With Eyes Wide Open: Gender Equality in the Polish Film Industry

2020 ◽  
pp. 61-76
Author(s):  
Greta Gober
Keyword(s):  
Gender Equality ◽  
Film Industry

“Gender Utopias?”: U.S. Student Reflections on Studying Abroad in Norway and Sweden

2016 ◽  
Vol 45 (4) ◽  
pp. 324-333 ◽  
Author(s):  
Kristjane Nordmeyer ◽  
Trisha Teig ◽  
Nicole Bedera
Keyword(s):  
Study Abroad ◽  
Gender Equality ◽  
Film Industry ◽  
Cross Cultural ◽  
Cultural Perspective ◽  
Studying Abroad ◽  
Members Of Parliament ◽  
Progressive Policy ◽  
Student Reflections ◽  
Teaching Ideas

This article describes a study abroad experience in Norway and Sweden that was designed to explore gender equality in two of the world’s most gender-progressive countries. Course readings explored the work of feminist sociologists and asked students to think critically about gender equality from a cross-cultural perspective. Students met with leaders in Norway and Sweden who are involved in creating gender-progressive policy and culture, including members of parliament, representatives in the film industry, and social policy experts. Student pre-trip and post-trip responses to writing prompts and trip reflection journals demonstrated the development of an intersectional approach to thinking about gender equality. While some aspects of gender equality were anticipated before the trip, other issues of equality only became evident through our discussion with gender leaders in Scandinavia. This article shares major themes from student reflections and discusses teaching ideas for future study abroad trips.

Promoting the Image of Gender Equality in Swedish Film as the 2020 Deadline Expires

2020 ◽  
Vol 35 (3) ◽  
pp. 142-153
Author(s):  
Ingrid Ryberg
Keyword(s):  
Foreign Policy ◽  
Gender Equality ◽  
Film Industry ◽  
Individual Recognition ◽  
Action Plan ◽  
Critical Discussion ◽  
Men And Women ◽  
Intersectional Analysis ◽  
The World

This article provides a critical discussion of the world-famous, much-celebrated gender equality work in the Swedish film industry. Since the Swedish Film Institute launched a program for gender equality in 2013, redesigned in 2016 as the action plan 50/50 by 2020, Sweden has been held up as a model country and the Film Institute’s CEO Anna Serner has held several widely publicized seminars in Cannes and elsewhere. This article aims to contextualize the Swedish case, as influential curators, jury chairs, and festival directors around the globe have signed the 50/50 by 2020 campaign with no evidence of its primary goal of dividing production support evenly between men and women by 2020 being within reach. I show that the notion of Sweden as an egalitarian haven obscures remaining injustices, norms, and, not least, the equality program’s lack of intersectional analysis. Unraveling “the myth of gender equality” in Swedish film, this essay shows how this myth operates in the context of Swedish foreign policy and self-promotion in the neoliberal present. As much as the current mobilization for change is worth applauding, I argue that it is crucial to critically examine actual measures and push for redistributive results beyond symbolic commitment, individual recognition, and positive publicity.

scholarly journals Experiencing Male Dominance in Swedish Film Production

2020 ◽  
pp. 163-178
Author(s):  
Maria Jansson ◽  
Louise Wallenberg
Keyword(s):  
Gender Equality ◽  
Film Industry ◽  
Male Dominance ◽  
Film Production ◽  
Vast Number ◽  
Female Protagonists ◽  
Recent Success ◽  
Institutional Aspects ◽  
Similarities And Differences ◽  
Gender Trouble

Abstract Sweden has been hailed for its recent success in increasing the number of female directors, scriptwriters and producers. Published reports, panel discussions and a vast number of press conferences on the pressing matter of gender equality within the industry together with a 5050 quota have all put the Swedish film industry—and its CEO Anna Serner—on the map. However, the last couple of years has disclosed several scandals regarding sexism and discrimination in the Swedish film industry—just as in other national film industries. This paper sets out to discuss how female film workers (e.g., directors, actors and producers) understand and negotiate their experiences of male dominance within their work context. Based on a series of interviews with women working in Swedish film from the early 1960s until today, we analyze similarities and differences in experiences as well as how these experiences are explained by the interviewees. Their stories are analyzed by using feminist institutional theory to understand how policy, funding schemes and other institutional aspects are intertwined with their experiences. The paper sets out to analyze three themes: (1) comments and suggestions during production and post-production regarding female protagonists; (2) experience of gender trouble in the process of fundraising; and (3) strategies used by the interviewed filmmakers to produce a more women-friendly environment during productions.

A Study on the Global Initiatives for Gender Equality in Film Industry

Film Studies ◽  
2017 ◽  
Vol null (74) ◽  
pp. 269-303
Author(s):  
HyeYoung CHO
Keyword(s):  
Gender Equality ◽  
Film Industry ◽  
Global Initiatives

The analysis of “Gels” in polymer films

1989 ◽  
Vol 47 ◽  
pp. 362-363
Author(s):  
G. M. Brown ◽  
D. F. Brown ◽  
J. H. Butler
Keyword(s):  
Molecular Weight ◽  
Film Industry ◽  
Local Stress ◽  
Melt Index ◽  
Polyethylene Films ◽  
Crosslinked Polymer ◽  
Polymeric Gels ◽  
Mineral Particles ◽  
Polymeric Species ◽  
Special Concern

The term “gel”, in the jargon of the plastics film industry, may refer to any inclusion that produces a visible artifact in a polymeric film. Although they can occur in any plastic product, gels are a principle concern in films where they detract from the cosmetic appearance of the product and may compromise its mechanical strength by acting as local stress concentrators. Many film gels are small spheres or ellipsoids less than one millimeter in diameter whereas other gels are fusiform-shaped and may reach several centimeters in length. The actual composition of gel inclusions may vary from miscellaneous inorganics (i.e. glass and mineral particles) and processing additives to heavily oxidized, charred or crosslinked polymer. The most commonly observed gels contain polymer differing from the bulk of the sample in its melt viscosity, density or molecular weight.Polymeric gels are a special concern in polyethylene films. Over the years and with the examination of a variety of these samples three predominant polymeric species have been observed: density gels which have different crystallinity than the film; melt-index gels in which the molecular weight is different than the film and crosslinked gels which are comprised of crosslinked polyethylene.

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