions league which allegedly cost more than 50 million \u20ac annually) there would be more money for fictional TV. Just saying.<\/span><br \/>\n<span style=\"color:#4d4d4d;\">If there is to be no increase in fictional programmes than of course <strong>hiring more female directors inevitably means hiring less males<\/strong>, naturally.<\/span><\/p>\n<h3 style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">Pro Quote Regie<\/span><\/h3>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\">Having mentioned ,quota\u2019 already let\u2019s briefly mention the organization <a href=\"www.proquote-regie.de%20\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Quote Regie<\/a> (Pro Quota (for) Directing) that was founded by German female directors in 2014. They put their shorter analysis of the German directing situation into an international context and they have drawn up explicits demands:<\/span><\/p>\n<ul>\n<li><span style=\"color:#4d4d4d;\"><em>A study on the career progression and professional situation of female directors as well as to the alloting praxis of broadcasting corporations and funding bodies.<\/em><\/span><\/li>\n<li><span style=\"color:#4d4d4d;\"><em>Equal representation of men and women in their decision-making committees of film funding bodies<\/em><\/span><\/li>\n<li><span style=\"color:#4d4d4d;\"><em>A quota for the allocation of directing positions for TV and feature films:<\/em><\/span>\n<ul>\n<li><span style=\"color:#4d4d4d;\"><em>30% female quota within 3 years,<\/em><\/span><\/li>\n<li><span style=\"color:#4d4d4d;\"><em>42% within 5 years and<\/em><\/span><\/li>\n<li><span style=\"color:#4d4d4d;\"><em>50% within 10 years<\/em>.<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p style=\"text-align:justify;\"><a href=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/proquote_regie.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-3322\" src=\"https:\/\/schspin.files.wordpress.com\/2014\/12\/proquote_regie.jpg?w=150\" alt=\"proquote_regie\" width=\"400\" height=\"195\" \/><\/a><span style=\"color:#4d4d4d;\">The first demand is especially important as <strong>for now it is only possible to speculate about the reasons for the current situation of female directors<\/strong>. A share of <span style=\"color:#00ccff;\"><strong>42 %<\/strong><\/span> among the film school (directing) graduates, but only<strong><span style=\"color:#00ccff;\"> 23 %<\/span> <\/strong>female directors in the crew united database and only <strong><span style=\"color:#00ccff;\">11 %<\/span><\/strong> female share of all fictional prime time minutes between 2010 and 2013 (according to the diversity report) &#8211; how can this be explained?<\/span><br \/>\n<span style=\"color:#4d4d4d;\">Is this a question of quality (\u201c<em>men simply are the better directors!<\/em>\u201d) if nearly the same number of women and men are accepted at the film schools and graduate successfully? There is also no evidence for assuming that \u201c<em>all female directors have children and don\u2019t want to work so much any more or even quit completely<\/em>\u201d. Of course, <strong>the film industry is not really a family friendly work place<\/strong> (refer to all\u00a0\u00a0 (<a href=\"http:\/\/schspin.stieve.com\/2014\/04\/14\/kinokinderkarriere\/#english%20\" target=\"_blank\" rel=\"noopener noreferrer\">Cinema, Career, Children<\/a>), but unfortunately this is the case for most jobs in Germany, and the age statistics for employed and unemployed in Germany don\u2019t show any significant changes between women and men (refer to <a href=\"https:\/\/schspin.stieve.com\/2013\/02\/27\/berufstatige-frauen\/#english%20\" target=\"_blank\" rel=\"noopener noreferrer\">On Actresses and other Working Women<\/a>).<\/span><\/p>\n<p style=\"text-align:justify;\"><span style=\"color:#4d4d4d;\"><strong>The manifesto of Pro Quote Regie<\/strong> has been signed by more than 250 female directors so far, and has been supported by (unfortunately only) 10 male directors for the moment, among them Edgar Reitz, Anno Saul and Volker Schl\u00f6ndorff. Maybe this fact is what the BVR secretary had in mind when he made his comments? Also on the matter of a wider support by filmmakers from other divisions and unions, well, that is lacking as well, much less by their board directors. So far only one has signed, Julia Beerhold, the only woman on the 7 persons chair of the acting guild BFFS. Why?<\/span><br \/>\n<span style=\"color:#4d4d4d;\">For many people in Germany the concept or even just the word Frauenquote \/ female quota is like a red rag to a bull. This is something we could see just recently when the genderized quota for the Top 108 stock index companies was decided by the cabinet of the German government. But as I\u2019ve written before, this is all about participation, relative representation, diversity and better television &#8211; and these are neither fighting words nor female provocation. <strong>And if someone has a better idea for tackling the blatant disadvantage of female directors in public television than calling for this crutch called quota, &#8211; well, I guess good suggestions are always welcome.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>English Version follows German. Filmverb\u00e4nde und Gender Teil 2: Der BVR ZWEITER TEIL: (DER BUNDESVERBAND) REGIE UND GENDER\/-POLITIK Heute geht es u.a. um den Regieverband BVR und den von ihm initiierten Diversit\u00e4tsbericht. Dies ist Teil 2 meiner Verbandsbetrachtungen, nachdem ich &hellip; <a href=\"https:\/\/schspin.stieve.com\/gb\/2014\/12\/18\/vorstaende2\/\">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":[3,10],"tags":[61,116,141,175,252,256,359,452,498,517,686],"class_list":["post-3305","post","type-post","status-publish","format-standard","hentry","category-analyse-analysis","category-vermischtes-miscellaneous","tag-ard","tag-bvr","tag-connie-walther","tag-diversitaet","tag-frauenanteil","tag-frauenquote","tag-juergen-kasten","tag-mitglieder","tag-pro-quote-regie","tag-regie","tag-zdf"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"gb","enabled_languages":["de","gb"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"gb":{"title":false,"content":false,"excerpt":false}}},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Filmverb\u00e4nde und Gender Teil 2: Der BVR - Filmmakers&#039; Unions and Gender: DIRECTING. 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