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The Celluloid Ceiling:
Behind-the-Scenes and On-Screen Employment of Women in the Top 250 Films of 2002
EXECUTIVE SUMMARY
___________________________

Martha M. Lauzen, Ph.D., School of Communication, San Diego State University,
San Diego, CA 92182

More than one out of five films released in 2002 employed no women directors, executive producers, producers, writers, cinematographers, or editors.

The percentage of women inhabiting the above stated roles dropped two percentage points in the last year, from 19% in 2001 to 17% in 2002. Men continued to direct more than 9 out of 10 films and women comprised only 1% of all cinematographers on the films considered.

On screen, male characters outnumbered females by more than two to one (72% males vs. 28% females). Seventy-seven percent (77%) of clearly identifiable protagonists were male and 16% were female. In general, female characters were younger and more likely to be identified by their marital status than their male counterparts.

The following summary provides employment figures for behind-the-scenes and on-screen women working on the top 250 domestic grossing films of 2002. It also provides a historical perspective on the employment of behind-the-scenes women, comparing 2002 figures with those from the last 16 years.

>>FIGURE 1 Comparison of Percentage of Women Employed in Top 100 and Top 250 Films of 2002

>>FIGURE 2 Historical Comparison of Percentage of Women Employed Behind the Scenes on Top 250 Films

>>FIGURE 3 Historical Comparison of Percentage of Women Employed Behind the Scenes on Top 100 Films

Findings/On-Screen Representation of Women:

* This study analyzed behind-the-scenes employment of 2,489 individuals working on 211 of the top 250 domestic grossing films (39 foreign films omitted) of 2002 with combined domestic box office grosses of approximately $8.9 billion.

* Women comprised 17% of all executive producers, producers, directors, writers, cinematographers, and editors working on the top 250 grossing films of 2002. This represents a decrease of two percentage points from 2001.

* Women accounted for 16% of all executive producers, producers, directors, writers, cinematographers, and editors working on the top 100 grossing films of 2002. This represents a decline of one percentage point from 2001.

* Twenty-two percent (22%) of the films released in 2002 employed no women directors, executive producers, producers, writers, cinematographers, or editors.

* The average film employed 2 women and 10 men in the roles considered.
A historical comparison of women’s employment on the top 250 films in 2002 and 1998 reveals that the percentages of women executive producers, directors, writers, and cinematographers have declined, the percentage of women editors has remained stable, and the percentage of women producers has increased (see Figure 2).

* A historical comparison of women’s employment on the top 100 films in 2002 with 1992 figures reveals substantial increases for women producers, modest gains for women editors, and virtually no movement for executive producers, directors, writers, and cinematographers (see Figure 3).

* Women comprised 15% of all executive producers working on the top 250 films and 14% of executive producers working on the top 100 films of 2002. Seventy percent (70%) of the top 250 films and 72% of the top 100 films had no female executive producers.

* Women accounted for 26% of all producers working on the top 250 films and 25% of those working on the top 100 films of 2002. Thirty-five percent (35%) of the top 250 films and top 100 films had no female producers.

* Women comprised 7% of all directors working on the top 250 films and top 100 films of 2002. Ninety-three percent (93%) of the top 250 films and 92% of the top 100 films had no female directors.

* Women accounted for 11% of writers working on the top 250 films and 9% of writers working on the top 100 films of 2002. Eighty-three percent (83%) of the top 250 films and 86% of the top 100 films had no female writers.

* Women comprised 1% of all cinematographers working on the top 250 and top 100 films of 2002. Ninety-nine percent (99%) of the top 250 films and top 100 films had no female cinematographers.

* Women accounted for 20% of all editors working on the top 250 films and 19% of editors working on the top 100 films of 2002. Seventy-eight percent (78%) of the top 250 films and 79% of the top 100 films had no female editors.

On-Screen Findings:

* This study analyzed 3,142 characters appearing in the top 100 domestic grossing films released in 2002.

* Overall, female characters were dramatically underrepresented in the films considered, with male characters outnumbering female characters by more than two to one. Seventy-two percent (72%) of all characters were male and 28% were female. Similarly, 73% of major characters were male and 27% were female.

* Seventy-seven percent (77%) of clearly identifiable protagonists were male, 16% were female, 6% were ensemble (male and female), and 1% was other (e.g., animals).

* The majority (73%) of female characters were white, followed by African American (15%), Hispanic (4%), Asian (3%), and other worldly characters (3%). Moviegoers were just as likely to see a female Asian character as a female other worldly character, such as an extra-terrestrial.

* The majority of female characters were in their 20s (24%) and 30s (28%). The majority of male characters were in their 30s (30%) and 40s (23%).

* Women over 40 accounted for 9% of all characters and 31% of female characters. In contrast, men over 40 accounted for 30% of all characters and 41% of male characters.

* Female characters were significantly more likely to be identified by their marital status, while men were more likely to be identified by their occupational status. Thirty-one percent (31%) of male’s marital status could not be identified, while 24% of female characters had an unknown marital status. In contrast, 26% of female’s occupational status could not be identified, while 16% of male characters had an unknown occupation.

* Considering major characters only, females comprised the majority of those characters with powerless occupations, such as job applicant, unemployed, or retail clerk. While female characters were more likely than males to hold positions of power over children, male characters were more likely than females to hold positions of power over adults.

* Among major characters only, males were significantly more likely to have an identifiable goal than females. Forty percent (40%) of female characters but only 29% of male characters did not have a goal. However, when female characters did have a goal, they were almost as likely to achieve that goal as their male counterparts.

* Considering major characters only, males were substantially more likely to hold roles as leaders than females. For example, 100% of religious leaders were male, 100% of media leaders were male, 98% of military leaders were male, 94% of heads of government agencies were male, 90% of business owners were male, and 85% of those holding public office were male.

* Films with women writers featured more female characters. When a film had no women writers, 27% of characters were female. When a film had at least one woman writer, 38% of characters were female.

* Films with women executive producers featured more female characters. When a film had no women executive producers, 26% of characters were female. When a film had at least one woman executive producer, 34% of characters were female.

→ Figure 1.
Comparison of Percentage of Women Employed in Top 100 and Top 250 Films of 2002

→ Figure 2.
Historical Comparison of Percentage of Women Employed Behind the Scenes on Top 250 Films

→ Figure 3.
Historical Comparison of Percentage of Women Employed Behind the Scenes on Top 100 Films