The Heat, a female buddy-cop movie starring Melissa McCarthy and Sandra Bullock, made $40 million in its opening weekend, but is one of the few movies in recent history with female leads.
Summer is the perfect time for a night out at the cinema, but maybe you’ve noticed something missing at the movies: women.
Women make up a minority of movie creators: 7 percent of directors, 13 percent of writers and 20 percent of producers; that’s nearly five men for every woman working behind the scenes.
Out of last year’s biggest movies, 28 percent of speaking characters were female. That’s down from a third just five years ago, according to the Annenberg School at the University of Southern California.
“Just based off last few movies I’ve seen, they’ve all been male-centric like World War Z and Man of Steel and This Is The End,” says 20-year-old moviegoer Melissa Hattab. “I know that I love going to the movies and I like seeing women I can relate to.”
That’s not to say no women are making and having lead roles in films, recent examples include Sofia Coppola’s Bling Ring and The Heat, which opened this weekend and stars Melissa McCarthy and Sandra Bullock. The Heat was also written by a woman, Katie Dippold.
It’s no secret that studying films can improve your own filmmaking, but which ones should you watch for maximum educational impact?
The obvious answer to that question is that you should watch the great ones, the films that have left an indelible mark on the history of cinema. It makes sense, right? If you want to be the best, you have to study the best. While that may be partly true, exclusively watching well-crafted films might not actually be the best use of time if your intention is to become a better filmmaker.
In a new video, Darious Britt challenges the notion that we should only watch good movies, and argues (very convincingly) that bad movies offer a treasure trove of wisdom for aspiring filmmakers because they show us what we should avoid doing at all costs. Check it out:
two or more women talking to each other about something other than a man
The Mako Mori:
at least one female character with her own narrative arc that is not about supporting a man’s story
The Sexy Lamp:
a female character that cannot be removed from the plot and replaced with a sexy lamp without destroying the story.
no woman assaulted, injured or killed to further the story of another character.
The “Strength is Relative”:
complex women defined by solid characterization rather than a handful of underdeveloped masculine-coded stereotypes.
“Afraid of a Word” By Autumn Carter (sayheymisscarter.tumblr.com)