FIGURE 1
Number of films released and creative positions in the film industry by country, 2010–2020
TABLE 1
Variables to trace numerical representation of women and men in key creative positions
| Directing | Writing | Producing | |
|---|---|---|---|
| Film A | M | W W | M M W |
| Gender of positions | Man | Team women | Mixed-gender team |
| Share of men in each key creative position (%) | 100 | 0 | 66.7 |
| At least 50% of each key creative position is held by women | 0 | 1 | 0 |
TABLE 2
Regression models per dependent variable and country
| Country | Dependent variable | Independent variables | |
|---|---|---|---|
| Model 1 | Denmark | At least 50% of directing positions held by women |
|
| Finland | |||
| Iceland | |||
| Norway | |||
| Sweden | |||
| Model 2 | Denmark | At least 50% of writing positions held by women |
|
| Finland | |||
| Iceland | |||
| Norway | |||
| Sweden | |||
| Model 3 | Denmark | At least 50% of producing positions held by women |
|
| Finland | |||
| Iceland | |||
| Norway | |||
| Sweden |
[i] Comments: Logistic regression models were run per country and per dependent variable in SPSS. Models 1 and 2 include all four independent variables. Model 3 does not include the independent variable “share of men in producing positions”, as it is the exact equivalent to the “share of women in producing positions” and thus exhibits high intercorrelation with the independent variable.
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.
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.
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.
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.
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.
TABLE 3
Frequency of gendered structure of key creative teams (per cent)
| Directing | Writing | Producing | |
| No women | 76.6 | 68.4 | 53.9 |
| One woman and multiple men | 0.3 | 2.9 | 5.1 |
| Gender parity | 1.8 | 9.3 | 15.5 |
| Multiple women and one man | 0.0 | 0.9 | 2.4 |
| Only women | 21.3 | 18.5 | 23.0 |
TABLE 4
Logistic regression analyses
| Dependent variable | Country | Macro-level factors | Film-level factors | |||
|---|---|---|---|---|---|---|
| proportion of women in senior and middle management positions | proportion of seats held by women in national parliaments | Co-production (binary) | Size team (metric) | Share of producing positions held by men | ||
| At least 50% of directing positions held by women | Denmark | .994 | 1.051 | .869 | .948 | .991* |
| Finland | 1.003 | 1.009 | .847 | .643 | .986*** | |
| Iceland | .940 | .639 | 1.536 | 1.471 | .961** | |
| Norway | .883 | .901 | 1.020 | .892 | .983*** | |
| Sweden | 1.376* | .839 | 1.180 | .923 | .995 | |
| At least 50% of writing positions held by women | Denmark | 1.000 | .897 | .764 | .995 | .992* |
| Finland | 1.206* | 1.009 | 1.184 | 1.194 | .985*** | |
| Iceland | .939 | .788 | .992 | 1.356 | .970** | |
| Norway | .982 | .728 | .642 | .882 | .986*** | |
| Sweden | 1.138 | 1.007 | 1.805 | 1.070 | .989*** | |
| At least 50% of producing positions held by women | Denmark | 1.010 | 1.155 | 1.943* | .819 | – |
| Finland | 1.163 | .916 | .724 | .575 | – | |
| Iceland | 1.068 | .935 | 1.395 | .936 | – | |
| Norway | .957 | 1.330 | .822 | 1.047 | – | |
| Sweden | 1.030 | .986 | 1.623 | .829* | – | |
Comments: Logistic regression models were calculated in SPSS. Values are exponentiated B-parameters. The numbers displayed, which are called exponentiated B-parameters, range between 0 and 2. The deviation from 1 equals the percentage by which the odds that the dependent variable is true either increase (number is higher than 1) or decrease (number is lower than 1). We only interpret those numbers which have 1, 2, or 3 asterisks, as those are significantly different from mere chance.
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.
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.
FIGURE A3
Ranking of Eurimages countries according to the proportion of women in middle and senior management positions, 2000–2020 (average per cent)