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Women's Media
III. Women's Media Articles & News
Contents:
"Women in Media," An off our backs Special
Female Directors Find Closed Doors in Hollywood, by Ellie Blalock, WIFP
IV. Women's Media History Resources
Women Riding Waves
A discussion of women on the radio
By Laura Forester, WIFP
“Do you not know I am a woman? When I think, I must speak.” Shakespeare so aptly captured the nature of a woman’s desire to voice her opinion. This desire for an exchange of ideas and voice are the foundations and motivations that brought women into the world of communication.
On the waves of the radio, the voices of women can be heard cultivating innovative ideas about progress, encouraging others to broaden their horizons, and enjoying the shared intimacy of laughter. Communication and commitment to media democracy has allowed for the flourishing of women in broadcasting.
Eleanor Roosevelt is probably the most well-known commercial radio broadcaster from the 1930s and 1940s. Her ability to obtain this type of prominent position was very much due to her place as First Lady (1933-1945). Although she had a shoe in because of her status she opened doors for women who were unrecognized in the patriarchic industry. Mrs. Roosevelt's work raised societal awareness.
Women in atypical occupations, like newsreaders, during these early days of radio, encountered the lack of privileges we have today. Women faced the hardship of not having equality legislation and uninhibited critical attacks by journalists who believed that radio should be a man's job. Despite opposition, women refused to accept a limited voice.
Women were involved in broadcasting from the onset of the industry, including pioneers like Mrs. Roosevelt. However, the awareness of these women and their positions are not as acknowledged as they should be. Historians tend to concentrate on the technological expansion, which was mainly conducted by male inventors, and tend to by pass the important and necessary contributions of the women of early broadcasting.
Now, there are multiple women in multiple fields of communications. However, these women, mostly, are still working at companies that are still owned by men. There are few who are voicing their opinions and demanding proper appreciation.
These women are succeeding, but what is more significant, is they proved to skeptics that when given the chance, a qualified woman could get the job done. Their efforts earned the respect of their industry, and they served as role models in a society where few young girls thought they could ever work in the media.
The achievements of media pioneers need to be remembered. Currently, there is an imbalance in the media work force that also needs to be voiced and brought into awareness.
Media organizations have been formed to address the absence of female-friendly talk programming on commercial radio today. Despite this want for women owned shows, rarely are women found to be hosts of their own shows, and hardly any of the program directors responsible for programming are women.
In a report by Edie Hillard, on the status of women in the radio industry, some staggering information was found.
Stations Owned by MEN WOMEN TOTAL
Number 11,401 483 11,884
Percent 96.6 % 3.4% 100%
Advertisers love reaching women – and what better than an audience that is hanging on every word? Women buy 83% of all products and services, make 53% of all investment decisions, and start over 70% of new businesses. Why the discrepancy in radio airtime?
The radio industry is a highly concentrated industry, and so unfortunately, more female-based shows cannot get carriage on stations owned by most of the major radio groups. These independent women are mostly in small markets, making it almost impossible to prove that the concept of feminist ideas on major waves works. GreenStone Media, an organization founded by Gloria Steinem and Jane Fonda, reached out to create broadcasting that fulfilled the need for female inspired and produced radio programs. This organization created great programming, tragically, it, like other independent women organizations, did not have the capital to press on. GreenStone Media discontinued broadcasting in August 2007. At their height, GreenStone produced 63 hours per week of live, female-targeted talk programming to radio station affiliates.
For those who desire to have more women riding radio waves, let your local radio station know how much you enjoy those kinds of programs, and encourage them to have the great courage to provide their markets with new and innovative programming.
Women need a voice on commercial radio, and radio needs women’s voices.
All others have to do is listen!
__________
RADIO AND WOMEN: A Report on the Status of Women In the Radio Industry
By Edie Hilliard
2532 E. McGraw Street
Seattle, WA 98112
206 329 6058
ediehilliard@comcast.net
http://www.radiomiw.com/
http://www.greenstonemedia.com/
“GreenStone is good news, smart personalities, and important topics to help balance your work, family, and life. We're about connection, community, and fun. Go ahead! Talk. Listen. Connect.”
* This organization is no longer active – but has archived their information.
Women's Radio Fund
PO Box 242048
Memphis, TN 38124
USA
Website: http://www.womensradiofund.org
Female Directors Find Closed Doors in Hollywood
by Ellie Blalock, WIFP
July 2007
When famed director Jane Campion was honored at the annual Cannes film festival, the most salient issue on her mind was not her own success, but the fact that she is sadly still an anomaly within the industry. Campion, the only woman ever to receive the Cannes Palme d'Or award, produced a short film for the occasion which depicted a woman dressed in an insect costume getting stomped upon inside a movie theater. The symbolism is painfully obvious, and was echoed when Campion spoke later, noting that in the film industry "men control the money, and they decide who they're going to give it to." Campion's recent comments highlight the fact that, even as feminism has changed society and the media radically, the film industry remains remarkably stuck in the past. The U.S. Senate, in fact, is more progressive in terms of gender equality than Hollywood. Currently, women comprise 16 percent of senators whereas, according to a study by Martha Lauzen of San Diego State University, women made up only seven percent of directors of the top 250 movies in 2005. Those who write on this issue feel that the inequality can be explained through prejudice from mostly-male studio executives and subconscious self-sabotage from women themselves. Whatever the reason, the lack of women in film is a problem that can only be solved by greater support for female directors who, if given more power, could help create greater legitimacy for women as artists and share through their films the realities of the female condition.
Lauzen's study, aptly named "The Celluloid Ceiling," examines the extent to which men continue to dominate movie-making. Going beyond directing, Lauzen shows that the percentage of women employed in "key behind-the-scenes roles" has remained static at around 17 percent between 1998 and 2005. This is certainly not for lack of trying, argues Michelle Goldberg of the online magazine salon.com. Film schools, she says, now graduate equal numbers of men and women. The reasons why these women do not reach success in Hollywood are "a complex mix of economics, sexism, the tastes of executives and even self-sabotage," says Goldberg. Prejudice against females often begins in film school, where male professors discourage female students simply because they can not relate to their work.
Another roadblock for the potential female director is finding a financier within the film industry's "old boys' club," where attempts at networking are often seen as flirting. Male executives also tend to look for "fantasy images of their younger selves" in both the people and the films that they finance, says Mary Harron, director of the documentary "I Shot Andy Warhol." This means it is extremely difficult for a film directed by a woman, particularly if it examines female issues or centers on a female character, to grab the attention of a wealthy male executive when other directors are offering highly-marketable action movies instead.
Many studio executives offer as an excuse the false notion that movies with a female focus make less money and that women, who they say see fewer films, are a less lucrative audience. Lauzen counters that "the notion that films made by women don't earn as much just doesn't hold up." According to Goldberg's piece, adult women are in fact the biggest market in the world. She adds that the support of teenage girls was critical in making 1997's "Titanic" such a hit. Women themselves are also to blame somewhat for their own lack of success. Allison Anders, another director, writes that many women fail to "strike while the iron is hot" by not already having a new project in the works should a current one find success. Other barriers such as a defeatist view on the potential for success or the need to balance work with family life, an issue that is typically much less pressing for men, can also hold women back.
he advancement of women in the media has helped to broaden perspectives offered to the public and in turn to create even greater gender equality. Greater female representation in film could be just as powerful. In an effort to help female directors struggling in the industry, we should all look to the First Weekenders Group, which maintains an e-mail list of over 1,600 women whom it notifies whenever films directed by other women open in theaters. Support through greater attendance on opening weekends could give women directors the clout they need to find financing and then success in Hollywood. As Campion herself explained at Cannes, "the feminine is such a strong and important aspect to our humanity," an aspect that deserves to be integrated more fully into art and film.
Women's Media Resources
IV. History of Women's Media
Online: A History of Women's Media (1963-1983) by Martha Allen
Online article on Women of Color Media, 1968-1988, by Kimberlie Kranich
Dr. Danna Walker published an article in the Spring 2007 issue of American Journalism, A Journal of Media History entitled "They Had a Satellite and They Knew How to Use It: How Donna Allen Led Women to the Forefront of the Technological Revolution in Communication."
Women's Periodicals in the United States, Social and Political Issues, edited by Kathleen Endres and Therese Lueck (Greenwood Press, CT, 1996) is another great resource for the history of women's media. This invaluable book includes chapters on some the earliest women's periodicals along with ones that arise in the late 1960s and thereafter.
For a listing of women's periodicals published in Washington, DC, between 1974 and 2003, click here.
Some historic women's media are still available, including:
No More Fun and Games: A Journal of Female Liberation
Black Belt Woman: The Magazine of Women in the Martial Arts and Self Defense
Historic Originals program of WIFP: Media Report to Women(1972-1987), Directory of Women's Media (1975-1989, 2002-), The Celibate Woman, A Journal for Women Who Are Celibate or Considering This Liberating Way of Relating to Others (1982-1988), Paid My Dues, A Journal of Women and Music and more.
1940 Calvert Street, NW
Washington, DC 20009-1502
phone: 202-265-6707
www.wifp.org