Author: Hanna Dierneder

During my research on gender equality in Austria, specifically at the Austrian Film Institute, this insight from the “Gender Report” brought me to my next research question:

Portrayal of women in film: quantity vs. Quality: This report clearly shows that the gender ratio of main characters in films driven by men and women are more or less balanced. The film’s gender rating had little influence on the number of female main characters: Films made by women showed female characters in the lead roles more often. The influence on the type of portrayal is considerably more important: Portrayals are more nuanced in female-driven films than those driven by men.

More diversity in female-driven films: Twelve fiction films were examined in detail in a qualitative analysis: The female-driven films had no sexism and reflected on discrimination in society. They portray a pluralistic society and underrepresented groups that go beyond conventional clichés more often than male-driven films.

Do men and women differ in the way they tell stories and portray characters? In this blog post I would like to address this question using the example of the character “Harley Quinn”, which shows certain variations in different films by different directors (male and female).

The Male Gaze

According to studies, male-centric production and consumption of comics leads to an overly masculine portrayal of male characters and an overly fetishized and overly sexualized portrayal of female characters. the female characters in superhero films are already being disadvantaged when they are created in a male-dominated medium.

The male gaze is to view women through a voyeuristic-scopophilia lens.

 Laura Mulvey

Harley Quinn was first introduced in 2016’s Suicide Squad, directed by David Ayer. One criticism of the role was the strong objectification of the male gaze, which undermined her role and strength as a superheroine. Birds of Prey director Cathy Yan and screenwriter Christina Hodson revamped the role Through costumes, script and cinematography, they tried to avoid stereotypical ways of portraying the main female character.

Minseo Joo and Caryssa Ozuna write in an article about how the cinematography of Birds of Prey subverts the male gaze by focusing on the reaction of the characters rather than the sexualization of women’s bodies. They also talk about the incorporation of a realistic wardrobe for all of the female characters. Rather than placing them in scantily clad outfits that would appeal to male viewers, it suits them in clothing that can be used practically within the battle.

Zoe Dirse additionally states that women artists must take control of their art in order to “subvert patriarchal assumptions about gender”. Thanks to the collective efforts of a strong female production team in front of and behind the camera, Birds of Prey succeeds in taking back control of the gaze and the content.

Sources:

Subverting the Male Gaze: Birds of Prey refreshes the narrative of Harley Quinn

https://rtfgenderandmediaculture.wordpress.com/2021/07/01/subverting-the-male-gaze-birds-of-prey-refreshes-the-narrative-of-harley-quinn/

Arora, A. (2019). Gazing at the Obvious: A Critical Analysis of the Male Gaze in Superhero and Fantasy Literature.

https://dialog.puchd.ac.in/wp-content/uploads/2020/10/5.-Ayushee-Arora-Gazing-at-the-Obvious.pdf

Dirse, Z. (2013). Gender in cinematography: Female gaze (eye) behind the camera. Journal of Research in Gender Studies

https://heinonline-org.ezproxy.lib.utexas.edu/HOL/P?h=hein.journals/jogenst3&i=15.

Now that I know more about the the future Academy Award guidelines (from 2024) for “Best Picture” nominations, I would like to take a closer look at the television and cinema scene in Austria. What film funding opportunities are there and is there already a clear guideline for a more diverse production crew or stories. What is the status quo among filmmakers in Austria and do they even need these guidelines?

The largest funding institutions are the state-owned “Österreichisches Filminstitut” (Austrian Film Institute), the “Filmfonds Wien” (Vienna Film Fund) and RTR’s “Fernsehfonds Austria” (Austria Television Fund), which together represent around three-quarters of the total Austrian film funding budget. During my research I only found gender specific guidelines for the “Österreichisches Filminstitut – öfi”.

Gender Initiative – Österreichisches Filminstitut (öfi)

Since the beginning of 2019 filmmakers in Austria have the possibility to qualify themselves for the “Gender Incentive” which is an additional financial support of 30,000€ when reaching a specific number of points. How the points are received is shown in the next illustration. This concerns only the people behind the production and not the creative work/plot/characters.

Second Austrian Film Gender Report

The University of Innsbruck has compiled an “Austrian Film Gender Report” on behalf of the öfi. Therefore, a quantitative analysis of the film and television projects funded by the largest Austrian subsidizers has been made (2017 to 2019). The following statements (and more) can be taken throughout this report:

• Women receive only 25% of film funding in Austria
• More money equals fewer women
• Years will pass before gender equality
• Decision-making department heads are men
• More diversity in female-driven films

Since the data is only available before 2019, it is difficult do say if the Gender Initiative of the öfi already had an impact.

sources:

https://de.wikipedia.org/wiki/Filmf%C3%B6rderung_in_%C3%96sterreich

https://filminstitut.at/wp-content/uploads/2022/01/2022_01_19_Gender-Incentive-ab-2019_Infoblatt.pdf

https://filminstitut.at/wp-content/uploads/2022/12/GenderReport-EN_220x297_2022_Web_DP.pdf

When we look at some of the highest-grossing films of the last decade, we don’t always find the diversity we know from our world reflected on the screen. This lack of representation has consequences for our society and the people who do not find themselves on the screen.

What you see often becomes a part of your memory, and thus a part of your life experience.

(Boboltz & Yam, 2017)

#notMyArielle

The remade version of “The Little Mermaid” starring Halle Bailey will hit theaters on May 26, 2023. Walt Disney Studios was forced to disable the Dislike button on the trailer on YouTube after receiving 1.5 million thumbs down in just two days.

Meanwhile, videos of young black children noticing that the new mermaid looks like them are going viral on TikTok. Everyone deserves to have their story told. Looking at the excitement on the young children’s faces makes it clear, how much the representation in media really matters.

The question I am asking myself is why has Hollywood not been shy in the past casting white actors and actresses for non-white roles like Jake Gyllenhaal as Prince of Persia (2010) or Tom Cruise as Last Samurai (2002), but Disney’s The Little Mermaid is the latest target of racist fans?

#OscarsSoWhite

How does the Academy of Motion Picture Arts and Sciences manage to show more diversity for the Oscars, in front of and behind the camera? The new rules are to apply to nominations in the top category “Best Picture” from 2024. It is intended to ensure a minimum number of actors or film crew, production and administrative staff from underrepresented groups.

“To be eligible for Best Picture consideration for the 96th Oscars (2024), a film must meet TWO out of the FOUR standards.” Here you cand find some of the criteria for the first two standards:

Standard A: On-Screen Representation, Themes and Narratives (film must meet at least one criterion)

• At least one actor who is assigned a significant role must be from an underrepresented ethnic group, such as having dark skin.

• The storyline of the film must be about women, LGBTQ people, an underrepresented group, or people with disabilities.

• At least 30 percent of the cast must belong to one of the groups just mentioned.

Standard B: Creative Leadership and Project Team (film must meet at least one criterion)

• Two or more executives (directors, cinematographers, and composers) must be female, part of the LGBTQ community, have a disability, or be part of an underrepresented group.

• At least six other members of the film crew must be part of an underrepresented group.

• Thirty percent of a film crew must be part of one of the categorised groups.

further research

For my further research, I would like to look specifically at Austrian film funding (öfi). How does it deal with the visibility of underrepresented groups in front of and behind the camera? Which films have been funded in recent years? Are there guidelines that a film has to follow in order to be eligible for funding? What has been the development in recent years?

sources:

ACADEMY ESTABLISHES REPRESENTATION AND INCLUSION STANDARDS FOR OSCARS® ELIGIBILITY https://www.oscars.org/news/academy-establishes-representation-and-inclusion-standards-oscarsr-eligibility

Diversity and representation in TV and movies and why it matters https://www.diggitmagazine.com/papers/diversity-and-representation-tv-and-movies-and-why-it-matters

The racist backlash to The Little Mermaid and Lord of The Rings is exhausting and extremely predictable https://www.vox.com/culture/23357114/the-little-mermaid-racist-backlash-lotr-rings-of-power-diversity-controversy

Research Problem / Research Question / Research Hypotheses:

Methodology:

-Content analysis: selected films are tested using a coding sheet with 15 test items; comparison of character portrayals, plot interpretations, and realistic reflections;

Analysis of sexual objectification (amount of visible skin) of main and supporting female characters compared to box office ranking;

-Textual analysis: selected films are analyzed based on film reviews.

Comparison of cinematic feminism in mainstream blockbuster films and non-blockbuster arthouse films.

Selection of successful films in five(?) year intervals over a period of time to show any changes in the portrayal of women over time

2022: Top Gun: Maverick $1,484,620,609

2021: Spider-Man: No Way Home $739,351,607

2020: Bad Boys for Life $426,505,244

2019: Avengers: Endgame $2,797,800,564

2018: Avengers: Infinity War $2,048,359,754

Sources:

Women-led films: different female representations in popular cinemas

Palatable Feminism: Reinforcing and Challenging Gender Stereotypes in Contemporary Hollywood Action Films:

The Empowering (Super) Heroine? The Effects of Sexualized Female Characters in Superhero Films on Women

The role of women in film: Supporting the men — An analysis of how culture influences the changing discourse on gender representations in film

BADASS BITCHES, DAMSELS IN DISTRESS, OR SOMETHING IN BETWEEN?
Representation of female characters in superhero action films