Gender Inequality in Screenwriting Work
This is the first book to critically examine the recruitment and working practices of screenwriters. Drawing on interviews with screenwriters and those that employ them, Natalie Wreyford provides a deep and detailed understanding of entrenched gender inequality in the UK film industry and answers th...
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| Format: | Elektronisch E-Book |
| Sprache: | Englisch |
| Veröffentlicht: |
Cham :
Springer International Publishing,
2018.
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| Ausgabe: | 1st ed. 2018. |
| Schlagworte: | |
| ISBN: | 9783319957326 |
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| 100 | 1 | |a Wreyford, Natalie. |4 aut | |
| 245 | 1 | 0 | |a Gender Inequality in Screenwriting Work |h [electronic resource] / |c by Natalie Wreyford. |
| 250 | |a 1st ed. 2018. | ||
| 260 | 1 | |a Cham : |b Springer International Publishing, |c 2018. | |
| 300 | |a XV, 216 p. |b online resource. | ||
| 500 | |a Literature, Cultural and Media Studies | ||
| 505 | 0 | |a 1. Introduction: The extent of gender inequality in film screenwriting work -- 2. Gendering the screenwriter -- 3. Gender, capital and getting in -- 4. The gendered dynamics of the recruitment of screenwriters -- 5. The impact of motherhood on screenwriters -- 6. Being outnumbered -- 7. Gendering taste -- 8. Conclusions: Moving beyond numbers to make change happen. | |
| 516 | |a text file PDF | ||
| 520 | |a This is the first book to critically examine the recruitment and working practices of screenwriters. Drawing on interviews with screenwriters and those that employ them, Natalie Wreyford provides a deep and detailed understanding of entrenched gender inequality in the UK film industry and answers the question: what is preventing women from working as screenwriters? She considers how socialised recruitment and gendered taste result in exclusion, and uncovers subtle forms of sexism that cause women's stories and voices to be discounted.Gender Inequality in Screenwriting Work also reveals the hidden labour market of the UK film industry, built on personal connections, homophily and the myth of meritocracy. It is essential reading for students and scholars of gender, creative industries, film and cultural studies, as well as anyone who wants to understand why women remain excluded from many key roles in filmmaking. | ||
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