During the ten years of its inclusive women, Kery studys about gender equality in cinema. Progress, but the fight continues.
Ten years ago, in Cannes, Kiring began in women’s movement, a program that emphasizes women in the world of art and culture. Since then, each edition of the festival has been the occasion for visibility and reflection of cinema professionals through negotiations and podcasts. And give two prizes. Women and the developing talented award have been awarded to the developing director in the prize. Wherever they come, regardless of their profession, their performances revolve around common issues. Women’s representation in front and behind the camera and the way they treat them. The professor at the University of South Carolina and specialization in the inclusion of Stays LM Mitith conducted a study from 2015 to 2024 at Carey. Its barometer. French, American, German, Australian, Italian and English films reported more than $ 1 million in the World Box office. “Even if the directors are fighting to win the biggest budgets, their number has doubled in the United States, related to 2024.
Persistence of gender stereotypes
The golden lions of Justine Triet and Julia and Chloé Zhao and Chloé Zhao’s golden lions of Julia Duzournau as evidence. Several reasons for this evolution. The subway movement, which highlighted discrimination against women. Production assistance is due to diversity and equality. But also the growing presence of women’s leaders – Donna Langli, 2024 award, “Competition” award, Netflix Primary Universal, Bela Bajaria … “GEN Z is a cardinal value,” said Stacy L. Smith. It provides content similar to it and wants the world to be presented as it is. The American policy has given some studios to extract the charter of their inclusion, but the cinema is an industry that exceeds the government in the hands of the public. Hotspent
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However, the founder of the Annberg Initiative’s Initiative, the expert, repentances in certain gender stereotypes. In 2024, the share of the main characters played by women (CO-STAR) is 54% (more than 2015 to more than 22%). Fortunately, the figure staged on all spoken characters by 32%. One quarter of them shows partial nudity, and only a quarter is over 40. “Salary inequality remains an inefficient area. We will need to make secret contracts to highlight the gaps. And finally to know that the industry gives women’s work. “
Source: Le Figaro
