Piper Smith Un Official Fan Site Tribute

Piper Smith : This Is An Un Official Fan Site Tribute
Devon Harrison, Joelle
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Movie Title Year Distributor Notes Rev Formats Blue Vanities 308 1998 Blue Vanities O Coed Fever 1980 Caballero Home Video Anal 2 DRO F 1980 Collector's Video Facial 1 DRO Menage-a-trois 1981 TGA Video Facial 1 DO Mixed Bag 1981 TGA Video Facial Seka's Oriental Massage 2003 Alpha Blue Archives LezOnly 1 DRO Suze's Centerfolds 2 1979 Caballero Home Video DO Suze's Centerfolds 2 (new) 1979 Caballero Home Video 1 O Ultra Flesh 1980 Collector's Video LezOnly 1 DRO Very Best of Seka 2000 VCX LezOnly DRO Wine Me, Dine Me, 69 Me 1983 VCA Facial DO
Women are involved in the film industry in all roles, including as film directors, actresses, cinematographers, film producers, film critics, and other film industry professions, though women have been underrepresented in creative positions. Most English-language academic study and media coverage focus on the issue in the US film industry (Hollywood), although inequalities also exist in other countries.[1][2] This underrepresentation has been called the "celluloid ceiling", a variant on the employment discrimination term "glass ceiling". Women have always had a presence in film acting, but have consistently been underrepresented, and on average significantly less well paid.[3][4] On the other hand, many key roles in filmmaking were for many decades done almost entirely by men, such as directors and cinematographers. In more recent times, women have made inroads and made contributions to many of these fields.

Contents 1 Pay and representation 2 Women's cinema 3 Women's films 3.1 Chick flicks 3.2 Girlfriend flicks 3.3 Female buddy film 4 Notable individuals 4.1 Film directors 4.2 Cinematographers 4.3 Studio executives 5 Organizations and awards 5.1 Alliance of Women Film Journalists 5.2 Geena Davis Institute on Gender in Media 5.3 New York Women in Film & Television 5.4 Women Film Critics Circle 5.5 Women in Film 5.6 Women in Film and Television International 5.7 Women's International Film and Arts Festival 5.8 WITASWAN and International SWAN Day 5.9 Women Make Movies 5.10 Studio D 6 Feminist film theory 7 Bechdel test 8 See also 9 References 10 Further reading Pay and representation The 2013 Celluloid Ceiling Report conducted by the Center for the Study of Women in Television and Film at San Diego State University collected statistics from 2,813 individuals employed by the 250 top domestic grossing films of 2012.[5] According to the report, women accounted for:[5] 18% of all directors, executive producers, producers, writers, cinematographers, and editors. This reflected no change from 2011 and only a 1% increase from 1998. 9% of all directors. 15% of writers. 25% of all producers. 20% of all editors. 2% of all cinematographers. 38% of films employed 0 or 1 woman in the roles considered, 23% employed 2 women, 28% employed 3 to 5 women, and 10% employed 6 to 9 women. A New York Times article stated that only 15% of the top films in 2013 had women for a lead acting role.[6] The author of the study noted that, "The percentage of female speaking roles has not increased much since the 1940s, when they hovered around 25 percent to 28 percent." "Since 1998, women’s representation in behind-the-scenes roles other than directing has gone up just 1 percent." Women "...directed the same percent of the 250 top-grossing films in 2012 (9 percent) as they did in 1998."[3] In 2015, Forbes reported that "...just 21 of the 100 top-grossing films of 2014 featured a female lead or co-lead, while only 28.1% of characters in 100 top-grossing films were female... This means it’s much rarer for women to get the sort of blockbuster role which would warrant the massive backend deals many male counterparts demand (Tom Cruise in Mission: Impossible or Robert Downey Jr. in Iron Man, for example)".[7] In the U.S., there is an "industry-wide [gap] in salaries of all scales. On average, white women get paid 78 cents to every dollar a white man makes, while Hispanic women earn 56 cents to a white male’s dollar, Black women 64 cents and Native American women just 59 cents to that."[7] Forbes' analysis of US acting salaries in 2013 determined that the "...men on Forbes’ list of top-paid actors for that year made 2½ times as much money as the top-paid actresses. That means that Hollywood's best-compensated actresses made just 40 cents for every dollar that the best-compensated men made."[3] Studies have shown that "...age and gender discrimination [together] can yield an even more significant wage gap." Young women actresses tend to make more than young male actors. However, "older [male] actors make more than their female equals" in age, with "female movie stars mak[ing] the most money on average per film at age 34, while male stars earn the most at 51."[4] According to actress Jennifer Lawrence, "...women negotiating for higher pay worry about seeming 'difficult' or 'spoiled.'"[7] In the 2019 update, the center for the Study of Women in Television and Film has been studying women's employment with the top grossing films and TV for over 20 years. The 2018 study reported women make up (from the top 250 films):[8] 8% of directors 16% of writers 4% of cinematographers 26% of producers 21% of executive producers 21% of editors. According to the Study of Women in Television and Film at San Diego State University, male characters continued to control the big screen in 2018. about 35% of films contained 10 or more female characters in dialogue roles about 82% had 10 or more male characters in speaking roles. It has only increase 1 percentage point from 34% since 2017. The percentage of highest grossing films featuring female protagonists increased to 31% in 2018 but before it was 37% in 2017. This shows how it has decreases and how women in media are being seen less. Black females increased from 16% in 2017 to 21% in 2018 Latinas decreased from 7% in 2017 to 4% in 2018 Asian females increased from 7% in 2017 to 10% in 2018. At the 2018 Cannes Film Festival, 82 women stood up for gender inequality within the festival. They all gathered on the steps during the premiere of a film called “Girls of the Sun,” directed by Eva Husson, who was one of the few female directors nominated for “Palme d’Or” award. There were specifically 82 women, because that is the amount of female directors who have been nominated for awards at Cannes over the years, compared to 1,645 male directors nominated films.[9] Women's cinema Main article: Women's cinema Nancy Meyers writer, producer and director of several big-screen successes. Women's cinema film directors and, to a lesser degree, the work of other women behind the camera such as cinematographers and screenwriters.[10][10] Although the work of women film editors, costume designers, and production designers is usually not considered to be decisive enough to justify the term "women's cinema", it does have a large influence on the visual impression of any movie. Some of the most distinguished women directors have tried to avoid the association with women's cinema in the fear of marginalization and ideological controversy.[11] Alice Guy-Blaché made the first narrative film La Fée aux Choux in 1896.[12] In Sweden, Anna Hofman-Uddgren debuted as the first female film director when she produced the silent film Stockholmsfrestelser in 1911.[13] Lois Weber was a successful film director of the silent era. Women screenwriters included Frances Marion, Anita Loos and June Mathis. In the 1920s, large banks assumed control of Hollywood production companies. Dorothy Arzner was the only woman filmmaker in this era. Germaine Dulac was a leading member of the French avant-garde film movement after World War I and Maya Deren did experimental cinema. Shirley Clarke was an independent American filmmaker in the 1950s. The National Film Board of Canada allowed many women to produce non-commercial films. Joyce Wieland was a Canadian experimental film maker. Early feminist films often focused on personal experiences. Wanda (1970) by Barbara Loden is a portrait of alienation. Resisting the oppression of female sexuality was one of the core goals of second wave feminism. Women's films explored female sexuality, including the films of Birgit Hein, Nelly Kaplan, Catherine Breillat and Barbara Hammer. Women film directors also documented the participation of women in anti-imperialist movements. Kathryn Bigelow (born 1951)[14] is an American director, producer, and writer. With The Hurt Locker (2009), Bigelow became the first woman to win the Academy Award for Best Director.[15] Director Kathryn Bigelow works in male-dominated genres like science fiction, action, and horror. She became the first woman to win both the Academy Award for Best Director and the Directors Guild of America Award in 2010 for The Hurt Locker.[16][17] Catherine Hardwicke's films have grossed a cumulative total of $551.8 million.[18] Her most successful films are Twilight (2008) and Red Riding Hood (2011). Nancy Meyers has had success with her five features: The Parent Trap (1998), What Women Want (2000), Something's Gotta Give (2003), The Holiday (2006) and It's Complicated (2009) which have amassed $1,157.2 million worldwide.[19] Before she started her directorial career she wrote some other successful films like Private Benjamin (1980) for which she was nominated for the Academy Award for Best Original Screenplay, Baby Boom (1987) or Father of the Bride (1991).[20] Sofia Coppola is a critically acclaimed director who has also had financial success. Her award-winning film Lost in Translation (2003) grossed over $119 million. Patty Jenkins won the Directors Guild of America award for Outstanding Directing in Dramatic Series. Julie Taymor film Frida about revered Mexican artist Frida Kahlo was nominated for five Academy Awards, and her "1960s Beatles jukebox musical" Across the Universe won approval from both Yoko Ono and Paul McCartney. These films developed her reputation for respectful handling of the sensitive legacy of artists amongst their fans. Julie Dash's Daughters of the Dust (1991) was the first full-length film with general theatrical release written and directed by an African American woman. Since then there have been several African women who have written, produced or directed films with national release. In 1994 Darnell Martin became the first African American woman to write and direct a film produced by a major studio when Columbia Pictures backed I Like It Like That. Nnegest Likké is the first African American woman to write, direct and act in a full-length movie released by a major studio, Phat Girlz (2006) starring Jimmy Jean-Louis and Mo'Nique. Patricia Cardoso was the first Latina woman to receive a Sundance Audience Award and a Student Academy Award. Cardoso's feature film Real Women Have Curves (2002) was a box office and critical success and has become a landmark of Latinx cinema. In 2019, Real Women Have Curves was selected by the Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant". Patricia Riggen is best known for directing the 2007 film Under the Same Moon and the 2016 film Miracles from Heaven. The film Miracles from Heaven become the 8th highest-grossing Christian film in the United States and the highest by a women director. Natalia Almada first feature film, "Everything Else (Todo lo demás)" (2016) was funded in part by a MacArthur Fellowship making her the first Latina filmmaker to earn this distinction. Aurora Guerrero has directed award-winning short narrative films, including Pura Lengua (pure tongue) at the 2005 Sundance Film Festival and Viernes Girl (Friday Girl) was the winner of the 2006 HBO/NYLIFF short film competition. Wonder Woman became DC's first female-led superhero film. Directed by Patty Jenkins, the film starred Gal Gadot as Princess Diana, an immortal warrior who sets out to stop World War I, believing the conflict was started by the longtime enemy of the Amazons, Ares, after American pilot and spy Steve Trevor crash-lands on their island Themyscira and informs her about it. The film grossed over $800 million. Captain Marvel became Marvel's first female-led superhero film. Directed by Anna Boden and Ryan Fleck, the film starred Brie Larson as Carol Danvers, a pilot turned Kree superhero who must discover her forgotten past and help save Earth from alien invasion. The film grossed over $1 billion making it the seventh Marvel film to reach that milestone.[21] Women's films Bette Davis and Henry Fonda in Jezebel (1938), one of the quintessential woman's films. Davis plays a Southern belle who loses her fiancé (Fonda) and her social standing when she defies conventions. She redeems herself by self-sacrifice.[22] A woman's film is a film genre which includes women-centered narratives, female protagonists and is designed to appeal to a female audience. Woman's films usually portray "women's concerns" such as problems revolving around domestic life, the family, motherhood, self-sacrifice, and romance.[23] These films were produced from the silent era through the 1950s and early 1960s, but were most popular in the 1930s and 1940s, reaching their zenith during World War II. Although Hollywood continued to make films characterized by some of the elements of the traditional woman's film in the second half of the 20th century, the term itself largely disappeared in the 1960s. The work of directors George Cukor, Douglas Sirk, Max Ophüls, and Josef von Sternberg has been associated with the woman's film genre.[24] Joan Crawford, Bette Davis, and Barbara Stanwyck were some of the genre's most prolific stars.[25] The beginnings of the genre can be traced back to D. W. Griffith's silent films. Film historians and critics defined the genre and canon in retrospect. Before the woman's film became an established genre in the 1980s, many of the classic woman's films were referred to as melodramas. Chick flicks Main article: Chick flicks Chick flick is a slang term for the film genre dealing mainly with love and romance and is targeted to a female audience.[26][27] Feminists such as Gloria Steinem have objected to terms such as "chick flick" and the related term "chick lit"[28] and a film critic has called the term "chick flick" derogatory.[29] It can be specifically defined as a genre in which a woman is the protagonist. Although many types of films may be directed toward the female gender, "chick flick" is typically used only in reference to films that emotion or contain themes that are relationship-based (although not necessarily romantic as many other themes may be present). Chick flicks often are released en masse around Valentine's Day.[30][31] The equivalent for male audiences is the guy-cry film. Generally, a chick flick is a film designed to have an innate appeal to women, typically young women.[31] Defining a chick flick is, as the New York Times has stated, more of a parlor game than a science.[32] These films are generally held in popular culture as having formulaic, paint-by-numbers plot lines and characters. This makes usage of the term "problematic" for implying "frivolity, artlessness, and utter commercialism", according to ReelzChannel.[30] However, several chick flicks have received high critical acclaim for their stories and performances. For example, the 1983 film Terms of Endearment received Academy Awards for Best Screenplay, Best Picture, Best Director, Best Actress, and Best Actor in a Supporting Role

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