好萊塢的性別歧視

好萊塢的性別歧視早已不是什么新鮮事。從索尼影業被黑客攻擊后泄露出男女高管巨大薪資差距，到報告公布出女導演和女制片幾十年未變的可憐比例，再到女演員們最被關心的問題永遠離不開穿什么，好萊塢的性別歧視問題正因持續被曝光而逐漸受到人們的關注。當紅的一線女星作為女主角的電影片酬居然敵不過同一部影片中作為男配角的二線男星的片酬，這令人大為吃驚，然而這只是好萊塢性別歧視現象的冰山一角，好萊塢臺前幕后的女性會遭遇到哪些不公正的待遇，其背后的原因何在？讓我們來一一探究！

How Hollywood Keeps Out Women

omen are not 1）tapped for power jobs in Hollywood. Their numbers trail far behind the percentage of females in executive positions in other heavily male-dominated endeavors， including the military， tech， finance， government， science and engineering. In 2013， 1.9 percent of the directors of Hollywood’s 100 top-grossing films were female. In 2011， women held 7.1 percent of U.S. military general and 2）admiral posts， 20 percent of U.S. Senate seats and more than 20 percent of leadership roles at Twitter and Facebook—and both companies now face gender-discrimination lawsuits.

At top U.S. film schools， women and men are almost equally represented. Females account for 46 percent of USC’s School of Cinematic Arts graduate students. At New York University’s Tisch School of the Arts， 51 percent of graduate students are women.

Yet between the day these women graduate and the day， a few years later， that their male college peers begin showing up in film credits， most women filmmakers vanish into 3）obscurity.

A study 4）commissioned by the Sundance Institute and Women in Film Los Angeles， found that women and men who graduate from Sundance’s prestigious labs in Utah finish their films at the same rate and get their films accepted to the world’s top independent festivals at the same rate.

Then something unsettling happens. After competing at Sundance and other big festivals， the men who win awards are often tapped to direct for the Big Six： Disney， Universal， Warner Bros.， Paramount， Sony and 20th Century Fox. But Big Six studio executives seem to ignore the award-winning female filmmakers， rarely inviting them to direct a picture.

Explanations for why studio executives and top agents tend to 5）snub talented women have been playing on repeat for decades. Since at least the 1970s， studio execs have 6）deflected discussion of themselves and pointed to the women. They contend that the pool of female talent is too small and that women are not interested in directing action and comic book movies—and have even suggested women can’t handle big budgets.

But Barbara Schock， chair of NYU’s graduate film program， says， “We train everybody in the whole range of filmmaking. I’m seeing no difference whatsoever in their abilities，” whether male or female.

Hollywood wasn’t always like this. When the film industry 7）coalesced in Los Angeles in the early 1900s， some of its most powerful players were women.

Screenwriter Frances Marion wrote nearly 200 films between 1915 and 1989， and often collaborated with other women. Lois Weber was one of early Hollywood’s most prolific and powerful directors， with more than 130 films to her credit.

But two events in the 1920s brought that glimmer of equality to a halt. In 1921， Roscoe“Fatty” Arbuckle was 8）implicated in the death of young actress Virginia Rappe. The Fatty Arbuckle scandal was used to create this public discussion of Hollywood encouraging young women to do things 9）unchaperoned. Then， beginning in 1929， Depression and Hollywood’s transition from silent films to talkies forced executives to deal with Wall Street for loans. Hollywood began answering to Wall Street， sidelining women because the financiers didn’t back them.

Between 1949 and 1979， the robust female talent behind the cameras all but disappeared. To watch films was to see a world made up of men， acting out men’s stories financed by men， written by men and filmed by men， with women often thrown in as sidekicks or arm candy.

In the late 1960s and 1970s， women started fighting back. The Women’s Committee of the Screen Actors Guild was formed in 1972. In 1973， activists founded the Committee of Women Writers at the Writers Guild of America.

In 1979， six female directors established the Women’s Steering Committee at the Directors Guild of America. Producer-director Victoria Hochberg was one of the six. “We had all reached a certain level of success，” says Hochberg. “I had been nominated for an Emmy， one of us had won an Oscar and another had won a 10）Peabody…but at a certain point， it just came out. ‘Are you working？’ ‘No.’ ‘Are you working？’ ‘No.’”

Hochberg and her group dug up the data showing that just 14 films had been directed by women in the previous 30 years. “Now that，” she says， “is a startling statistic.” They confronted studio executives but were ignored. So in the early 1980s， they sued. That got executives’ attention： Between 1985 and 1995， the number of films directed by women skyrocketed to 16 percent from nearly zero.

The Daily Beast revealed last December that Jennifer Lawrence and Amy Adams， the female stars of American Hustle， were paid far less than even a secondary male actor in the film， Jeremy Renner.

Another example of the double standard： Women

with a box office failure often don’t get hired again， but men who fail do. “If a movie starring or written by or directed by a man 11）flops， people don’t blame the gender of the creator，” Diablo Cody says. “It’s just kind of weird how the blame is always immediately placed on female directors.”

According to Mina Cikara， an assistant professor of psychology at Harvard University， research shows that change starts at the top. “If the most powerful person at the table neglects to even look in the direction of the sole female fleet member，” she says， “then yes， other people are going to pick up on that info and 12）follow suit.”

Hollywood’s top-level executives do just that. They have maintained radio silence on the industry’s gender imbalance issue for decades.

Why do executives in one of the world’s most progressive and cosmopolitan communities make decisions like these？

Susanne Quadflieg， a neuroscientist and an expert in gender bias at Bristol University in London， explained that MRI-based brain studies show stereotypes are activated in about 170 milliseconds. No matter how open-minded we fancy ourselves， these biases kick in without our realizing it.

Quadflieg says a process known as “implicit stereotyping” allows these split-second biases to kick in despite political or personal beliefs. When a woman 13）defies these biased expectations， “You’re very good at coming up with reasons for why that might be： ‘Oh， her dad was a professor， too.’ But with a man， they just think， ‘OK， yeah， there’s a man who’s good in math. Big deal.’”

The research also points to an elegantly straightforward solution to this problem that has loomed over Hollywood since the 1940s： Studio executives and top agents should just hire more women.

“If you had a lot of exposure to these unexpected roles for women， you would， over time， adjust your expectation，” Quadflieg says. “The easiest way to overcome stereotypical expectations is to get them repeatedly violated.”

在好萊塢，擔當重要職位的女性并不多。好萊塢的女性高管數量遠遠落后于其他由男性主宰的行業，包括軍隊、技術、金融、政府、科學和建造工程等行業。2013年，好萊塢總票房前100名影片的導演中僅有1.9%是女性。而在2011年，女性占據了7.1%的美國軍事將領和海軍上將的崗位，20%的美國參議院席位以及超過20%的Twitter和Facebook領導角色——而現在這兩家公司都面臨著性別歧視訴訟。

在美國頂級的電影學院中，男女學生比例基本持平。南加州大學電影藝術學院畢業生中女性占了46%。在紐約大學提斯克藝術學院，51%的畢業生是女性。

然而，從這些女性畢業的那天起，到之后的幾年間，她們的男性校友就已開始在電影行業中嶄露頭角，而大多數的女性電影制作人則逐漸銷聲匿跡。

圣丹斯協會和洛杉磯女性電影人協會組織進行的一項研究顯示，從猶他州著名的圣丹斯實驗室畢業的男女比例相同，他們打入世界頂級獨立電影節的影片比例也相同。……