Monday, December 15, 2008
Sunday, December 14, 2008
Saturday, December 13, 2008
Ariel Rapide Advert
The ariel advert addresses and gears thier product toward females. However, the voice over is male which reinforces male dominance; It reflects what the voice over is saying as a a command and truth. The women are refered to as "Mrs X", thus taking away their idividuality and recreating them as objects of thier husbands. The setting of the advert is within a kitchen, suggesting that the a kitchen is the most relatable setting for a woman. Although their are no men in the advert his dominance is reinforced through the reference to the women as "Mrs". The presence of a male is non exsistant and the advert shows woman as taking on many of the chores in the family; as the females are shown rushing to attend thier childrens sports day.
Shake n Vac advert
The advert portrays the worries of a "average" housewife. Th advert contains pastal colours and a conservativly dressed women; which gives the advert a calm tone. This can be said to point towards order and conformity. The female is blonde and is shown to treat the product as if it's the answer to all her needs and thus treating the product as a phallic symbol.
How the number of female directors can be improved?
1.Promotion
To enable more females to break through they need more promotion. Females need equal opportunities that are given to males.
2.Re-education of society
Males are dominating the film industry because thats how it's always been. Males are dominating film because females were not seen in such strong roles.
To enable more females to break through they need more promotion. Females need equal opportunities that are given to males.
2.Re-education of society
Males are dominating the film industry because thats how it's always been. Males are dominating film because females were not seen in such strong roles.
Female Directors
Helen Hunt
Early life
Hunt was born in Culver City, California, the daughter of Jane Elizabeth (née Novis), a photographer, and Gordon Hunt, a film director and acting coach.[1][2] Her uncle, Peter H. Hunt, is also a director, and her maternal grandmother, Dorothy Fries (née Anderson) was a voice coach.[1][3] Hunt is of Jewish (from her paternal grandmother)[4] and Methodist background.[5] Hunt spent part of her childhood in New York City and later attended the University of California at Los Angeles.[6]
Career
Hunt began working in the 1970s as a child actress. Her early roles included an appearance as Murray Slaughter's daughter on The Mary Tyler Moore Show, alongside Lindsay Wagner in an episode of The Bionic Woman, and a regular role in the television series The Swiss Family Robinson. She appeared as a marijuana-smoking classmate on an episode of The Facts of Life. She also appeared as a young woman who, while on PCP, jumps out of a second-story window in a 1982 after school special called Desperate Lives (a scene which she mocked during a Saturday Night Live monologue in 1994).[7] In the mid-1980s, she had a recurring role on St. Elsewhere as Clancy Williams, girlfriend of Dr. Jack "Boomer" Morrison. She remains best known for one of her earliest roles as Jennie in Bill: On His Own, costarring Mickey Rooney.
Nancy Malone
Nancy Malone (born March 19, 1935) is an American television actress, principally in guest roles from the 1950s to 1970s, who moved into producing and directing in the 1980s and 1990s.
She played "Libby" on the TV series Naked City from 1960 to 1963. During the same period, she played the character "Robin Lang Bowden Fletcher" on the daytime soap opera Guiding Light. She subsequently played "Clara Varner" on the TV series The Long Hot Summer (TV series 1965-1966), which ran for one season on ABC.
In 1976, she became the first female vice-president of television at 20th Century Fox. She won an Emmy Award for producing Bob Hope: The First 90 Years (1993) (TV) and was nominated for Emmy Awards for directing episodes of Sisters in (1991), and The Trials of Rosie O'Neill in (1992).
Kimberley Peirce
Early life and career
Born in Harrisburg, Pennsylvania, Peirce grew up in a trailer park.[citation needed] She graduated from Miami Sunset High School in Miami, Florida and attended the University of Chicago,[1] earning a degree in English and Japanese Literature.[citation needed] She moved for several years to Kobe, Japan, working as a photographer and model.[citation needed] Upon returning to America, she enrolled at Columbia University,[1] earning an MFA in film.[1] Initially, Peirce pursued a story about a female soldier in drag during the American Civil War for her thesis,[citation needed] but eventually nixed the plan due to a lack of personal connection with the story.[citation needed]
While attending Columbia, Peirce read a Village Voice article[citation needed] about Brandon Teena, a transman raped and murdered in Falls City, Nebraska.[1] Switching from her original thesis project, Peirce traveled to Falls City, where she researched and attended the trial of the two homicide suspects.[1] The subsequent film short she made for her thesis in 1995 was nominated by Columbia faculty for a Princess Grace Award, and received an Astrea Production Grant.[1] That grant and her involvement with the Sundance Institute;'s 1997 Sundance Filmmakers, Writers and Producers Labs helped her develop the short into the 1999 feature film Boys Don't Cry.[1]
Later life and career
Since then, she has directed an episode of the Showtime television series The L Word, and the Paramount Pictures feature Stop-Loss, (2008).
Canceled projects she worked on in the interim included co-writing the script Silent Star, about the murder of silent movie director William Desmond Taylor, for the studio DreamWorks; a David Mamet script she would direct about gangster John Dillinger; directing the adaptation of author Dave Eggers' memoir A Heartbreaking Work of Staggering Genius; and research for a Columbia Pictures film she would direct about the execution of the Israeli spy Eli Cohen.[2]
As of 2008, Peirce was co-writing a feature title Sex, Secrets and Taboo in Suburbia,[1] a romantic comedy with a "gender twist",[1] and a New Orleans gangster movie.[1] As of April 2008, Peirce lives with lesbian partner Evren Savci, "a Ph.D. candidate writing a double theses on gender and sexuality and Turkish modernization".[3]
Coline Serreau
Coline Serreau (born October 29, 1947 in Paris) is a French film director and writer.
In Paris Serreau studied literature, music and theatre as well as circus. In 1970 she made her debut as an actress at the Théâtre du Vieux-Colombier, in 1973 she wrote her first screenplay.
Her first film , the documentary film Mais qu'est ce qu'elles veulent? (1978), literally: But what do they want, after all?, was a compilation of interviews with women from various backgrounds. The frankness of the statements shocked parts of the public.
Her biggest commercial success was the comedy Trois hommes et un couffin (Three Men and a Baby), for which she received three Césars in 1986.
In 1986 her first drama for the stage Lapin Lapin (Rabbit Rabbit) had its world premiere (Director: Benno Besson). She collaborated with Besson for several years and he also put on stage Le théâtre de verdure (1987) and Quisaitout et Grobêta (1993).
Betty Thomas
Born Betty Thomas Nienhauser in St. Louis, Missouri, Thomas graduated from Ohio University in Athens, Ohio, with a Bachelor of Fine Arts degree. She worked as an artist and taught school in Chicago before deciding to pursue a career in show business.
Thomas joined The Second City comedy group and appeared in the films Tunnel Vision (1975), Chesty Anderson, USN (1976), Used Cars (1980) and Loose Shoes (1980) and on the TV series The Fun Factory (1976).
While Thomas had been building her career in comedy, her breakthrough role as an actress came when she was cast in the dramatic role of police officer (later Sergeant) Lucille Bates on the TV series Hill Street Blues (1981-1987). She was nominated for six Emmy Awards for this role and won one for Best Supporting Actress in 1985. Thomas' character was paired with Officer Joe Coffey, portrayed by Ed Marinaro.
Following the end of the series, Thomas moved into directing. She first worked in TV, directing episodes of series such as Doogie Howser, M.D., Dream On, Hooperman, Mancuso, FBI, Midnight Caller, On the Air, Parenthood, Shannon's Deal and Sons and Daughters, and TV movies such as Couples (1994), My Breast (1994), and The Late Shift (1996). She won Emmys for her direction of Dream On in 1990 and My Breast in 1994.
Thomas made her feature film directorial debut in 1992 with Only You. She went on to direct several films, including The Brady Bunch Movie (1995), Private Parts (1997), Dr. Dolittle (1998), 28 Days (2000), and I Spy (2002). She has also produced several films, including Can't Hardly Wait (1998), Charlie's Angels (2000), and Surviving Christmas (2004).
In December 2008 Thomas signed on to direct Alvin and the Chipmunks: The Squeakuel.
Early life
Hunt was born in Culver City, California, the daughter of Jane Elizabeth (née Novis), a photographer, and Gordon Hunt, a film director and acting coach.[1][2] Her uncle, Peter H. Hunt, is also a director, and her maternal grandmother, Dorothy Fries (née Anderson) was a voice coach.[1][3] Hunt is of Jewish (from her paternal grandmother)[4] and Methodist background.[5] Hunt spent part of her childhood in New York City and later attended the University of California at Los Angeles.[6]
Career
Hunt began working in the 1970s as a child actress. Her early roles included an appearance as Murray Slaughter's daughter on The Mary Tyler Moore Show, alongside Lindsay Wagner in an episode of The Bionic Woman, and a regular role in the television series The Swiss Family Robinson. She appeared as a marijuana-smoking classmate on an episode of The Facts of Life. She also appeared as a young woman who, while on PCP, jumps out of a second-story window in a 1982 after school special called Desperate Lives (a scene which she mocked during a Saturday Night Live monologue in 1994).[7] In the mid-1980s, she had a recurring role on St. Elsewhere as Clancy Williams, girlfriend of Dr. Jack "Boomer" Morrison. She remains best known for one of her earliest roles as Jennie in Bill: On His Own, costarring Mickey Rooney.
Nancy Malone
Nancy Malone (born March 19, 1935) is an American television actress, principally in guest roles from the 1950s to 1970s, who moved into producing and directing in the 1980s and 1990s.
She played "Libby" on the TV series Naked City from 1960 to 1963. During the same period, she played the character "Robin Lang Bowden Fletcher" on the daytime soap opera Guiding Light. She subsequently played "Clara Varner" on the TV series The Long Hot Summer (TV series 1965-1966), which ran for one season on ABC.
In 1976, she became the first female vice-president of television at 20th Century Fox. She won an Emmy Award for producing Bob Hope: The First 90 Years (1993) (TV) and was nominated for Emmy Awards for directing episodes of Sisters in (1991), and The Trials of Rosie O'Neill in (1992).
Kimberley Peirce
Early life and career
Born in Harrisburg, Pennsylvania, Peirce grew up in a trailer park.[citation needed] She graduated from Miami Sunset High School in Miami, Florida and attended the University of Chicago,[1] earning a degree in English and Japanese Literature.[citation needed] She moved for several years to Kobe, Japan, working as a photographer and model.[citation needed] Upon returning to America, she enrolled at Columbia University,[1] earning an MFA in film.[1] Initially, Peirce pursued a story about a female soldier in drag during the American Civil War for her thesis,[citation needed] but eventually nixed the plan due to a lack of personal connection with the story.[citation needed]
While attending Columbia, Peirce read a Village Voice article[citation needed] about Brandon Teena, a transman raped and murdered in Falls City, Nebraska.[1] Switching from her original thesis project, Peirce traveled to Falls City, where she researched and attended the trial of the two homicide suspects.[1] The subsequent film short she made for her thesis in 1995 was nominated by Columbia faculty for a Princess Grace Award, and received an Astrea Production Grant.[1] That grant and her involvement with the Sundance Institute;'s 1997 Sundance Filmmakers, Writers and Producers Labs helped her develop the short into the 1999 feature film Boys Don't Cry.[1]
Later life and career
Since then, she has directed an episode of the Showtime television series The L Word, and the Paramount Pictures feature Stop-Loss, (2008).
Canceled projects she worked on in the interim included co-writing the script Silent Star, about the murder of silent movie director William Desmond Taylor, for the studio DreamWorks; a David Mamet script she would direct about gangster John Dillinger; directing the adaptation of author Dave Eggers' memoir A Heartbreaking Work of Staggering Genius; and research for a Columbia Pictures film she would direct about the execution of the Israeli spy Eli Cohen.[2]
As of 2008, Peirce was co-writing a feature title Sex, Secrets and Taboo in Suburbia,[1] a romantic comedy with a "gender twist",[1] and a New Orleans gangster movie.[1] As of April 2008, Peirce lives with lesbian partner Evren Savci, "a Ph.D. candidate writing a double theses on gender and sexuality and Turkish modernization".[3]
Coline Serreau
Coline Serreau (born October 29, 1947 in Paris) is a French film director and writer.
In Paris Serreau studied literature, music and theatre as well as circus. In 1970 she made her debut as an actress at the Théâtre du Vieux-Colombier, in 1973 she wrote her first screenplay.
Her first film , the documentary film Mais qu'est ce qu'elles veulent? (1978), literally: But what do they want, after all?, was a compilation of interviews with women from various backgrounds. The frankness of the statements shocked parts of the public.
Her biggest commercial success was the comedy Trois hommes et un couffin (Three Men and a Baby), for which she received three Césars in 1986.
In 1986 her first drama for the stage Lapin Lapin (Rabbit Rabbit) had its world premiere (Director: Benno Besson). She collaborated with Besson for several years and he also put on stage Le théâtre de verdure (1987) and Quisaitout et Grobêta (1993).
Betty Thomas
Born Betty Thomas Nienhauser in St. Louis, Missouri, Thomas graduated from Ohio University in Athens, Ohio, with a Bachelor of Fine Arts degree. She worked as an artist and taught school in Chicago before deciding to pursue a career in show business.
Thomas joined The Second City comedy group and appeared in the films Tunnel Vision (1975), Chesty Anderson, USN (1976), Used Cars (1980) and Loose Shoes (1980) and on the TV series The Fun Factory (1976).
While Thomas had been building her career in comedy, her breakthrough role as an actress came when she was cast in the dramatic role of police officer (later Sergeant) Lucille Bates on the TV series Hill Street Blues (1981-1987). She was nominated for six Emmy Awards for this role and won one for Best Supporting Actress in 1985. Thomas' character was paired with Officer Joe Coffey, portrayed by Ed Marinaro.
Following the end of the series, Thomas moved into directing. She first worked in TV, directing episodes of series such as Doogie Howser, M.D., Dream On, Hooperman, Mancuso, FBI, Midnight Caller, On the Air, Parenthood, Shannon's Deal and Sons and Daughters, and TV movies such as Couples (1994), My Breast (1994), and The Late Shift (1996). She won Emmys for her direction of Dream On in 1990 and My Breast in 1994.
Thomas made her feature film directorial debut in 1992 with Only You. She went on to direct several films, including The Brady Bunch Movie (1995), Private Parts (1997), Dr. Dolittle (1998), 28 Days (2000), and I Spy (2002). She has also produced several films, including Can't Hardly Wait (1998), Charlie's Angels (2000), and Surviving Christmas (2004).
In December 2008 Thomas signed on to direct Alvin and the Chipmunks: The Squeakuel.
Why female directors are a rare sight
1. Lack of recognision
Although there notibly is a small number of females working as directors, it has been said by theorists such as Polly Leys that the present ones are not being acknowledged. She states that...
"rather than gazing at our navels continually, maybe we should spend more time acknowledging and celebrating the work of women who are making headway and in so doing create some positive role models for future generations".
2. Maturnal Commitments
After giving birth female directors priority would then lie with thier children. It could be said that they would not be commitement to the film . Sarah Radclyffe says...
"if you are directing, you are giving part of your inner self. You are giving your all and that's hard if you've got a young child".
3. Patriacal conditioning
Females are not being inspired enough. Society needs to be re-educated to promote a more equal representation...
"Its important to get women involved" Naomie Harris
4. Role Models
It has been said that the noumber of female role models within the film
5. Male dominance
Males are known to dominate the industry making it hard for females to reak through and establish themselves are serious individuals...
"Film is such a male- dominated industry. There's a lot of "who you know" in terms of how you get promoted.. the whole way the business is constructed means there are just men at every level".
Although there notibly is a small number of females working as directors, it has been said by theorists such as Polly Leys that the present ones are not being acknowledged. She states that...
"rather than gazing at our navels continually, maybe we should spend more time acknowledging and celebrating the work of women who are making headway and in so doing create some positive role models for future generations".
2. Maturnal Commitments
After giving birth female directors priority would then lie with thier children. It could be said that they would not be commitement to the film . Sarah Radclyffe says...
"if you are directing, you are giving part of your inner self. You are giving your all and that's hard if you've got a young child".
3. Patriacal conditioning
Females are not being inspired enough. Society needs to be re-educated to promote a more equal representation...
"Its important to get women involved" Naomie Harris
4. Role Models
It has been said that the noumber of female role models within the film
5. Male dominance
Males are known to dominate the industry making it hard for females to reak through and establish themselves are serious individuals...
"Film is such a male- dominated industry. There's a lot of "who you know" in terms of how you get promoted.. the whole way the business is constructed means there are just men at every level".
Gender in Advertising
Gunter
Theories/ Studies
Currently a media research specialist, Gunter counts media violence, the impact of broadcast news, effects of television on public opinion, the effects of advertising and the use and impact of new interactive media as topics of interest.
Cumberbatch
Theories/ Studies
Cumberbatch carried out a contents analysis for the Broadcasting council in 1990 looking at gender representation in television advertising. Part of thier research included 'counting' the number of the times women appeared in adverts (twice as often as men) the number of adverts that had male voice overs (80 per cent), and different roles in which men and women were shown. They found that 64 per cent of the women appearing in television adverts were 'attractive', compared to only 22 per cent of men. Another finding was that 50 per cent of the women were aged between 21 and 39 compared with 30 per cent of men.
Gender Role Stereotyping in Television Commercials: The Case of Singapore. | Advertising & Society Review 5:3 Gender Role Stereotyping in Television Commercials: The Case of Singapore. Chun Wah Lee Abstract: The stereotyping of females and their use as sex objects in advertisements has been a hot topic of research. Advertisers tend to use women as "decoratives" in various promotional strategies. This study focuses on the nature of female stereotyping in Singapore's television industry. A content analysis of one working week of television commercials was conducted on Singapore's English-language channel. The coding technique was derived from works such as Craig (1992) and Furnham and Bitar (1993), while an array of variables were employed to examine how and in what situations women were portrayed in these commercials. The study revealed that women were depicted in more diversified roles -- ranging from homemaking and childcare, to endorsing beauty products and working in offices. However, some degree of patriarchy is still prevalent. The study argues that advertisers should portray men and women in more equal partnerships since they now have to manage the increasing demands imposed by work and family. The stereotyping of females and their use as sex objects in advertisements have been a topic of debate among media scholars and feminist groups for a long time (e.g., Allan & Coltrane, 1996; Bretl & Cantor, 1988; Courtney & Whipple, 1974; O'Barr, 1994)....
Scheibe
Theories/ Studies
Scheibe (1979) argued that men's representation changed little, if at all, and Ferrante et al. (1988) reported that there was little change in gender roles in television commercials. For example, women were portrayed in the home, and men were portrayed in the business world (Ferrante et al., 1988).
changes in women's representation in commercials began in the late 1970s and early 1980s (e.g., Caballero & Solomon, 1984; Lovdal, 1989; Scheibe, 1979; Schneider & Schneider, 1979). For example, Schneider and Schneider (1979) argued that marketers and society have begun to accept the changing roles of women. After analyzing 27 hrs oprime-time television commercials aired in 1976, they reported that women's role portrayals were either closer to actual roles held by women in the United States, or were moving toward actual roles at a faster rate than men's role portrayals were
Another extensive study by Scheibe (1983) who examined over two thousand commercials, illustrated that she found the world of television to depict men advertising cars and financial services while women were restricted to beauty products and cleaning equipment. From her observations she also found that women were often portrayed as "powerless, helpless or seeking approval or reward"
Macdonald
Focuses mainly on gender representation of females in children literature
Resources
-Media Studies: The Essential Introduction written by Philip Rayner, Peter Wall, Stephen Kruger
-muse.jhu.edu
-findarticles.com
Theories/ Studies
Currently a media research specialist, Gunter counts media violence, the impact of broadcast news, effects of television on public opinion, the effects of advertising and the use and impact of new interactive media as topics of interest.
Cumberbatch
Theories/ Studies
Cumberbatch carried out a contents analysis for the Broadcasting council in 1990 looking at gender representation in television advertising. Part of thier research included 'counting' the number of the times women appeared in adverts (twice as often as men) the number of adverts that had male voice overs (80 per cent), and different roles in which men and women were shown. They found that 64 per cent of the women appearing in television adverts were 'attractive', compared to only 22 per cent of men. Another finding was that 50 per cent of the women were aged between 21 and 39 compared with 30 per cent of men.
Gender Role Stereotyping in Television Commercials: The Case of Singapore. | Advertising & Society Review 5:3 Gender Role Stereotyping in Television Commercials: The Case of Singapore. Chun Wah Lee Abstract: The stereotyping of females and their use as sex objects in advertisements has been a hot topic of research. Advertisers tend to use women as "decoratives" in various promotional strategies. This study focuses on the nature of female stereotyping in Singapore's television industry. A content analysis of one working week of television commercials was conducted on Singapore's English-language channel. The coding technique was derived from works such as Craig (1992) and Furnham and Bitar (1993), while an array of variables were employed to examine how and in what situations women were portrayed in these commercials. The study revealed that women were depicted in more diversified roles -- ranging from homemaking and childcare, to endorsing beauty products and working in offices. However, some degree of patriarchy is still prevalent. The study argues that advertisers should portray men and women in more equal partnerships since they now have to manage the increasing demands imposed by work and family. The stereotyping of females and their use as sex objects in advertisements have been a topic of debate among media scholars and feminist groups for a long time (e.g., Allan & Coltrane, 1996; Bretl & Cantor, 1988; Courtney & Whipple, 1974; O'Barr, 1994)....
Scheibe
Theories/ Studies
Scheibe (1979) argued that men's representation changed little, if at all, and Ferrante et al. (1988) reported that there was little change in gender roles in television commercials. For example, women were portrayed in the home, and men were portrayed in the business world (Ferrante et al., 1988).
changes in women's representation in commercials began in the late 1970s and early 1980s (e.g., Caballero & Solomon, 1984; Lovdal, 1989; Scheibe, 1979; Schneider & Schneider, 1979). For example, Schneider and Schneider (1979) argued that marketers and society have begun to accept the changing roles of women. After analyzing 27 hrs oprime-time television commercials aired in 1976, they reported that women's role portrayals were either closer to actual roles held by women in the United States, or were moving toward actual roles at a faster rate than men's role portrayals were
Another extensive study by Scheibe (1983) who examined over two thousand commercials, illustrated that she found the world of television to depict men advertising cars and financial services while women were restricted to beauty products and cleaning equipment. From her observations she also found that women were often portrayed as "powerless, helpless or seeking approval or reward"
Macdonald
Focuses mainly on gender representation of females in children literature
Resources
-Media Studies: The Essential Introduction written by Philip Rayner, Peter Wall, Stephen Kruger
-muse.jhu.edu
-findarticles.com
Job: editor of the Guardian; executive editor of the Observer
Age: 51
Industry: publishing, new media
Circulation: 368,294 (Jan-June 2005)
Salary: £300,000
2004 ranking: 22
Alan Rusbridger is in his 10th year in charge of the Guardian and is preparing for one of the biggest changes in the paper's 184-year history.
The Guardian will be relaunched this autumn in a new "Berliner" format never before seen in the UK. Rusbridger rejected switching to a tabloid, saying the smaller format led to a "different type of journalism". He has said the new all-colour Guardian will be "beautiful".
Guardian Newspapers, which has spent £50m on new printing presses, will also relaunch the Observer in the new format next spring.
Rusbridger used the inaugural Hugo Young lecture to call for a greater level of debate about the role of newspapers in the age of 24-hour TV news and the internet. "The apathetic voter is a cliché of modern politics," he warned. "Perhaps we're now facing the apathetic reader."
But the Guardian editor has challenged the Independent's conversion to a so-called "viewspaper", with comment regularly promoted to the front page. "News is where it all has to start and whether that's trustworthy," he said.
Rusbridger falls 29 places in this year's MediaGuardian 100, after he rose up last year's list because of the impending general election.
However, he remains the highest placed broadsheet editor, partly because of the unique nature of the Guardian's parent, the Scott Trust. Unlike a traditional newspaper proprietor, the roles of the Scott Trust do not include influencing editorial content.
"Everyone else, with the possible exception of Paul Dacre, has a boss who is influencing their thinking," explained one panellist. "The Guardian is the heartland of the left, and it is good to see someone making a stand about quality journalism."
Guardian Newspapers' internet arm, Guardian Unlimited, continues to grow and win awards and is the UK's second biggest news website outside of the BBC. This year it won best newspaper on the internet at the Webby Awards and was named best daily newspaper on the web at the 2005 Newspaper Awards for the sixth year running.
Subscribe to:
Posts (Atom)