Skip to main content

V48 Hours Women (podcast)

I've written about about New Zealand's 48 Hours competition several times (see links below). So few teams have women writers and directors and I believe that this low representation contributes to our minimal participation in feature filmmaking.

This year, I interviewed three 48 Hours women directors, to find out what attracts them to the competition and how they experience it. So here are Francesca Jago, Laurie Wright, Ruth Korver, each inspired by and enthusiastic about 48 Hours (more about them at the links below and in the podcast). And after they have their say, Gaylene Preston, who created the 48 Hours Gaylene Preston Productions/ Women in Film & Television Best Woman Director award. She talks about the award and women's roles in the competition, why she supports the competition and the kinds of things people can do to prepare for it; among other things, she suggests that we watch The Five Obstructions, about a challenge Lars von Trier created for fellow filmmaker Jørgen Leth, his friend and mentor.

Download podcast


Francesca Jago

Laurie Wright
Ruth Korver at right, with Vanessa Patea
Francesca Jago 
Twitter
Skinny at Bowl-A-Rama
Vimeo

Laurie Wright 
Wright Productions
Vimeo

Ruth Korver
Twitter 
Vimeo
How To Meet Girls From a Distance (Make My Movie winner) Twitter Facebook
Traces of Nut
Electric Pink Company

Gaylene Preston
Gaylene Preston Productions

Gaylene Preston

48 HOURS 2012

48 HOURS in Wellywoodwoman
2009
Low representation
2011
V48 Hours: Women filmmakers working together? (includes video interview with Francesca Jago)
Make My Movie, Gynophobia & Mavericks
In passing here and here.

Comments

  1. Thank you very much, Marian! And thank you also to Francesca, Laurie, Ruth and Gaylene!

    ReplyDelete

Post a Comment

Popular posts from this blog

Safety in Paradise?

Children play in safety on the beach beyond my window. Some aren't safe at home, but they do not die in rocket attacks. Along our promenade, this year’s most sustained sirens wailed from motorbike cavalcades, as they escorted royalty to and from the airport. At school, our children may arrive hungry. But they're safe from abduction. The closest I’ve ever been to a war is my parents' silence about 'their' war, refuge women's stories about men returned from wars and Bruce Cunningham’s stories, after I met him selling Anzac poppies. (He was a Lancaster pilot in World War II and then a prisoner-of-war and I’m making a short doco about him.)

Yes, in many ways Wellington, New Zealand is paradise and I’m blessed to live here and to benefit from love and generosity from women and men, my beautiful sons now among those men. But in an interview with Matthew Hammett Knott earlier this year, I found myself saying–
We have to deal with serial violation, direct and subtle, on…

Women Directors of Feature Films in New Zealand

Last week, two lovely people questioned me about my work. I don't look back at it often, but returned to my PhD thesis and various statistics-oriented posts I'd almost forgotten, like this one and this one. And then remembered a survey that I wrote for Geoff Lealand, the New Zealand editor of the second edition of the Directory of World Cinema: Australia and New Zealand. When I looked at it again, I realised that even in the year since I wrote it lots has changed. (I think you can also tell that I don't enjoy writing 'academic', am much happier in real-time immediate responses). 

So here it is while some of it's still relevant and to accompany Matthew Hammett Knott's interview with me, for his Heroines of Cinema series (blush). 

If I were writing a survey today, I'd include all the short films New Zealand actresses write and direct and theirpotential as multihyphenates. I'd include Marama Killen's self-funded feature, Kaikahu Road. I'd add mor…

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'…