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Gender inequality in the Nordic film industry: Exploring above-the-line positions in film production Cover

Gender inequality in the Nordic film industry: Exploring above-the-line positions in film production

Nordic Journal of Media Studies
Volume 6 (2024): Issue 1 (August 2024)
By: Skadi Loist,  Martha Emilie Ehrich,  Sophie Radziwill and  Elizabeth Prommer  
Open Access
|Sep 2024

Figures & Tables

FIGURE 1

Number of films released and creative positions in the film industry by country, 2010–2020
Number of films released and creative positions in the film industry by country, 2010–2020

FIGURE 2

Share of women and men in key creative positions by country (per cent)Comments: For comparative reasons, the calculated mean in share of women and men in directing, writing, and producing for 19 Eurimages countries was included from the GEP Analysis project (see Appendix 2). The first three people listed each as directors and writers were coded, and the first four people listed as producers. Average for release years between 2010 and 2020.
Share of women and men in key creative positions by country (per cent)Comments: For comparative reasons, the calculated mean in share of women and men in directing, writing, and producing for 19 Eurimages countries was included from the GEP Analysis project (see Appendix 2). The first three people listed each as directors and writers were coded, and the first four people listed as producers. Average for release years between 2010 and 2020.

FIGURE 3

Share of women in directing, writing, and producing by country (per cent)Comments: The share of women in directing, writing, and producing positions was calculated for all five Nordic countries. The first three people listed each as directors and writers were coded, and the first four people listed as producers. Average for release years between 2010 and 2020.
Share of women in directing, writing, and producing by country (per cent)Comments: The share of women in directing, writing, and producing positions was calculated for all five Nordic countries. The first three people listed each as directors and writers were coded, and the first four people listed as producers. Average for release years between 2010 and 2020.

FIGURE 4

Gender of directing positions by country (per cent)Comments: Percentage of gendered directing positions for Denmark, Finland, Iceland, Norway, Sweden, and overall Nordic mean, grouped by release years 2010–2015 and 2016–2020.
Gender of directing positions by country (per cent)Comments: Percentage of gendered directing positions for Denmark, Finland, Iceland, Norway, Sweden, and overall Nordic mean, grouped by release years 2010–2015 and 2016–2020.

FIGURE 5

Gender of writing positions by country (per cent)Comments: Percentage of gendered writing positions for Denmark, Finland, Iceland, Norway, Sweden, and overall Nordic mean, grouped by release years 2010–2015 and 2016–2020.
Gender of writing positions by country (per cent)Comments: Percentage of gendered writing positions for Denmark, Finland, Iceland, Norway, Sweden, and overall Nordic mean, grouped by release years 2010–2015 and 2016–2020.

FIGURE 6

Gender of producing positions by country (per cent)Comments: Percentage of gendered producing positions for Denmark, Finland, Iceland, Norway, Sweden, and overall Nordic mean, grouped by release years 2010–2015 and 2016–2020.
Gender of producing positions by country (per cent)Comments: Percentage of gendered producing positions for Denmark, Finland, Iceland, Norway, Sweden, and overall Nordic mean, grouped by release years 2010–2015 and 2016–2020.

FIGURE A1

Team sizes in key creative positions in the Nordic countries (per cent)Comments: Share of team sizes (one, two, or three and more) within the key creative positions of directing, writing, and producing for the sample of films released between 2010 and 2020 in Denmnark, Finland, Iceland, Norway, and Sweden.
Team sizes in key creative positions in the Nordic countries (per cent)Comments: Share of team sizes (one, two, or three and more) within the key creative positions of directing, writing, and producing for the sample of films released between 2010 and 2020 in Denmnark, Finland, Iceland, Norway, and Sweden.

FIGURE A2

Gender representation in Eurimages film industries (per cent)Comments: Share of women and men in key creative positions (averaged for all years) in 19 Eurimages countries with an output of 11,099 films and 50,173 key creative positions. Calculated for all Eurimages film industries with at least ten films released per year in 90 per cent of all years from 2010 and 2020.
Gender representation in Eurimages film industries (per cent)Comments: Share of women and men in key creative positions (averaged for all years) in 19 Eurimages countries with an output of 11,099 films and 50,173 key creative positions. Calculated for all Eurimages film industries with at least ten films released per year in 90 per cent of all years from 2010 and 2020.

FIGURE A3

Ranking of Eurimages countries according to the proportion of women in middle and senior management positions, 2000–2020 (average per cent)
Ranking of Eurimages countries according to the proportion of women in middle and senior management positions, 2000–2020 (average per cent)

Variables to trace numerical representation of women and men in key creative positions

DirectingWritingProducing
Film AMW WM M W
Gender of positionsManTeam womenMixed-gender team
Share of men in each key creative position (%)100066.7
At least 50% of each key creative position is held by women010

Regression models per dependent variable and country

CountryDependent variableIndependent variables
Model 1DenmarkAt least 50% of directing positions held by women

  • Macro-level variables

  • Co-production (binary)

  • Size team (categorised)

  • Share of men in producing positions

Finland
Iceland
Norway
Sweden
Model 2DenmarkAt least 50% of writing positions held by women

  • Macro-level variables

  • Co-production (binary)

  • Size team (categorised)

  • Share of men in producing positions

Finland
Iceland
Norway
Sweden
Model 3DenmarkAt least 50% of producing positions held by women

  • Macro-level variables

  • Co-production (binary)

  • Size team (categorised)

Finland
Iceland
Norway
Sweden

Logistic regression analyses

Dependent variableCountryMacro-level factorsFilm-level factors
proportion of women in senior and middle management positionsproportion of seats held by women in national parliamentsCo-production (binary)Size team (metric)Share of producing positions held by men
At least 50% of directing positions held by womenDenmark.9941.051.869.948.991*
Finland1.0031.009.847.643.986***
Iceland.940.6391.5361.471.961**
Norway.883.9011.020.892.983***
Sweden1.376*.8391.180.923.995
At least 50% of writing positions held by womenDenmark1.000.897.764.995.992*
Finland1.206*1.0091.1841.194.985***
Iceland.939.788.9921.356.970**
Norway.982.728.642.882.986***
Sweden1.1381.0071.8051.070.989***
At least 50% of producing positions held by womenDenmark1.0101.1551.943*.819–
Finland1.163.916.724.575–
Iceland1.068.9351.395.936–
Norway.9571.330.8221.047–
Sweden1.030.9861.623.829*–

Frequency of gendered structure of key creative teams (per cent)

DirectingWritingProducing
No women76.668.453.9
One woman and multiple men0.32.95.1
Gender parity1.89.315.5
Multiple women and one man0.00.92.4
Only women21.318.523.0
DOI: https://doi.org/10.2478/njms-2024-0006 | Journal eISSN: 2003-184X
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Language: English
Page range: 110 - 135
Published on: Sep 2, 2024
Published by: University of Gothenburg Nordicom
In partnership with: Paradigm Publishing Services
Publication frequency: 1 issue per year
Keywords:
gender inequality,
film production,
producers,
writers,
directors,
gender bias
Related subjects:
Social sciences,
Communication science,
Mass communication,
Public and political communication,
Visual communication

© 2024 Skadi Loist, Martha Emilie Ehrich, Sophie Radziwill, Elizabeth Prommer, published by University of Gothenburg Nordicom
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

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