brave-1024list of filmsThis is ultimately a glass-20%-full question.

I have now re-read A.O. Scott’s NY Times Magazine piece, “Topsy Turvy,” several times — a piece that leads with the subtitle, “this year, the traditional Hollywood hierarchy was overturned. Heroines ruled.” I want to know exactly how he came up with that subtitle, because I don’t think the article supports it. Nor does the evidence.

Now, I have seen a lot of really good films this year — films that feature terrific female leads, stress women’s experience in fresh ways, highlight gay/trans characters, and are sometimes directed by women. Just scanning over this list makes me feel encouraged. Scott particularly mentions some of these: Brave, The Hunger Games, and Beasts of the Southern Wild. Let us not forget, too, the box office success of The Twilight Saga: Breaking Dawn Part II and Snow White and the Huntsman, two films that give me less encouragement but which nevertheless get women into the equation.

Four of those movies — four! — were among the 15 highest-grossing films of 2012. This is very good, for when Hollywood sees female-oriented or -directed films earning big bucks, it’s more likely to fund future projects.

But let’s not forget those other top-grossing films: the endless stream of supremely dudely fare like Ted, The Hobbit, and the superhero business in which women play the most conventional roles of all: The Avengers, Skyfall, Amazing Spider-Man, and so on. I give Anne Hathaway props for her role in The Dark Knight Rises but she remains only an interesting twist on the usual female suspects in such vehicles.

If I say this was a good year for women onscreen (and behind the camera), is that impression based solely on a perceived slight uptick from the usual — which is that women get fewer leads, fewer lines, a smaller range of interesting parts, and far less opportunities to write and direct than men? Is this glass 20% full, or 80% empty?botsw-image-3

When I look back at 2012 I see new levels of schizophrenia about women in public life. When Lena Dunham’s HBO series Girls was released, she was attacked on all sides. Jennifer Lawrence was termed too fleshy for the role in The Hunger Games. But movies & TV were only the tip of the iceberg. Let’s not forget the public schizophrenia outside the world of film. Sandra Fluke’s public flogging at the hands of Rush Limbaugh; the massive troll campaign against cultural critic Anita Sarkeesian, who sought to scrutinize gender in video games; the revival of anti-birth control measures; unnecessary trans-vaginal ultrasounds required of women seeking abortions in Texas and (almost) Virginia; the crazy anti-woman, anti-gay GOP platform during the 2012 election; the public whack-job discussion of rape by prominent Republicans running for office.

Of course, those two politicians lost. But ladies, you’re wrong if you think this is the end of efforts to ban abortion altogether or to humiliate women who seek sexual and political equality. Let’s not kid ourselves by thinking that Hollywood doesn’t reflect that schizophrenia, at least on some level.

Was this year better than last year for women in film? Tough call. Last year had Bridesmaids, The Help, Girl with the Dragon Tattoo, and Bad Teacher (oh yeah, and another Twilight) all near the top of the list of highest-grossing films, plus all those amazing foreign and independent films that delighted me during my La Jefita Awards. And hello, The Iron Lady. Maybe I can say 2011 and 2012 were equally interesting years for those of us willing to seek out and draw attention to the topic.Hunger-Games_13

Most important is the question, do these two strong years indicate a change in emphasis in Hollywood? Well, no. Sure, Pixar finally gave us a female lead in Brave. Does that mean they’ll have another one soon? I doubt it. We’ll get more Hunger Games, but we’ll also get more superhero fare in which women are negligible and/or tokens. Will Cannes allow even one single female director into competition? It’s a crap shoot; that film festival didn’t have a single female director in 2012. It looks good that Kathryn Bigelow will get nominated for Best Director at this year’s Oscars. But is that really a sign of a shift?

The best I can hope for is that we have a third good year for women in a row. But when I say good, I don’t mean that opportunities for women/ gay/ trans peoples are improving in big ways. It’s a fragile thing, this good year designation. The ever reliable Stacy L. Smith of USC’s Annenberg School, who crunches these numbers all the time, simply terms women onscreen “sidelined, sexy, and subordinate” and doesn’t dicker with minute distinctions.

Let’s just say that we have little evidence to trumpet a “Hollywood hierarchy was overturned” narrative, Mr. Scott. But I’m hoping for a good year in 2013 anyway — and by good, I mean that it’ll look a teensy bit better than 2012.

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They’re vastly underrepresented in all aspects of filmmaking, a new study shows us.  Of the 100 top-grossing films made in 2007, only 2.7% of the directors were women, while only 11.2% of the writers and 20.5% of the producers were women.  This radical gender imbalance is likely largely the reason why women characters onscreen are so few — and generally so shallow or used as eye candy.  As the authors of this study show, “the lack of gender symmetry on-screen” (only about 20% of films feature a solo female as the main character) might be at least partly explained by “the biological sex of behind-the-camera content creators.”

Director Aparna Sen

This study led by Stacy L. Smith of USC shows that overall, men in prestigious positions behind the camera outnumber women by five to one, and women are most profoundly underrepresented in the role of film director.  Yet when women do serve as writers, directors, and producers, their films are far more likely to show girls and women on screen.

Director Lucrecia Martel

The study is hardly a feminist rant, especially considering that its authors specifically reject a particularly ignorant New York Times piece last year that claimed, preposterously, that a small group of female screenwriters now constitutes a “fempire” of their own.  (Can we please have a moratorium on these words?  I’m as sick of “mansplaining” as I am of “fempires.”)  Indeed, the study’s authors frequently imply that they expect things will improve for women behind the camera as in front of it.  “As women inhabit these prestigious posts, we may begin to witness a representational sea change on-screen,” they write in a representative line.  Smith et als, let me conduct your rant for you:  considering it’s 2010, when exactly is this sea change going to occur?

Jane Campion directing "Bright Star"

Look: there is no “fempire” of women behind the camera.  Even more due to this study, we must celebrate Kathryn Bigelow’s Academy Awards win as a Pyrrhic victory, as it was one of those few films that featured no women characters at all.