{"id":7792,"date":"2017-12-20T13:04:13","date_gmt":"2017-12-20T12:04:13","guid":{"rendered":"https:\/\/schspin.wordpress.com\/?p=7792"},"modified":"2019-06-21T20:05:02","modified_gmt":"2019-06-21T20:05:02","slug":"kamerafrauen-mit-ihren-augen","status":"publish","type":"post","link":"https:\/\/schspin.stieve.com\/gb\/2017\/12\/20\/kamerafrauen-mit-ihren-augen\/","title":{"rendered":"Camera: Through their Eyes"},"content":{"rendered":"<p>When people speak of the Female Gaze they very often refer to women directors. I find this a bit strange as my first association with gaze would be the camera. This often neglected team position \u2013 director of photography &#8211; should be regarded as part of a creative triumvirate, alongside the director and writer\/s. More so than the producers. But strangely enough, often only the director, writer and producer will be included. There is a type of film we casually call &#8220;<em>B\u00fcgelfilme<\/em>&#8221; in German (and I don\u2018t know the English expression for that. It\u2018s films that don\u2018t need to be seen in order to be understood, so you can do your ironing while you listen to the dialogue and the music, which will tell you everything that you need to know. If there is an English expression for these types of films, please tell me in the comments section, tnx.). So aside from these <em>B\u00fcgelfilme<\/em>, the vast majority of films will be characterized by their visual side and thus by the camera department quite considerably. Who is with me on this? The ARD (German public broadcaster \/ channel one)! On their <a href=\"http:\/\/www.daserste.de\/unterhaltung\/krimi\/tatort\/sendung\/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">TATORT<\/a> pages (CRIME SCENE, the German <a href=\"https:\/\/schspin.stieve.com\/gb\/2015\/02\/02\/tatorte2011-14\/#english\">top cop drama<\/a>, 90 min. films on most Sunday nights) they name the TRIUMVIRAT and the composer \u2013 in the same ordcer as in the end titles of a film: music \/ composer, DoP, writer, director. The German TV awards <a href=\"http:\/\/www.grimme-preis.de\/fileadmin\/Grimme_Nutzer_Dateien\/Preis\/Dokumente\/2017_Grimme-Preis-Publikation_grimme.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Grimme-Preis<\/a> list the author, director, DoP and head of sound for the nominated films.<br \/>\nWe see this phenomenon internationally as well. There are these really remarkable, profound statistics from the <strong>British Film Institue BFI<\/strong> for roughly 200 UK films per <!--more [Weiterlesen - Read On] --> year from 2003 to 2013, they publish information on the involved countries, production companies, directors, writers, list up to 7 actiers per film &#8211; but no word on the DoP. Sehr bedauerlich!<\/p>\n<h2>Make That Three<\/h2>\n<p>In Germany there are two unions for camera people, the German Society of Cinematographers <strong>BVK Berufsverband Kamera<\/strong> and the <strong>Berufsverband der Fernsehkameraleute<\/strong> \/ Union of Television Camera Operators.<\/p>\n<ul>\n<li><em>The <a href=\"http:\/\/www.kinematografie.org\/english\/bvk\/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">German Society of Cinematographers<\/a> (BVK) is the official reprensentation of Directors of Photography in germany and other members of camera-crews.<\/em> (taken from the English version of their website)<\/li>\n<li><em>The <a href=\"http:\/\/www.bvfk.tv\/\" target=\"_blank\" rel=\"noopener noreferrer\">Union of Television Camera Operators<\/a> \u2013 BVFK \u2013 is an independent organization of TV cameramen and -women, promoting the interests of camera related professions such as directors of photography, camera assistants, panning assistants and camera remote operators among TV channels, production companies and politicians.<\/em> (translated by SchspIN)<\/li>\n<\/ul>\n<p>And recently, a network of German camera women has emerged. It started in April with their frist meeting, half a year later they dedided to call themselves CinematographersXX Germany (short: CXXG) and set up a website showcasing female directors of photography from German speaking countries. So complaints like \u201c<em>Oh but there hardly are any female DoP\u2018s!<\/em>\u201c should soon become a thing of the past.<br \/>\nIn addition to this, a third association has recently been emerging, a network of German camera women. It started with their frist meeting in April, half a year they dedided to call themselves <strong>CinematographersXX Germany<\/strong> and set up a website showcasing female directors of photography from German speaking countries. So complaints like \u201e\u201cOh but there hardly are any female DoP\u2018s!\u201c should soon become a thing of the past.<\/p>\n<p><a href=\"http:\/\/cinematographersxx.de\/en\/\" target=\"_blank\" rel=\"noopener noreferrer\">CINEMATOGRAPHERSXX GERMANY<\/a> is a group of women Directors of Photography working internationally across all genres: narrative, documentary, commercials as well as music videos. We are based in Germany and have a minimum of five years professional industry experience, many of us considerably more.<br \/>\nCINEMATOGRAPHERSXX RISING highlights upcoming cinematographers at the beginning of their careers.<\/p>\n<p>That was a quote from their bilingual website (yes! it&#8217;s in German and English), I like the idea that the more experienced DoP want to encourage and inspire the aspiring younger camerawomen, which is a lovely promise of networking and possibly even mentoring.<\/p>\n<p>At present the website showcases <strong>63 DoPs<\/strong> (<strong>19<\/strong> of them in the RISING section), with short CVs and contact details. More will follow, some <strong>120<\/strong> female cinematographers from all ages are subscribed to the network, the majority coming from the 30 to 40-years age slot. Every camerawoman who has worked professionally for at least five years can get herself be added to the main section of the database.<\/p>\n<p><a href=\"https:\/\/schspin.files.wordpress.com\/2017\/12\/cinematographersxx.png\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-7796\" src=\"https:\/\/schspin.files.wordpress.com\/2017\/12\/cinematographersxx.png?w=611\" alt=\"\" width=\"550\" height=\"354\" \/><\/a><\/p>\n<p><strong>Pro Quote Film\/Kamera<\/strong> can be seen as the political arm of the organized female cinematographers\u2018 network. More on this a little later.<\/p>\n<h2>Take a Look at: Female Cinematographers<\/h2>\n<p>Making female DoP\u2018s visible can and should of course also happen on another level \u2013 I refer to the statistical side of the industry. Here, as afore mentioned and not really comprehensible, the camera position is rarely included. So I collected some data to at least present a rough picture of the situation as it is.<br \/>\nThe next galery shows share of women and mean for the directors of photography for <strong>ZDF Kleines Fernsehspiel<\/strong> (this is a TV slot on ZDF German public broadcasting channel, where they show films of newcomers, sometimes the final film at film school, as well as first and second films of young directors), for the nominated films to all categories of the German TV awards <strong>Grimme Preis<\/strong>, for the already mentioned <strong>TATORTE<\/strong> (TV cop drama CRIME SCENE) as well as for the <strong>Top 20<\/strong> and <strong>Top 100<\/strong> German films at the box office. Before that I show a general overview of the shares of women for the various camera jobs in the union <strong>BVK<\/strong> and the data base of <strong>crew united<\/strong>.<\/p>\n\n<p>The share of women among film school graduates in Germany (camera dept.) is <strong>25 %<\/strong> (taken from FFA Studie Gender und Film \u2013 research commissioned by German Federal Film Board). The films in the ZDF Kleines Fernsehspiel section (remember these are basically beginners\u2018 films) show the highest female figures following the graduates. But then the numbers really decrease. Why? Because female cinematographers aren\u2018t capable of filming crime drama, buddy movies or high budget productions?<br \/>\nWhen we look at the sad number of only <strong>20<\/strong> female DoP\u2018s for the TATORT films in comparison to the 201 male DoP\u2018s you\u2018d think it can\u2018t get worse than that. But it can, because actually only 9 individual women were entrusted with a TATORT camera, some of them more than once. But not in 2015 by the way, then only <strong>0 <\/strong>female DoP worked for the TATORTE. In words: none.<br \/>\n<strong>46<\/strong> women and 500 men worked as DoP for the Top 100 German films from 2012 to 2016. Again, it were only <strong>26<\/strong> different camerawomen. When we look at the Top 20 films it gets a bit more manageable: only one (<strong>1<\/strong>) a camerawoman was hired &#8211; <strong>Sonja Rom<\/strong> for SAPHIRBLAU, in 20th position in 2014, as opposed to 97 times men got the jobs.<br \/>\nI want to add another number to describe the situation of female cinematographers in Germany, which I took from a study from 2015 on the situation of people working in film and TV productions (<strong>J\u00f6rg Langer<\/strong>: Die Situation der Film- und Fernsehschaffenden in Deutschland 2015). It\u2018s <strong>43 %<\/strong>. That is the share of the average annual gross income cameramen the women earned on average in the same year. To put it in Euro: the women had <strong>19,667 \u20ac<\/strong> and the men 45,558 \u20ac. Many reasons, like always when women earn less then men. Two aspects have to be taken into account here: <strong>camerawomen possibly are hired for less film projects per year and they get paid less per project.<\/strong> This pay gap is much bigger than for the other film professions Langer mentioned in his report \u2013 sound engineers, authors, editors, set designers \u2013 and at the other end of the line: direrctors with annual average incomes of 46,316 \u20ac and <strong>40,875 \u20ac<\/strong>, i.e. the female directors get <strong>88 % <\/strong>of the men\u2018s earnings. (And yes, 88 is more than twice as much as 43).<\/p>\n<h2>Together They are Strong<\/h2>\n<p>There is something that probably most camerawomen have heard regularly \u2013 at least all the ones I know, and that is \u201c<em>But isn\u2018t the equipment rather heavy for you?<\/em>\u201c Sometimes even turned into a statement: \u201c<em>Camera equipment is too heavy for women. That\u2018s why there are so few doing this job.<\/em>\u201c Accordingly, <strong>all female cinematographers that are adequately busy should be above average in height, frame and strength<\/strong>. But somehow the photos on the CinematographersXX\u2018s website don&#8217;t really support this theory.<br \/>\nHowever, something else is quite remarkable in this context, which I just learned from DoP <strong>Birgit Gudjonsdottir<\/strong> of CinematographersXX \/ Pro Quote Film\/Kamera:<\/p>\n<p><em>Alexa as a 3-year old child weighs about 14 kg, Alexa as a camera weighs around 15 to 16 kg. But it\u2018s not the DoP who have to carry the latter, for that they have their <strong>2nd assistants<\/strong>, who carry optical equipment, batteries and more, who change lenses, set up the camera on the tripod and so on.<\/em><\/p>\n<p>Looking back at the data from the gallery: the share of women for<strong> 2nd camera assistants<\/strong> was <strong>31,4 %<\/strong> in the crew united data base and <strong>36,4 %<\/strong> among the BVK union members. So apparently there\u2018s less to this &#8220;<em>too heavy for them<\/em>\u201c story than meets the eye.<\/p>\n<p><a href=\"https:\/\/schspin.files.wordpress.com\/2017\/12\/kameracrew-rueden.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-7824\" src=\"https:\/\/schspin.files.wordpress.com\/2017\/12\/kameracrew-rueden.jpeg?w=611\" alt=\"\" width=\"450\" height=\"450\" \/><\/a><\/p>\n<p>I briefly mentioned <strong>Pro Quote Kamera<\/strong> earlier on. As can be deduced from the name \u2013 knowing similar German organizations like <a href=\"http:\/\/www.pro-quote.de\/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Quote Medien<\/a> (journalists), <a href=\"http:\/\/pro-quote-medizin.de\/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Quote Medizin<\/a>, <a href=\"http:\/\/www.proquote-regie.de\/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Quote Regie<\/a> (directors) and <a href=\"https:\/\/www.proquote-buehne.de\/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Quote B\u00fchne<\/a> (Stage) \u2013 Pro Quote Kamera are also campaigning for a quota, a proportional balance, for a set target for the employment of female DoP in film and television. Once more, here&#8217;s what <strong>Birgit Gudjonsdottir<\/strong> had to say:<\/p>\n<p><em>Even if female camera students win awards, they have a far lesser chance of shooting after graduation, it is more difficult for them to successfully enter the market. They just get fewer chances and obviously don\u2018t earn enough money with No or Low Budget Projecs. This is what we want to draw everybody\u2018s attention to. Using our Pro Quote Film\/Kamera as a political and CinematographersXX as a networking instrument. With Pro Quote Film\/ Kamera as our mouthpiece, our lobby group, we want to promote more structural equality and a just distribution of public money.<\/em><\/p>\n<p>They will probably also be dealing the the infamous \u201clists of proposals\u201c, that are handed to directors early on in the projects with propositions for heads of departments, something not unusual for German TV productions, but done in various ways. It might be helpful to set up a standard of. always having to include both women and men for each department on the list. And keeping the idea of quotas or targets in mind: there certainly the number 25 sticks out quite prominently as the percentage of women graduating in the camera department. <strong>So how about setting up a not too long-term target of 25 % for public TV projects such as the TATORTE, the TV movie of the week (ZDF) and other slots and productions.<\/strong> Pro Quote Kamera even goes one stop further:<\/p>\n<p><em> Our aim is to give the German and international film industry an easier access a great number of talented cinematographers, and thus to rebalance the social and industry perception that there are hardly any around.<br \/>\nIn the long run we want to reach a situation where the share of women studying cinematography and afterwards work as DoP\u2018s is raised to <strong>50 %<\/strong>.<\/em><\/p>\n<p><strong> Of course when we look at what\u2018s going on in the camera department we should not isolate that from other departments, and naturally also not from the positive or negative role models and stereotypes that are being produced and reproduced in front of the camera.<\/strong> Did I ever mention <a href=\"http:\/\/neropa.stieve.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">NEROPA<\/a> in this context? Well, when it comes natural to see women in films and on television also in technical creative professions, young and older women handling camera and sound, as well as seeing more female technicans or inventors, more female nerds and scientists, so when we get to see more positive female role models, and when the job &#038; career counselling at secondary schools gets to be more open in this diection, then I am sure the ratio and relationship among camera students will change. At the same time hiring camerawomen \u2013 no matter what height \u2013 for high budget movies will become less of a (subjectively felt) risk for decison makers. We already see young women and girls using cameras \/ camera phones on a daily basis, I wonder why interested girls are so rarely stimulated and supported to pursue things further. Here\u2018s a lot do be done by schools and other educational and recreational facilities. It should not be a permanet situation that girls and women on youtube only get famous on youtube with channels about make-up tips etc. By the way, I just a new camera, and briefly searching the internet, I only found blogs and videos on cameras by men.<\/p>\n<p>So my dear female cinematographers, let me suggest something for your next break between projects: <strong>Introduce your favourite camera on the internet, maybe compare different models, shoot a video about your work or your professional background, share tips ad ideas, blog about camera lenses and focal lengths. Not for the film industry but for society as a whole!<\/strong><\/p>\n<p><a href=\"https:\/\/schspin.files.wordpress.com\/2017\/12\/cinematographersxx-germany.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-7823\" src=\"https:\/\/schspin.files.wordpress.com\/2017\/12\/cinematographersxx-germany.jpeg?w=611\" alt=\"\" width=\"550\" height=\"413\" \/><\/a><\/p>\n<p align=\"justify\">At the moment a website for Pro Quote Film\/Kamera is being constructed. As soon as it goes online I will put a link to it in ths article. The bilingual (GE-EN) website of CinematographersXX Germany can be found here: <a href=\"http:\/\/cinematographersxx.de\/en\/\" target=\"_blank\" rel=\"noopener noreferrer\">click<\/a>!<\/p>\n<p><strong>Update Feb. 2:<\/strong> Here&#8217;s the <a href=\"http:\/\/proquote-film.de\/#\/gewerke\/kamera\/object=page:105\" target=\"_blank\" rel=\"noopener noreferrer\">Link<\/a> to the German website of <strong>Pro Quote Film\/Kamera<\/strong>, which is now the official name of the group\u00a0 (when I published this text in December it was talked of as <em>Pro Quote Kamera<\/em>, I&#8217;ve replaced it with the new name in the text).<\/p>\n<p align=\"justify\"><strong>Update April 23:<\/strong> I forgot to mention the <strong>National Competition for Women Directors of Photography<\/strong>, which is organized by the the <a href=\"https:\/\/frauenfilmfestival.eu\/index.php?id=3086&#038;id=3086&#038;L=1\" target=\"_blank\" rel=\"noopener noreferrer\">International Women&#8217;s Film Festival Dortmund \/ K\u00f6ln IFFF<\/a>. Since 2001 the award and the 5,000 \u20ac prize money have been presented in Cologne every two years, graduation films and those of the first two years after that are eligible., all genres and lengths can be submitted. From 2012 on the competition is held in the even years, so April 2018 will see the next DoP competition. The Festival <strong>IFFF<\/strong> states:<\/p>\n<p><em>The Dortmund | Cologne International Women&#8217;s Film Festival has opted for an award aimed squarely at picture designers. For working with a camera and with light is not just a image recording routine but an active co-design process which demands interaction with the other jobs of set decor, costumes, make-up and location management. Even the actual decision as to specific film material, the use of filters or a special digital technique can substantially influence the final look of a film. Close-up size, image section, camera position and camera movement are all essential factors for the narrative discourse.<br \/>\nIt is in this way that, following consultation between the director of photograph and the film director, the moving pictures can take on the quality of a narrative instance their own right.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Wird in Bezug auf Filme vom weiblichen Blick gesprochen, sind meistens Regisseurinnen gemeint. Seltsam, denn ich denke bei Blick eher an Kamera. Diese oft vernachl\u00e4sstigte Teamposition kann \u2013 neben Regie und Drehbuch \u2013 als dritter Teil des k\u00fcnstlerischen Triumvirats eines &hellip; <a href=\"https:\/\/schspin.stieve.com\/gb\/2017\/12\/20\/kamerafrauen-mit-ihren-augen\/\">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":[8],"tags":[105,132,146,182,370,371,372,497,603,627],"class_list":["post-7792","post","type-post","status-publish","format-standard","hentry","category-stab-crew","tag-birgit-gudjonsdottir","tag-cinematographersxx","tag-cxxg","tag-dop","tag-kamera","tag-kameraassistenz","tag-kamerafrauen","tag-pro-quote-kamera","tag-tatort","tag-top-100"],"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>Camera: Through their Eyes &#8211; 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