A study in 2014 commissioned by the US-based Center for the Study of Women in Television and Film documented underrepresentation of female lead characters, the prevalence of gender stereotypes and scant work opportunities. However, many female filmmakers feel that their voices are not heard and female characters are not truthfully represented on screen and because of this the female audience cannot relate to some of the screen stories told. Prying open spaces to tell female stories should be easy one might argue that in 2016 this shouldn’t need to be addressed. 4 It is an exciting time to be a female filmmaker in Australia and beyond, but judgment needs to be reserved until these noble intentions morph into a finished screen production that benefits the female filmmaking team that have birthed it, coupled with many more female stories represented on screen. Screen NSW has also pledged to achieve 50:50 gender equity in key creative roles by the year 2020. At the most recent Toronto International Film festival in 2016, Telefilm Canada (Canada’s main film financier) “announced they have formed a joint working group to secure a more ‘representative and diversified’ feature film portfolio with the goal to better reflect gender and diversity by 2020.” 2 In Australia, this disunion has already been noticed and some Australian funding bodies are now compliant Screen Australia’s recent “Gender Matters: Brilliant Stories” initiative received 334 submissions 3 and funded 58 projects. Whether or not this will be successful will be determined in the next five years – if and when we begin to see new films emerge produced by female teams. There has been much discussion on ways to increase production led by female filmmakers, and continuing pressure applied to various film festivals to exhibit their finished works. In recent years the international film industry’s attention has turned to highlighting the lack of gender equality in filmmaking. To champion her own vision she has to employ a survival mode – she has to be the last one standing. In spite of her own track records and business acumen, the female filmmaker needs to be a strong agent of determination, and willing to advocate for other women in the same situation. I seek the supernatural – Gaston Bachelard 1įor a female filmmaker to forge space in a male dominated filmmaking industry and make a horror film on her own terms she has to be tenacious and possessed with the belief that she can go head to head with the boys and stay the distance.
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