Professional Documents
Culture Documents
Cassandra Clark
ENG 112 Sean Bates
April 1, 2016
Hollywood’s Gender Diversity Problem: Past, Present, and Future
It has been long understood that Hollywood has a diversity problem both on and behind
the camera, but the problem seems to have finally come to a tipping point. Before the Academy
Award’s ceremony, the hashtag “#OscarsSoWhite” was coined on Twitter to comment on the
lack of racial diversity in O
scar nominees this year. This uproar was focused especially on the
notable absence of black actors among these nominees, but there was generally a lack of people
of color recognized for their accomplishments in film this year. Although it seems people were
louder about their opinions about the issue this year, the lack of racial diversity is not new to the
film industry in any way and is just part of a much larger diversity problem that is sickening
Hollywood.
In his opening monologue, 2016’s host of the Academy Awards, Chris Rock, made a
fascinating point about giving people/actors of color their own category if audiences want them
to win awards. He then questioned why the Academy would not jump at this chance since
separate categories already exist for male and female actors. He says, “C’mon. There’s no
reason. It’s not track and field. You do not have to separate ‘em. You know, Robert De Niro’s
never said, ‘I better slow this acting down, so Meryl Streep can catch up’” (“Chris Rock’s
Opening Oscar Monologue: A Transcript”). This stood out to me a s it begs the question: in a
world that is trying to move towards gender equality, why is still there this separation?
So although racial diversity seems to have become a mainstream issue recently, I was
intrigued by the gender diversity problem. So, upon looking into t his, I discovered that there
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have a lways been separate categories for male and female actors at the Oscars and yet, not for
any other award category. This made me wonder, was this because there were less women
involved in the industry or was this indicative of another problem? And why have women played
a significant role on screen over the years, enough to earn their own award category, but not off
screen?
First, I went to exploring the history of women’s roles in film since its mainstream
creation in the early 20th c entury looking for answers to my questions. Looking at Hollywood
before its classical era, which began in the 1930s, I discovered that although there were female
filmmakers establishing themselves at this time, many women were working in “traditionally
female” jobs in the industry (ie. secretaries, minor assistants, and s cript girls). It was thought that
“women by their very nature were unsuited for these types of professional positions [that men
held]” jobs in financial backing, heads of studios/studio departments, and as directors and
producers (Benshoff and Griffin 456). It was society’s view of women as foreign creatures (as
compared to men) that kept them out of these professional positions. However, it is apparent that
women played a large part in American cinema, although this seems to be largely ignored when
discussing film history since men chiefly held the highest positions in the business. Yet, women
were recognized in cinema nonetheless when it came to being on t he big screen.
In early American cinema, actresses assumed Victorian era gender roles as Harry M.
Benshoff and Sean Griffin write in A
merican on Film , meaning women on screen were seen as
the paragons of virtue. Young women in film were “childlike and frequently associated with
innocence, purity, and the need to be protected” (457). These female roles were “rarely active
participants in the narrative, except as victims or prizes” (458) t his in direct contrast to the
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virile men that played the protagonists of these films. So although there was no lack of female
roles i n film, many (if not all) of these roles were twodimensional and represented (now) dated
and generally misogynistic views of women. The female characters in these films served as a
model for what Hollywood and modern “good” women should look and act like, displayed in
direct contrast to “bad” women: those who were explicitly sexualized. Hollywood used these
characters to push their views on the audiences watching these films so as cinema began picking
up steam in popularity, this became more and more problematic. However, viewers did start
questioning this female portrayal when first wave feminism (the suffragist movement) became
popular in the United States, but, for many, this female “ideal” continued to be the model for
many years after that.
Continuing through the history of gender in film, I discovered an alarming, yet a not all
surprising trend. In the twentieth century, each time women seem to have made strides in
establishing their personhood, Hollywood films generally push their traditional gender roles on
movies goers. For instance, in response to women’s newfound freedom (civilly as well as
sexually) coming into the 1930s, Hollywood used its films to not only castigate feminist
activists, but also the modern working girls who were moving to the cities and becoming
selfdependent. It even coined the term “white slavery” to scare girls away from being seen in
such disreputable places as amusement parks and movie houses arguing that women’s newfound
urban independence could easily lead to kidnapping and forced prostitution (Benshoff and
Griffin 462). White slavery was a myth, but Hollywood used the m
ere idea of it to oppress
women who were suddenly starting to gain social and economic autonomy.
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Another example occurred when the American men were drafted to fight in World War
Two i n the 1940s. Here, women took over the traditionally male jobs which were left empty
(mostly factory work) due to the draft. There was now a tough, new, working woman working
her way into American cinema, but when the war was over, society tried to push women back
into the same roles they had assumed prewar. Through the 1950s, the film industry worked to
promote the idea that “happiness and fulfillment could be found as a housewife and mother”
(Benshoff and Griffin 486). And through the following decades, as Hollywood decided the world
was ready for films discussing sexuality and sexual matters, it found a new way to establish
patriarchal dominance. This was the start of the “blonde bombshell” (ie. Marilyn Monroe), a
highly sexualized trope that has paved the way for many other highly sexualized and highly
objectified female roles in film today.
Nowadays, the lack of depth in still many of the female characters on screen can be
attributed to the continuing male dominance in the field. There has always been a majority of
men working the highest positions in the film industry, but as the n umbers of men and women in
many disciplines are evening out, it seems to me this kind of progress in the more technical and
administrative side of the film industry is moving at a snail’s pace. In primetime television,
mirroring the plight of Hollywood, “the numbers in the industry have stayed pretty much the
same for more than 18 years” says Li Zhou for the Atlantic . A study done by the San Diego State
University’s Center for the Study of Women in Television and Film clearly shows that 18 years
ago, “21 percent of those working behind the scenes, as creators, executive producers, producers,
writers, editors, directors, and directors of photography, were women. Today, that number has
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only jumped 6 percentage points, to 27 percent, a pace that [the study’s author] calls ‘glacial’”
(Zhou).
Although women still only make up a seemingly small part of the industry, having just
one woman involved with any project seems to have a profound effect on both the content of the
film as well as the number of women employed on the film. According to Cathy Schulman, the
president of Women in Film (WIF), “when more women are in the gatekeeping jobs…,then the
amount of women in those shows increases exponentially” (Zhou). For example, the statistics of
the San Diego State University’s study clearly show that having just one female executive
producer on any project increases the likelihood of the production staff being significantly
female as well. This is most notable in regards to writers, whose percentage of females employed
jumps from 6 percent to 32 percent with the addition of one female executive producer (Zhou).
The number of females employed in significant creative and administrative positions for
a film also has a quite noticeable effect on whether or not it passes the Bechdel test a test
created once as a joke, but one that has become useful in measuring just how maledominated
movies are. In order to pass this test, a film must satisfy three requirements: it must have #1) at
least two named female characters who #2) talk to each other about #3) something other than a
man. What probably does not come as a surprise is that many films today, even awardwinning
ones, do not pass this test. However what may surprise some is that, looking through the 200
highest grossing films from the past 20 years, it is apparent that “when writing teams are entirely
male, about 50% of films fail the Bechdel test. Add a woman to the mix and only a third of films
fail. The seven films written entirely by women all pass the Bechdel test. Uncanny, right?”
(Friedman, Daniels, and Blinderman). And it certainly is uncanny that with the addition of just
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one female writer, the likelihood of a film passing the Bechdel test increases by 20 percent
(which almost mirrors the data from the last study I discussed). The article does also comment on
the origins of this issue which it claims stems from the fact that “filmmakers, unintentionally,
make movies about themselves (i.e., write what you know). Since the most powerful producers,
writers, and directors are men, malethemes permeate into Hollywood’s output” (Friedman,
Daniels, and Blinderman).
Even films that do pass the Bechdel test are often malecentered. This is illustrated in one
of feminist media critic, blogger, and public speaker, A
nita Sarkeesian’s videos for her
webseries F
eminist Frequency . Here, she explores fifty years worth of Academy Award winning
pictures (19602010) and determines that “only 4 out of 50 are centered exclusively on women’s
lives. The vast majority are stories about men and their lives and although a few are ensemble
casts t he women often play secondary or stereotypical roles” (Sarkeesian). This is a common
occurrence in movies from the beginning of film to the modern day. Benshoff and Griffin’s book
discusses this malecenteredness in talking about objective and subjective camera shots.
Objective shots are such that are not tied to any character’s point of view while subjective shots
are tied to a specific character’s view. It seems that “chiefly in Hollywood films, male characters
are the ones doing the looking (subjective shots are assigned to them) while female characters
are usually the ones that are being looked at (objectified from the male character’s point of
view)” (Benshoff and Griffin 508). This may not be as apparent in film today, but there is still a
sense of voyeurism in watching female characters on screen as their purpose seems to exist so as
to be watched not identified with as with the male characters. This seems to me an extreme
misogynistic take on film, but it was the only kind of film seen in the classical era and although
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we seem to, as an industry, have moved away from such sexist interpretations, this is still a
common occurrence in movies today. So although women are represented on screen in numbers
similar to men, portrayals of these two genders are still nowhere near equal.
This sexualization of young female characters and actresses has become such a
wellknown, widespread problem, but it is important to consider what happens to these women
when they age and get “too old” to be sexualized in the same way. In 2015, Amy Schumer
released a video for Comedy Central where she discusses with some wellknown actresses the
idea of the “last f**kable day”. When asked by a clueless Schumer what the term means, Julia
LouisDreyfus says plainly that “i n every actress’ life, the media decides when you finally reach
the point where you are not believably fuckable anymore” (“Inside Amy Schumer”). The
objectification of women in roles when they are young does not allow much room for women
past forty, as is shown in a study by U
niversity of Southern California’s Annenberg School for
Communication and Journalism. The analysis “looked at 414 scripted movies, TV shows and
digital series that aired from September 2014 to August 2015 across 10 major media companies”
and concluded that of actors/actresses over forty, only about a fourth of them were female (Peck).
This same sexualization of women plays a part when it comes to screen romances, which
often star a young actress with a much older male actor, such as occurs often in movie franchises
such as the James Bond movies. In the case of actress Jennifer Lawrence whom this study
focuses, she has been paired with male actors up to sixteen years older than she is not an
uncommon occurrence in classic as well as modern Hollywood. Men are just not sexualized the
same as women are and therefore do not “pass their prime” in the industry the same way
actresses do.
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From what I have discovered, I would say that compared t he beginning of film in the
early t wentieth century, Hollywood is now much better off when it comes to gender equality and
diversity. There is still a long road ahead though for the industry though, so society must keep
pushing for inclusion of women into its elite ranks, more evenly male and femalecentered
storylines, more female characters presented as people to be empathised with (not objects), and
also for a use of a more inclusive, achievable ideal of masculinity displayed in film. Honestly, in
an America who prides themselves on progress, I believe that we should be ashamed of the
snail’s pace this progress h as been moving at. As Zhou reiterates in her article, “‘because men
comprise the majority of the decision makers in the business, they must be part of the solution,’
says [the study’s author], ‘significant change is not possible unless many men in the business
make a conscious effort to change the gender dynamic’” (Zhou). Christopher Hansen, in the
same article also suggests that people in positions of power in the film business need to “take a
more conscious stance to consider at least one woman for such positions,”. He “cites the NFL’s
Rooney Rule, which requires each team to interview at least one minority candidate for head
coaching vacancies, as an example that the film industry could potentially follow to promote the
consideration of more women candidates” (Zhou). Both suggestions would improve the situation
so what we need to do now is act. Because, if you do your research, you will find that with all
this, Hollywood still won’t admit it has a gender diversity problem.
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Works Cited
Benshoff, Harry M., and Sean Griffin. America on Film: Representing Race, Class, Gender, and
Sexuality at the Movies . Malden, MA: WileyBlackwell, 2011. Print.
Friedman, Lyle, Matt Daniels, and Ilia Blinderman. "Hollywood's Gender Divide and Its Effect
on Films." P
olygraph . N.p., n.d. Web. 09 Mar. 2016.
Peck, Emily. "It Makes Perfect Sense That Women Over 40 Feel Invisible." T
he Huffington Post .
N.p., 23 Feb. 2016. Web. 9 Mar. 2016.
Zhou, Li. "Hollywood Still Won't Admit It Has a GenderDiversity Problem." The Atlantic .
Atlantic Media Company, 22 Sept. 2015. Web. 09 Mar. 2016.
"Chris Rock’s Opening Oscar Monologue: A Transcript." T
he New York Times . The New York
Times, 28 Feb. 2016. Web. 12 Mar. 2016.
Sarkeesian, Anita. "Women’s Stories, Movies and the Oscars." F
eminist Frequency . N.p., 24 Feb.
2011. Web. 12 Mar. 2016.