{"id":623,"date":"2013-02-19T00:48:09","date_gmt":"2013-02-18T23:48:09","guid":{"rendered":"http:\/\/schspin.wordpress.com\/?p=623"},"modified":"2013-02-19T00:48:09","modified_gmt":"2013-02-18T23:48:09","slug":"berlinale-2013","status":"publish","type":"post","link":"https:\/\/schspin.stieve.com\/gb\/2013\/02\/19\/berlinale-2013\/","title":{"rendered":"Berlinale 2013: Die B\u00e4ren und die Frauen – The Bears and the Women"},"content":{"rendered":"

English Version<\/a> follows German.<\/em><\/strong><\/p>\n

Die diesj\u00e4hrige 63. Berlinale ging am 17. Februar zuende. Wie so viele andere habe ich leider einen Gro\u00dfteil des Festivals verpasst, da mich der umgehende Virus erwischte. Immerhin, eine sehr tolle Veranstaltung am Freitag 15. habe ich trotzdem besucht: YOU CANNOT BE SERIOUS – organisiert unter anderem vom Frauenfilmfestival Dortmund K\u00f6ln. In der schicken Landesvertretung von NRW fand die Veranstaltung statt, die mit einigen flotten, h\u00f6chst informativen Kurzvortr\u00e4gen begann und dann zu einer <\/span>gut besetzten und (auch f\u00fcr Grippekranke) sehr mitrei\u00dfenden Podiumsdiskussion \u00fcber den Status von Frauen in der Filmbranche wurde, mit Vertreterinnen internationaler Frauenfilmorganisationen, Pressevertreter\/innen und Filmschaffenden aus den unterschiedlichsten Bereichen. <\/span>\""You<\/a>\u201cYou cannot be serious\u201d \u2013 Podiumsdiskussion Women\u2019s Film Festival Network. Berlinale 15.2.2013. Foto: Birgit Kleber.<\/span><\/em><\/p>\n

Wie schlecht es um die Arbeitssituation von Filmemacherinnen in mittleren und gr\u00f6\u00dferen Filmprojekten bestellt ist, war ja leider nicht wirklich neu, allerdings stimmte der Blick in verschiedene L\u00e4nder teilweise zuversichtlich. Wie auch in anderen gesellschaftlichen Bereichen gilt auch hier: mehr von Skandinavien lernen und \u00fcbernehmen w\u00e4re nicht verkehrt. Desolat hingegen der Blick auf die US-Filmwirtschaft, die F\u00f6rderquoten von Spielfilmen, die von einer Frau produziert bzw. inszeniert sind, hinken weit hiter dem europ\u00e4ischen Werten hinterher. Informationen zur Veranstaltung und nat\u00fcrlch besonders zu den f\u00fcr die Zukunft vorgeschlagenen Schritten gibt es auf der Seite vom IFFF, u.a. hier (LINK<\/em><\/a>).
\nGenaugenommen wollte ich das Event heute auch nur als Anlass nehmen, noch einmal die diesj\u00e4hrige Berlinale statistisch zu betrachten. 19 Filme standen ja im internationalen Wettbewerb, darunter 3 Arbeiten von Regisseurinnen, und in der \u00fcberarbeiteten Tabelle C sind noch weitere Gewerke benannt: Drehbuch, Produzent\/in, Kamera, Ton und Schnitt. Auch hier ist das Bild sehr m\u00e4nnerl\u00e4stig.
\n\"Berlinale_Frauenant_Tab\"<\/a><\/span>Grafik A (auf Grundlage der Wettbewerbs-Tabelle) zeigt, dass der Frauenanteil in allen sechs Bereichen nicht ansatzweise die 50 %-Marke erreicht. Die h\u00f6chsten Werte gibt es noch – wie vielleicht auch zu erwarten – bei den Produzent\/innen<\/span> <\/strong>und im Schnitt<\/span><\/strong>, allerdings sind 26 %<\/strong><\/span> dort auch nicht wirklich viel. Keiner der 19 Wettbewerbsfilme hatte eine Kamerafrau<\/span><\/strong>, auch der Wert im Tonbereich ist eher vernachl\u00e4ssigbar. Die Regie- und Drehbuchstatistiken hatte ich ja zu Beginn der Berlinale bereits angesprochen, neben der Verteilung der Hauptrollen (LINK<\/em><\/a>).
\nGrafik B (6-Gewerke-Check<\/strong>) zeigt die 19 Filme einzeln, d.h. die Summe der in den sechs Bereichen T\u00e4tigen, und davon dann wieder den prozentualen Frauenanteil. Tats\u00e4chlich gibt es vier Wettbewerbsfilme, die hier ganz ohne Frauen auf den hauptverantwortlichen Positionen gearbeitet haben (es k\u00f6nnte aber z.B. eine Kamera- oder Tonassistentin gegeben haben). Ein Film kommt aus Russland (Dolgaya schastlivaya zhizn \/ A Long and Happy Life<\/em>), einer aus dem Iran (Pard\u00e9 \/ Closed Curtain<\/em>), und zwei aus den USA (The necessary Death of Charlie Countryman<\/em> und Promised Land<\/em>). Letzteres wird nat\u00fcrlich alle, die auf der o.g. IFFF-Veranstaltung waren, nicht wirklich erstaunen.<\/span>\"Berlinale_Frauenant\"<\/a>Um aber positiv zu enden:\u00a0 die beiden Filme mit den hohen Werten (44 bzw. 50 %) sind “Layla Fourie” (Regie Pia Marais<\/strong>, eine deutsch-s\u00fcdafrikanisch-franz\u00f6sisch-niederl\u00e4ndische Ko-Produktion) und der polnische Beitrag\u00a0 “W imie…” (Regie Malgoska Szumowska<\/strong>), also beides Filme von Regisseurinnen.
\nDie Statistiken der 19 Filme lassen sich nat\u00fcrlich nicht verallgemeinern, sie stehen nicht f\u00fcr alle Filme ihres Jahrgangs oder ihres Herkunftlandes, aber sie zeigen einen weitverbreiteten Trend, der nicht v\u00f6llig ignoriert oder zum Einzelfall erkl\u00e4rt werden kann. Auch wenn in der Berlinale-Jury 4 Frauen und 3 M\u00e4nner sa\u00dfen, und es mehr Filme von Frauen als beim letzten Cannes-Festival gab – von einer angemessenen Vertretung kann nicht die Rede sein.<\/span><\/p>\n

\u00a0Zum Schluss noch die Frage der B\u00e4ren – wer hat sie gewonnen? <\/span>
\n\u00a0Nicht \u00fcberraschend ist, dass es zumindest einen Silbernen B\u00e4ren f\u00fcr eine Frau gab, und zwar den f\u00fcr die beste Schauspielerin. Dieser ging an Paulina Garc\u00eda<\/strong> aus Chile, die die Titelfigur Gloria in dem chilenischen Wettbewerbsbeitrag von Sebastian Lelio spielte: eine 58-j\u00e4hrige Frau, die zu neuer Lebenslust erwacht. (Notiz am Rande: Paulina Garc\u00eda war zur Drehzeit 51 Jahre alt, also schon ein St\u00fcck j\u00fcnger als die Figur, die sie spielte. Aber das ist ein anderes Thema).
\nEtwas \u00fcberraschender war nat\u00fcrlich schon, dass eine andere Filmemacherin den Goldenen B\u00e4ren entgegen nehmen konnte,\u00a0 gemeinsam mit ihrem Kollegen Calin Peter Netzer<\/strong>, und zwar die rum\u00e4nische Produzentin Ada Solomon<\/strong>: ihr Film “Pozitia Copilului” gewann den Preis f\u00fcr den Besten Film.
\nAnsonsten sind die B\u00e4ren zwei Tage nach der Verk\u00fcndigung nat\u00fcrlich keine gro\u00dfe Neuigkeit mehr, hier der (LINK<\/em><\/a>) zur entsprechenden\u00a0 Berlinale-Seite.
\n<\/span><\/p>\n

<\/a>English Version<\/b><\/em>
\nBerlinale 2013: The Bears and the Women<\/strong><\/p>\n

This year’s 63rd Berlinale endet on February 17. Unfortunately like so many others I missed a great part of the festival because I caught the virus that was being spread and spent the longest time in bed. But at least I managed to go to a really super eent on Friday 15th: YOU CANNOT BE SERIOUS – organized by International Women’s Film Festival Dortmund Cologne and others. Being held in the lovely representation of the Land Northrine Westphalia the event started with several quick and very inspiring lectures and went on to a well cast panel discussion on the status of women filmmakers in present times, with representaties from international women film organizations, media rpresentatives and filmmakers from all different areas.<\/span>\"Francine<\/a>Francine Raveney (EWA), Silke J. R\u00e4biger (IFFF), Tove Torbi\u00f6rsson (Swedish Film Inst.), Melissa Silverstein (Athena Film Festival), Kate Kinnimont (WIFT UK), Mariel Maci\u00e1 (MICA), Britta Lengowski (Film und Medienstiftung NRW). Photo: Birgit Kleber<\/em><\/span><\/p>\n

Hearing about bad working situation for female filmmakers was not not really a big surprise, but on the other hand it was uplifting to learn of developments in some other countries. Not for the first time Scandinavian countries turn out to be well ahead in measures already taken to boost female filmmakers. At the same time a much worse situation can be found in the US film industry, the quota of feature films made by women that get funded is much smaller than European numbers presented. More information on the event, especially concerning discussed and propagated strategies, can bei found on the website of the IFFF (LINK<\/em><\/a>).
\nInstead of going further into a review of last week’s event let<\/span>‘s look at the Berlinale once more, statistically. 19 films were entered in the international competition, only directed by women, and in the revised version of table C (see above, in the german text) some additional lines of work have been singled out: scripts, producers, cinematography, sound, editing.\u00a0 As is apparent in all these areas the picture is strongly male dominated.
\n\"Berlinale_Frauenant_Tab\"<\/a>Figure A (on the basis of the just mentioned table) shows that the share of women in the six crafts gets nowhere near the 50 %-mark. Highest values are reached by female producers<\/span> <\/strong>and editors<\/strong><\/span>, as would have been expected, although 26 %<\/strong> <\/span>is not a lot. None of the 19 films in competion was shot by a female cinematographer<\/span><\/strong>, hardly any used female sound recordists. The situation of female directors and script writers I already commented on last week, along with the statistics regarding the main cast (LINK<\/em><\/a>).
\n<\/span>In figure B (6-sections-check<\/strong>) we look at each film individually, regarding the percentage of female filmmakers involved in the six areas examined. Indeed, there are four films in the competition that did not have any women in one of these positions (of course there might have been female camera or sound assistants participating, this was not studied in this case). One is from Russia\u00a0(Dolgaya schastlivaya zhizn \/ A Long and Happy Life<\/em>), one from <\/span>Iran (Pard\u00e9 \/ Closed Curtain<\/em>), the other two are from the USA (The necessary Death of Charlie Countryman<\/em> and Promised Land<\/em>). The latter not really coming as a suprise to people attending the IFFF-event already described.<\/span>\"Berlinale_Frauenant\"<\/a>However, let us end on a positive note: the two films with high values (44 and 50 %) are <\/span> “Layla Fourie” (direcotr Pia Marais<\/strong>, a german-southafrican-french-dutch co-production) and the polish contribution to the “W imie…” (director Malgoska Szumowska<\/strong>), so both films by female directors.
\nOf course we cannot generalize from these statistics of the 19 films, they are not representative for all films of their time or their countries of origin, but they certainly show a common trend, that cannot be ignored or declared to be an exception. Even though there were 4 women and 3 men on the jury of the Berlinale competition, and even though there were more films by women in the competition that at last year’s Cannes Festival, <\/span>we cannot really talk of a general improvement.<\/span><\/p>\n

Finally the bears! Who won the awards?<\/span>
\n It did not really come as a surprise to learn that there was a silver bear for a woman, as there’s always the award for the best actress. This year’s was given to Paulina Garc\u00eda<\/strong> from Chile, who played Gloria in the competition entry from Chile by Sebastian Lelio with the same name: a 58-year old woman, who regains her love for life. (on a sidenote: actress Paulina Garc\u00eda was 51 years old at the time the film was being shot, so quite some years younger than the character she was playing. But that is another matter).<\/span>
\n More surprising was of course another female filmmaker receiving the golden bear along with her colleague Calin Peter Netzer<\/strong>: rumanian producer Ada Solomon<\/strong> and he won the award for best film with their entry “Pozitia Copilului”.<\/span>
\n Actually, two days after they were announced, the bears are really no big news any more. Nonetheless you find all information on the website of the Berlinale (LINK<\/em><\/span><\/a>).<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

English Version follows German. Die diesj\u00e4hrige 63. Berlinale ging am 17. Februar zuende. Wie so viele andere habe ich leider einen Gro\u00dfteil des Festivals verpasst, da mich der umgehende Virus erwischte. Immerhin, eine sehr tolle Veranstaltung am Freitag 15. habe … Continue reading →<\/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":[3,7,8],"tags":[78,90,187,252,296,370,499,517,548,626],"class_list":["post-623","post","type-post","status-publish","format-standard","hentry","category-analyse-analysis","category-kino-cinema","category-stab-crew","tag-baeren","tag-berlinale","tag-drehbuch","tag-frauenanteil","tag-gewerke-check","tag-kamera","tag-produktion","tag-regie","tag-schnitt","tag-ton"],"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":"\nBerlinale 2013: Die B\u00e4ren und die Frauen - The Bears and the Women – SchspIN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/schspin.stieve.com\/2013\/02\/19\/berlinale-2013\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Berlinale 2013: Die B\u00e4ren und die Frauen - 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