Youth, Women and People Living with Disabilities the Status of Women in the Audiovisual Sector

Overview

The audiovisual sector is critically important to support cultural preservation, create jobs and drive broader economic growth. There is general consensus that the audiovisual sector is male-dominated and is characterised by high levels of gender inequalities. The key themes and debates that emanate from the literature review pertain to the roles that the audiovisual sector plays in reinforcing or challenging gender stereotypes and dominant patriarchal norms in society. Gender issues in the audiovisual sector are often embedded in broader discussions about workforce diversity and the cultural industries more generally. A diverse workforce does not only enhance social cohesion and equality but also makes business sense since different perspectives, experiences and interests can inform the development of new or enhanced products and services, open up market opportunities, improve market share and broaden an organisation’s customer base.  Women as cultural producers are influenced by and influence different audiovisual genres. Additionally, there is also an activist orientation evident whereby women use behind and on the screen roles to challenge images and stereotypes as well as highlight societal issues such as gender-based violence.

A main contribution of this paper is examining the key barriers and challenges women in the audiovisual sector experience. Gender inequalities characterise the audiovisual sector in relation to employment participation and parity, distribution/ allocation of funding and resources, content-based biases, reconciling personal and work demands, and access to training opportunities. In terms of content and representation of women, the audiovisual industry generally reflects societal norms and values in terms of gender roles, positions and stereotypes. The invisibility of women is also highlighted as a key concern. Furthermore, when women directors receive funding or support, they are often encouraged to focus on ‘female themes’. It is also important to note that women are among other socio-demographic groups (such as race, ethnicity, age, class and differentially abled status) who are under-represented and stereotyped in the audiovisual sector. In terms of content, audiovisual content can challenge or reinforce discriminatory norms and practices. Reconciliation of work and personal life is closely associated with prevalent cultural norms and values that define gender roles in society. Domestic responsibilities (especially among women who are often primary carers, especially those with childcare responsibilities) restrict employment opportunities and mobility in a sector characterised by time-bound deliverables, long working hours, working hours changing constantly, working away from home and requiring high levels of flexibility.

In relation to employment disparities, the under-representation of women in the audiovisual workforce reflects gender inequalities in society generally. Stark gender inequalities in terms of the number of women employed and occupational segregation are evident in the audiovisual sector. Female-dominant positions in the sector (such as assistant to producer, assistant director, costume designer and make-up) tend to be lower paying and lower profile positions with little to no decision-making authority. The gender wage gap is also noted. Women also experience the glass ceiling effect whereby fewer women hold leadership and directorship positions. Additionally, women experience working conditions challenges linked to entry barriers, freelance/ contract work, dependence on networks and/ or good contacts for referrals, and experiencing higher levels of sex discrimination and sexual harassment. Gender-based employment disparities also emanate from inequalities in other sectors such as the Information and Communication Technology (ICT) industry. Opportunities for women in the audiovisual sector (which is greatly influenced by ICT advances) are restricted if women are not skilled or exposed to the ICT sector.

The main best practice mechanisms and recommendations to promote gender equality in the audiovisual sector are gender mainstreaming, translating policy into practice (that is, ensuring effective implementation), individual initiatives from the public, non-governmental and private sectors to create opportunities for women and to expose them to the audiovisual sector, recognising and rewarding women, funding targeting women, mentoring programmes, apprenticeship and internship models, and regional and national responses and structures. Other suggestions include meeting gender equality employment quotas which is central to promote women’s participation and upward mobility in the workforce as well as to improve women’s representation. Current research reveals a European bias and therefore there is a need for more empirically-based studies in developing contexts, including South Africa where there is limited research. Training and capacity building efforts are also highlighted. Finally, the importance of developing monitoring systems with clear indicators and targets are underscored together with areas for further research.