Welcome to Auteuse Theory
Welcome to Auteuse Theory. The purpose of this blog is to allow us to think about and write about a range of films made by women, from silent re-discoveries to the latest releases, from activist documentaries to mainstream Hollywood features, taking in examples from across the globe, whether famous or obscure. We have no desire to force ham-fisted links between very different films and very different filmmakers, to insist that they fit some pre-designated template of women’s cinema. Quite the opposite; we want to explore the diversity of forms taken by women’s filmmaking across different nations and eras. So why focus on women as a separate category at all? Why isolate their films from those of their male peers and think about them as some kind of exceptional or special case? Well, there’s still the matter of persistent inequality of opportunity within certain key authorial roles in the film industries. We all know the stats: even now, post-Bigelow Oscar win, women only constitute 10% of directors globally, and 15% of screenwriters. This is an improvement on previous years but it’s still (obviously!) a very minor proportion of the whole. As the British director Lynne Ramsay has commented, it’s ‘a bit like a country not being filmed – and that country not having a voice. It really does matter.’ And although we are very reluctant to make simple equations between the fact of there being a woman being at the helm of a film and that film offering a more complex picture of femininity (there have always been battalions of male directors who are very good at telling female-focussed stories), there is nonetheless plenty of anecdotal evidence to suggest that this is often true.
Our main subject is film but we will inevitably make forays into television and other media from time to time. We will be focussing predominantly on films directed by women, but we’re also interested in including films which demonstrate female authorship in other ways (writing, producing or performance). And we won’t be thinking about those films solely as women’s films. We don’t want to ghettoise them, so we’ll be connecting them to the time and place of their production, or their place within a genre or a movement, as much as we connect them to each other. There will be no rhyme or reason to the films that we discuss or the order in which they appear, instead we’ll be hoping for serendipitous connections, unexpected correspondences, sharp contrasts, strange juxtapositions; in other words, a blog that aims to be perpetually different and surprising. Most of the writing will be undertaken by the two main authors but interspersed with guest reviews from others who will each bring a fresh perspective.
And, finally, why the title Auteuse Theory? We were scouting around for a name that indicated a response to the old-fashioned auteur theory, and its insistence on ‘virility’ as a marker of directorial quality (all that Hawks and Ford worship). Women hadn’t only been marginalised in the making of films but the select few who had managed to break through were often given short shrift in the founding critical histories of film (with the exception of the highly problematic case of Leni Riefenstahl), until feminist scholars put Arzner, Weber, Guy-Blache, Lupino and Varda back into the picture. And this work of excavation and rediscovery continues – see the Women Film Pioneers and Women and Silent British Cinema websites for ongoing examples. We are aware of the problems of using the French feminised form of a professional name, drawing a gendered distinction between male and female practitioners (just as some publications reject the word actress in favour of actor for both men and women), but in the spirit of subversion, we wanted to occupy and feminise a word - auteur - which still sits at the heart of so much film scholarship and film appreciation. And although the blog is called Auteuse Theory, it might be more appropriate to think in terms of 'theories', the more intellectually generous plural form. These are some theories and thoughts and ideas arising from watching these films made by women. We hope you enjoy reading them…
Monday, 9 December 2013
Tuesday, 26 November 2013
"New BFI research indicates that films written and/or directed by women performed strongly at the UK box office between 2010 and 2012.
Phyllida Lloyd and Abi Morgan attend the premiere of The Iron Lady (2011) at BFI Southbank.
Employing more women in writing and directing roles makes sound business sense for the film industry, according to new research from the BFI. Analysis of the performance of UK films between 2010-2012 shows that a high percentage of the most successful and profitable independent British films had a female screenwriter and/or director attached.
Women are under represented in writing and directing roles in the film industry. For all UK independent films released between 2010 and 2012, just 11.4% of the directors and 16.1% of the writers were women. However, for the top 20 UK independent films over the same period, 18.2% of the directors and 37% of the writers were female. And for profitable UK independent films, 30% of the writers were female.
The Rt Hon Maria Miller, Culture Secretary and Minister for Women and Equalities comments:
This is encouraging news and highlights the skill and talent of women working in the film industry today whose work both excites and inspires audiences. The creative industries underpin this country’s economic growth and are increasingly front and centre in representing Britain on the world stage. Of course, there is still a long way to go to address under-representation across the sector in general but with the number of women being employed within the creative industries growing year by year I know we can look forward to a future for film where the talent of women can shine.
Amanda Nevill, CEO of the BFI comments:
Women are creating stories and characters that resonate with audiences in the UK and around the world, and it’s encouraging, and absolutely no surprise, to see films from women writers in particular really making an impact. Frustratingly, overall the numbers of women in writing and directing roles remains low and there is still much work to do to ensure female voices can come through. It is pleasing to see that investment through BFI Lottery funding and also our partners at BBC Films and Film4 plays an important role in championing women, supporting them to develop and consolidate their writing and directing careers and long may this continue.
Successful women writers and directors working in the UK independent sector over the period included Jane Goldman (The Woman in Black and Kick-Ass), Phyllida Lloyd and Abi Morgan (The Iron Lady), Debbie Isitt (Nativity 2), and Dania Pasquini and Jame English (StreetDance 3D and StreetDance 2 3D).
A number of women also saw success on UK films which were financed by major studios in the US, including Sarah Smith (Arthur Christmas), Susanna White and Emma Thompson (Nanny McPhee and the Big Bang), Jane Goldman (X-Men: First Class) and Lone Scherfig (One Day).
A key feature of the research is the number of successful female writers and directors attached to more than one project over the period, with many of the directors also having directing credits in other dramatic media including television and theatre. This indicates the development of a critical mass of women with consolidated writing and directing careers, developed through film and also television and theatre, and on-going relationships with producers and funders of films. The same factors are shown by research to be present in the careers of successful male screenwriters and directors.
The report also shows that films with female writers or directors were more likely to have female producers or executive producers, and have received financial support through BFI Lottery and BBC Films or Film4.
Today’s announcement comes hot on the heels of Creative Skillset’s 2012 Employment Census 2012, which showed that employment of women in the creative media industries has grown by almost 16,000 since 2009, with representation rising from 27% to 36% of the total workforce. This reverses the previous decline seen between 2006 and 2009, where the representation of women in the workforce reduced from 38% to 27%. Within that total, representation within film and TV is actually higher than the average across the wider creative media industries. In 2012 women made up 46% of the total film workforce (not including freelancers)."
Read the full report, Succès de plume? Female Screenwriters and Directors of UK Films, 2010-2012.http://ht.ly/r9hLx
Friday, 22 November 2013
Wednesday, 9 October 2013
CATARINA NEVES RICCI
WOMEN ON WOMEN wants to takes us on an unexpected journey across the life and work of 5 female filmmakers around the world. Although all the names have not yet been disclosed, two are already known: Handan Ipekçi, awarded Turkish director, known for her socio-critical films; and the Milano based Alina Marazzi, who’s cinema always speaks for herself: ironic, rigorous and bold, abolishing boundaries between documentary and fiction.With assumed influences from video art, experimental cinema, architecture and dance, WOMEN ON WOMEN fits in the perfect borderline between the poetic – providing a sophisticated visual language and sound - and the drama of what is narrated.
Due to its locations and characters this documentary touches directly on some of the hottest conflicts contemporary society is facing nowadays. The deep insights and questions these filmmakers and their films provoke on the audience are undeniable. As undeniable how important their presence is for a more creative film industry, and their roles as cultural agents on disclosure old taboos in their home territories.
“The methodologies are obviously multiple and diverse, but all the artists presented in this documentary are united in their use of cinema as a mean of intervention and attitude, taking on the role as outspoken and leading advocates for social and political matters “ stands Catarina Neves Ricci.
Friday, 16 August 2013
Thursday, 25 July 2013
10th - 12th April 2014
Building on the success of the first ‘Doing Women’s Film History’ conference held in 2011, this three-day international conference will bring together researchers in women’s film and television history, archivists, curators and creative practitioners to explore and celebrate all aspects of women’s participation within the visual media industries across the globe and in all periods. The conference will provide a forum for the latest research into women’s work in film and television production (both on and off screen), in film distribution and exhibition, their roles in television ranging from presenters and personalities to commissioners and controllers, as well as women’s activities as film and television critics, consumers and fans.
Tuesday, 16 July 2013
|Angela Allen doing continuity on The Misfits (1961). Picture courtesy of the excellent website http://www.scriptsupervisors.co.uk/|
The continuity girl is on the set for the whole time during rehearsal and shooting, making careful note of everything that is essential for the record, and being at hand to prompt both director and artists on dialogue, movement, position and effects. She has her own desk and typewriter on the set and while one scene is being set up, she is putting the previous one on permanent record. She is, in fact, the clerical repository of all the information that the director carries more or less vaguely in his head. (Collier 1947: 58)
Robinson, M. (1937), Continuity Girl, London: Robert Hale.