Skip to main content

Aren't blogs wonderful?

I'm thrilled. All these responses.

Two quince-related requests. I'll drop the paste in town when I'm passing, carry some jam up the coast to Otaki on the bus, soon, on a sunny day . 

An experimental tweet from a non-Twitterer:
My turnips are like white balls of black pepper. Wilt the greens too, gloss with extra virgin and taste the time of year. alexmackay.com
137 Characters, he said. Do the spaces count? (Yes.)

And someone's asked me: What do I think about the review of the New Zealand Film Commission, being done by the Ministry of Culture and Heritage? 

There's lots I have no idea about, and I haven't read much about what others think since John Barnett's piece in OnFilm.

But I have some ideas—of course—about how the Film Commission could improve women writers' and directors' participation in feature making. 

The present 'pathways' to making a Film Commission-funded feature are not working for women. We're well represented as documentary makers I think, though I haven't measured the statistics. As producers we do well. And as writers for television.

But our 'pathway' representation as writers and directors is otherwise really low, for example in the 48hours contest (registration closes in 13 days). Last year for the first time there was a prize for an all-women team, which Gaylene Preston Productions sponsored. This was great, because Muriel Niederle from Stanford University and her co-researchers have shown that women and men compete differently; affirmative action programmes where women compete among other women can be very useful in making change.

And I suspect that one factor that influenced the strong participation of women writers in New Zealand On Air's recent telemovies is that NZOA has to consider women as an audience. It has to "to ensure that a range of broadcasts is available to provide for the interests of women and youth and children and persons with disabilities and minorities within the community including ethnic minorities", according to the Broadcasting Act. 

Could the Film Commission try some affirmative action? Could it be required to consider women as an audience (and the other groups NZOA has to think about)? I'll write more about this topic when I have more time.

(& I've changed the settings to simplify making comments.)

Comments

  1. Life versus Twitter By Alex Mackay

    Boheme B.C (before computers)

    "Who am I? I am a poet.
    What do I do? I write.
    And how do I live? I live.”

    Cyber Scribe A.D (after desktops)

    “Who am I? I’m a twiterer.
    What do I do? I twit.
    How do I live? Hang on, I’ll check online.”

    ReplyDelete

Post a Comment

Popular posts from this blog

NZ Update #13: The Brilliance of Molly O'Shea

John O'Shea of Pacific Films is a legend in the film history of Aotearoa New Zealand. He died in 2001, aged 81. His daughter Kathy O'Shea, who died in 2010, was a legendary editor. And his grand-daughter, filmmaker Molly, gave this year's John O'Shea Memorial Address at the annual conference of New Zealand's Screen Production & Development Association (SPADA).

The address would be 'delivered by Dame Jane Campion and special guest', according to the SPADA programme. And what a special guest Molly was.

Her address is an instant feminist classic. Just brilliant. Wherever you live, if you want to persuade someone to give women filmmakers a go, entertain and inform them with this clip.
I hope that some of those producers who gave Molly a standing ovation then seized the opportunity to ask to read her pilot script, described by Jane Campion as 'incredible'. Go Molly! I can't wait to see your work.





NZ Update #3: WIFT New Zealand

This is Part 3 of an NZ Update 4-part series. Part 1 was Gender Breakthrough in New Zealand Film Commission Funding. Part 2 was a letter to Deputy Prime Minister and Minister for Women, Paula Bennett, about the New Zealand Screen Production Grant. Part 4 is a not-quite-A-Z of New Zealand women directors and some writers.

So how has Women in Film & Television New Zealand (WIFTNZ) responded to the lack of gender parity between women and men who write and direct, in particular the lack of gender parity in allocation of taxpayer funding? For example, does it endorse Telefilm Canada's statement, referred to back in Part 1 and to some extent implicit in the New Zealand Film Commission (NZFC)'s latest Annual Report?–
Based on industry recommendations that these two roles require immediate critical attention, gender parity amongst directors and screenwriters was identified as a priority (emphasis added).The simple answer: No-one Knows For Sure. And because of this, I believe it'…

Saving Mr. Disney: A Lesbian Perspective By Carolyn Gage

To stay focused when I'm writing intensively, I go to the movies in the afternoons. It's a kind of meditation that includes the walk down the hill to the cinema and back up again afterwards. And a few weeks ago, I saw three women-directed movies in three days: Rama Burshtein's Fill The Void, Anaïs Barbeau-Lavalette's Inch'Allah and Nicole Holofcener's Enough Said. Maybe things have changed, I thought to myself, ever optimistic. But I also noticed that men wrote and directed Catching Fire, from a novel by a woman, about a young woman and produced by a woman. And then I read Vocativ's analysis of 2013's 50 top-grossing US releases. This shows that almost half were Bechdel Test-passing films and that they did better at the US box office than those that weren't. BUT except for Frozen, which Jennifer Lee co-directed (and wrote) men directed all 50. And then at the weekend, all three of the new releases reviewed in our local paper (with enthusiasm) told s…