Negotiate for yourself!
http://www.ted.com/talks/sheryl_sandberg_why_we_have_too_few_women_leaders
mehrPro Quote Regie auf dem Münchner Filmfest 2014
Liebe Regisseurinnen, wie auf unserem dritten Treffen während der Berlinale besprochen, möchten wir Euch während des Münchner Filmfestes zu einem weiteren PRO QUOTE REGIE Treffen einladen: am Montag den 30.6. um 11 Uhr – der Ort wird noch bekannt gegeben Wie möchten Euch von unseren bisherigen Aktivitäten berichten: – den Gesprächen mit Förderern und Politik – der Gründung des Vereins – dem Anschieben einer Imagekampagne – den Vorschlägen für Arbeitsgruppen und Strukturierung unserer Initiative – der Erweiterung der Unterzeichnerliste Und Euch unsere weiteren Schritte vorstellen und darüber diskutieren. Eine der Journalistinnen von PROQUOTE wird zu unserem Treffen kommen und uns von dem erfolgreichen Werdegang der Journalistinnen in Sachen Quote berichten. Mittlerweile haben 135 Kolleginnen unseren Aufruf unterzeichnet, weitere mögliche Unterstützer wie ProduzentInnen, AgentInnen, AutoreInnen, Kamerafrauen und -männer sind angeschrieben, mit der Bitte den Aufruf zu unterschreiben. Vielen Dank für Eure bisherige engagierte Mitarbeit! Wir brauchen aber auch weiterhin wirklich dringend Eure Hilfe und hoffen, Euch sehr zahlreich in München begrüssen zu dürfen. Herzliche Grüsse, Euer...
mehrAnalysis of European Films by Female Directors
http://www.obs.coe.int/documents/205595/6771231/Analysis+of+European+Films+by+Female+Directors.pdf/bfd9ef74-14cf-42ba-8463-f4a464efdb2b
mehrFrauenrat für mehr Frauen in Fernseh- und Rundfunkräten
http://www.frauenrat.de/deutsch/infopool/nachrichten/informationdetail/article/df-fordert-mehr-frauen-in-den-fernseh-und-rundfunkraeten.html
mehrJunge, erfolgreiche Regisseure – 02 Kampagne
http://youcando.o2online.de/socialbiopic?o2_type=top&o2_label=biopic Drei „junge“, erfolgreiche Regisseure werben junge Talente an. Die Werbung richtet sich an ein männliches Publikum. Es gibt keine weiblichen Vorbilder. Wie schwer es ist gegen die Vorstellungen in den Köpfen, wie erfolgreiche Filmemacher zu sein scheinen, zu kämpfen, beweist dieser Spot. Finde ich.
mehrKeine einzige Frau erwähnt….
http://variety.com/2014/film/news/hollywood-calling-for-a-new-generation-of-german-directors-1201179816/
mehrWerdet auch Mitglied bei EWA – European Women´s Audivisual Network
Unter http://www.ewawomen.com/en/why-join-.html kann man sich für 30 Euro pro Jahr anmelden! Je mehr wir sind, desto besser! Und checkt mal die Rubrik Data Monitoring! Liebe Grüsse, Verena PS: auf der Seite http://www.ewawomen.com/en/directors.html kann man auch unregistriert sein Profil als Regisseurin eingeben! Es sind noch viel zu wenige! MISSION: Why a European women’s network? In Europe, approximately one in every ten films you’ll see at the box office will have been directed by a woman. For art-house co-productions this figure increases to one in every six films. With film school participation relatively equal between the sexes, something is hindering women’s access to the role of director and other professional creative posts and this means that women’s stories are not being told. Inequality in terms of employment is a problem which spans across all professions in the audiovisual sector – from video game programming, to lead roles in films to ageism against female TV presenters. EWA network wants to change this status quo in a constructive and strategic manner. If women’s voices can’t be heard and their stories aren’t being told society will miss out on the perspective of half of the population or as Jane Campion puts it: „the half that gave birth to the whole of the world“. What are EWA’s objectives? EWA’s objectives are to: Promote greater gender equality for audiovisual creatives in terms of access to and opportunities for employment, be they working in the areas of film, video games or online audiovisual content creation, to ensure that women’s creative voices are heard in all their linguistic and cultural diversity throughout Europe and beyond.Promote gender mainstreaming for all technical and other roles throughout the sectors of film, video games and online media. Where possible devise initiatives and opportunities for reflection, such as pilot projects, workshops etc. to consider the issue of representations of women from all cultural and ethnic backgrounds in audiovisual content. ...
mehrJane Campion „especially when it comes to public money – it has to be equal“
Jane Campion: ‚Life isn’t a career‘ Jane Campion was the first woman to win a Palme d’Or and only the second ever to be nominated for the best director Oscar. So it comes as a surprise that her latest gig, as president of the Cannes film festival jury, isn’t another act of pioneering gender breakthrough. She’s actually the 10th woman to lead the festival’s prize-giving committee – even if men have done it on 57 other occasions – and shares the honour with some heady company: Jeanne Moreau, Françoise Sagan, Liv Ullmann, Sophia Loren. But as the only female winner, to date, of that top prize, it’s the kind of honour that is her due. ….. Perhaps inevitably, considering her figurehead status, Campion’s thoughts often turn to what women can and can’t do in the film industry. She won’t knock the festival itself, despite its habit of routinely granting high-profile berths to a coterie of veteran male directors; Cannes has, as she says, „been really kind“ to her, screening her early shorts (one, Peel, won the short film Palme d’Or in 1986) and taking her first feature, Sweetie, three years later, before giving her the ultimate accolade for The Piano in 1993 (shared with Chen Kaige’s Farewell My Concubine). Even so, she recalls with some horror an event she attended for Cannes‘ 50th anniversary, when she found herself on a stage with all the other Palme d’Or winners – the only woman there. „It was a shocking moment. It was embarrassing for everyone. I think everyone felt that it was really not right.“ She still would be the only woman, but the festival is emphatically not the problem. „My sense is that Cannes is very interested in new voices in cinema, never mind where it comes from or the sex of it. It’s to do with who funds films in the first place.“ „At film schools,“ she says, „the gender balance is about 50/50. Women do really well in short-film competitions. It’s when business and commerce and art come together; somehow men trust men more.“ What’s to be done? „My feeling is we need an Abraham Lincoln figure to get in there, and say – especially when it comes to public money – it has to be equal.“ Citing the state-funding system in Australia and New Zealand in the 70s, she says: „We are 50% of the population. That’s a good point and [state funding] is where you can push really hard and say something’s wrong here, we want change.“ Conversely, though, Campion is wary of the danger of concentrating too hard on ideology. „When I talk to young women film-makers, I say: don’t think about this too much. Being a director is very tough, and you need everything you’ve got just to do your best job. You doing a brilliant job is your best support. Just get on with it. „Film-making is not about whether you’re a man or a woman; it’s about sensitivity and hard work and really loving what you do. But women are going to tell different stories – there would be many more stories in the world if women were making more films.“ …… „I didn’t plan it,“ says Campion, „but I see it even more in those terms now than at the time. Back then, it was...
mehr„Als dominante Frau wirkt man nicht sympathisierend auf andere Frauen und auf Männer nicht gerade anheimelnd.“
http://www.berliner-zeitung.de/archiv/monika-gruetters-will-auch-ohne-mandat-politik-machen-weiblich–ledig–jung—und-eine-exotin-in-der-cdu,10810590,9620910.html
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