This article addresses the celluloid ceiling in regard to female Australian film makers, with references to Australian pop culture and media.[1]
This article explores the reasons that even when women do overcome the barriers to success in film making, they are often barred from the biggest grossing types of film. They are instead limited to catering to small, special-interest types of audiences.[2]
This article talks about ways that women are attempting to raise the next generation in a way that creates places for women in film making. The Women's Film & Art Foundation, started by Helena Lumme, is an organization that is working toward broadcasting the voices of women and minorities in film, working with colleges, writing books, and making documentaries.[3]
This article illustrates Women in Film's (WIF) efforts toward increasing the influence and number of women in film. Some examples of programs they have instituted are Mix and Match Cafes, the Film Finishing Fund, a PSA program, and the Women in Film Foundation. They hold conferences, such as Women in Film Conference on Ageism Committee, as well as have ongoing projects like the Women in Transition film series.[4]
This article discusses the gains that women have made in the film industry during recent years, in context of existing presence of the celluloid ceiling and the inequality that still exists.[5]
This is an LA Times article that compares the numbers of women in high profile jobs, such as Fortune 500 and engineering, and compares the statistics of the likelihood of a woman working in the film industry.[6]
This article covers a few rising women who have had starring or producing roles in recent acclaimed media, presenting them as upcoming breakthroughs in the celluloid ceiling. All five were Women in Film's (WIF) honorees.[7]
This article is about empowering girls and promoting activism for breaking the celluloid ceiling. It discusses many examples of groups that are working toward educating and equipping women as filmmakers.[8]
This article is a review and history of a documentary made by Gail Vanstone about the Canadian National Film Board Studio D, titled "D is for Daring: The Women Behind the Scenes of Studio D". Studio D was an entirely female film studio, a revolutionary feat in the film industry.[9]
Epstein, Michael M. "." Television Quarterly 30.1 (1999): n. pag. MasterFILE Premier. Web. 21 Apr. 2013. The author of this article proposes that the television show Ally McBeal broke the celluloid ceiling of women's representation in law enforcement centered shows. He cites many supporting reasons as well as a few other shows, such as The Practice and Felicity, which have followed suit in their portrayal of women in law.[10]
Hankin, Kelly. "And Introducing...The Female Director: Documentaries about Women Filmmakers as Feminist Activism." NWSA Journal 19.1 (2006): 59-88. Contemporary Women's Issues. Web. 21 Apr. 2013. This article broaches the need to increase opportunities and visibility for woman filmmakers, not only by "break[ing] through the celluloid ceiling" but also to redefine feminism by diversifying the representation of women in the media. The author goes on to examine some of the perceived differences in men's and women's film making.
Lauzen, Martha M. "Contemplating the Celluloid Ceiling." Media Report to Women 37.3 (2009): 22-24. ProQuest. Web. 21 Apr. 2013. This article explores the myths behind the under employment of women in Hollywood, including the belief that women do not pursue the opportunities presented to them or are not interested in them, as well as "women are simply bad box office". Ruby, Jennie. "Women in Media." Off Our Backs 37.1 (2007): 14-16. JSTOR. Web. 21 Apr. 2013. This article provides an excellent list of percentages and statistics about women's involvement and portrayal in television, movies, video games, and other forms of media.
Rivalland, Monique. "Goodbye 'Celluloid Ceiling': Female Directors Take Center Stage." CNN. Cable News Network, 25 Feb. 2013. Web. 21 Apr. 2013. Despite a deceiving title, this CNN article discusses presence of the celluloid ceiling in mainstream Hollywood as opposed to it's presence in the "independent sector" of film making. It asks some prominent women in media about the biggest perpetuating conditions of the celluloid ceiling, such as financial barriers and the appeal of "women's movies".
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I appreciate the brief summaries of the newspaper articles you are highlighting in this article. However I think you should elaborate on a few of them like the "Women Lead Entertainment Unions..." The Outline looks very elaborate. Looking forward to the final product.