Eleanor's Mediafactory

This whole semester has been extremely enlightening on the barriers and current climate for women in the film industry. Additionally, I feel that it has been useful for me, as a young woman aiming to enter the film industry in the coming years, to have a firsthand understanding of what this process and whole career may look like for myself, especially considering those barriers. I thoroughly enjoyed when we would get together in the class and watch the microfilms, share our pitches, and then screen our films in the final week. This was a time where we could get a wide understanding of what the experience of a woman in the film industry is like, especially based in Melbourne. Apart from it just being fun to see everyone’s work, it was educational to learn about these different perspectives. I found links to previous readings we had completed, in the filmmaker’s experiences. In Lisa French’s Does Gender Matter? it is stated that ‘…women are a minority by percentage in key creative and most other areas…’ (p3). Reading this a few weeks ago, I felt that it was accurate and reflective of how far the film industry has to go. Since seeing the class collaborate with women in the industry, and discussing these imbalances, it has brought a new dimension to my understanding of the issue and just how vast this can spread. For example, when I spoke with Lucy Paplinska she told me that most of the discrimination she felt as being a woman in the film industry stemmed from being a mother, expected to not let her having children be a hindrance on the project she was working on at the time. Overall, there is very little support for mothers working in the film industry. When I compared this to Screen Australia’s Gender Matters report, there is a mere one paragraph on this, focusing on it as a barrier to career progression, given its ‘…freelance nature and intensive, irregular hours’ (p8). Further, ‘Access to paid maternity leave is often not an option,’ (p8), and so, as Lucy and I discussed, ultimately women are left to make tough decisions about their career and family. It is clear that there is a lot more focus needed on this area – in research too, but ultimately inside the industry. 

Something that was super encouraging in doing this studio was that everyone was genuinely so lovely and willing to share ideas. We spoke about it in class a few times, but these are the people that I could be working with in the industry for many years to come. Ultimately I think it is important to build these relationships in classes, which in turn creates an encouraging environment for young people, and in this case young women, to enter the film industry. I think too, which is something I got from the class as well, not posing these barriers as a complete deterrent, but rather as something that can be changed and will get better. Part of this process is encouragement from peers and tutors, but also the self-belief that they can enter the industry. Something that has stuck with me from the first day of the class was learning that men are way more confident in themselves where women, who may have the same resume, ‘are far more likely than their male counterparts to underestimate and undersell their skills and abilities.’ (Screen Australia, p8). Where confidence is not exactly something that can just appear on demand, learning facts like these and actually talking to women in the industry can help young women a) see that they are not alone, and b) see what they could achieve based on someone who may have been just like them as a student.

Initially for my film I had a very different idea to what it eventually became. If I were to do the film again, I would explore this option. I can imagine the dialogue would be similar, but Lucy and I spoke a lot of two of her films Alone in a Crowded Room and Sperm Donors Anonymous. I was initially drawn to interviewing her after watching those two films because I saw that she was clearly interested in sharing these unique Australian stories that had been underrepresented, or misrepresented, in the media. This is something I also feel drawn to as I advance into a career after university, and so I felt that it was apt to discuss this with her, along with where she finds this inspiration. Were I to create the film again, I might explore this using clips from her documentaries, and show Lucy’s face in the interview, as more of a profile of her as a director. That being said, I am not sure if this would have been totally appropriate given the sensitive topics in the films, and the subjects who did not consent to being in my film. This is also something that belongs in a larger discussion that we often talked about in class, and also came up in some people’s interviews, of telling other people’s stories. Earlier in the semester we read Alexis Wright’s What Happens When You Tell Someone Else’s Story? which was focused primarily on Aboriginal people. While the article had a focus on the Australian media, a lot of the sentiment stayed with me throughout the course of the semester when thinking about the film industry. This includes the importance of representation, but also the opportunity for people to tell their own stories, which is too often not the case. Because of these discussions, and also the act of working with people who are telling their stories, I have learnt a lot about how to treat this information and how it is subsequently presented.

I was mostly inspired after watching A Month of Single Frames by Lynne Sachs and Barbara Hammer. I found myself really going along for the journey as I watched, and interpreted the dialogue in so many ways because I was afforded time to do so because of the long shots. When I edit, I often am inclined to insert as much information or visual stimulus in an ‘interesting’ way because I believe that is what the audience will be most engaged with. In fact, I need to give audiences more credit because we can of course watch something that is a little more interpretive and be engaged just the same. I have a big tendency when I edit too to cut on action or movement, and so I definitely still employed this, just in a more subtle way. Additionally, although I am admittedly quite the novice behind the camera, I did put in a lot of careful consideration into the shots I took. Along with that I also carefully colour-graded each shot individually, which was fun, educational, and allowed me to add my particular style into each shot. Had I put in more consideration, I would have rented some of the equipment to obtain better audio, and more stable shots. Additionally, I would have taken more time off work in order to have more time to complete the film!

Another aspect of the film I really enjoyed was embodying the more quiet or relaxing nature of an autumnal Melbourne. I had this idea not just because it was autumn of course, but also because when speaking to Lucy I felt a very warm and kind-natured energy that exuded throughout our discussion. This then felt like the right decision when establishing mood in my film. I also liked that it f cold in ways too – shots of people rugged up and a blue-toned colour-correction – which in turns evokes (for myself at least) a very comforting feeling, like a warm cup of tea with a blanket.

I found myself thinking about the people that passed by in each clip, wondering about their individual lives. I think the audio worked perfectly with the clips in that aspect. I especially liked the little moments where some dialogue was hinted at, and even though it was sort of blurred it gave that impression that these moments along passersby are fleeting, and everyone has their own lives. I also worked to create a visual motif of reflections, shadows, and some blurring with the camera, because it added to the overall themes of perceptions and people’s vastly differing lives. This is even just embodied through the name, ‘Through the Glass Lens’, because glass is transparent and allows us to see what is presented to us, whilst the camera itself works because of light reflection.  Overall I am very happy with the film and thrilled to have been a part of an extremely informative and supportive studio this semester.

Word Count: 1541

References

French, L 2015,  ‘Does Gender Matter?’ Lumina: Australian Journal of Screen Arts and Business, No. 14

Screen Australia 2015, Gender Matters: Women in the Australian Screen Industry, Australia

Wright A 2018, What Happens When You Tell Somebody Else’s Story? Int J Appl Psychoanal Studies, 15:136–139. https://doi.org/10.1002/aps.1576

Prompt 1:

https://drive.google.com/drive/folders/1cBSuVFEuB-f15DKqI-i-PN1AY2ioEAnu?usp=sharing

Prompt 2:

https://www.mediafactory.org.au/eleanor-holloway/2021/04/15/a2-interview-w-lucy-paplinksa/

During my interview with editor and director Lucy Paplinska, we discussed some topics based on her personal experiences that I have found resonate with some of the readings explored in the course over the past few weeks. I was interested to hear what her personal interests were in approaching documentaries. Lucy confirmed that she was primarily interested in talking to people and hearing their stories. I focused on her two films Alone in a Crowded Room (2008) and Sperm Donors Anonymous (2015), because I found that they encompassed that sense of unique Australian stories that are not necessarily widely understood. Additionally, and as stated in the interview too, the psychological landscape of the two films was particularly intriguing.

As French states, women documentary filmmakers have an ‘inclination to uncover social problems’ (French, 2019). This is something that has been observed as more prolific in women’s documentary work as opposed to men’s. Lucy stated that she enjoyed the sense of  ‘making something that will contribute to the wider good even if it is in a small way’. In the reading, it is elaborated that women may have this tendency due to their ‘“sameness” of their oppression’ (French, 2019) specifically to do with a woman’s experience. Further, this differs with each woman’s experience worldwide, with ‘specific oppressions in their individual lives.’ (French, 2019). 

Lucy’s work, particularly in the aforementioned films, does not focus primarily on women’s struggles specifically. They do however, particularly in Alone in a Crowded Room, focus on the disadvantage one experiences in life due to who they are. I believe that Lucy’s attraction to this sort of storytelling, particularly afforded with documentary, has in part to do with her experiences as a woman. 

I asked Lucy about her experiences as a woman in the industry, and what discrimination she may have faced. She expressed that the biggest disadvantage throughout her career is the lack of support as a mother, particularly when she had young children. She stated that ‘I did have to make it sound like it was never going to be a problem’ and this is fairly universal for all women with children. For these reasons, in the industry it is ‘difficult to have a family life’ and this is the reason a lot of people leave, too. She said that even the most supporting fathers do not face the discrimination that women do and therefore cannot understand it. 

This information is briefly explored in Screen Australia’s Gender Matters report, stating ‘those with childcare responsibilities (often women) … can be regarded as less flexible than those without… (often men),’ (Screen Australia, 2015). Primarily, the focus in the report on mothers in the industry experience ‘barrier[s] to career progression’ (Screen Australia, 2015). Ultimately the report did not delve into this aspect of the industry in any more detail. From our interview, this is clearly something that needs more of a spotlight, as the landscape has not particularly changed. As Lucy stated, the film industry is reminiscent of ‘the dark ages’ when it comes to women with children.

Further she stated she did not feel as much pressure in the documentary field, as a woman specifically, nor had she faced any direct discrimination. French’s Does Gender Matter? states that ‘in documentary the participation rate [of women] is much better (33-40 percent)’ (French, 2015). Particularly too, Melbourne is a smaller place where people are well-connected, so both of these factors may be why documentary has been a more pleasant environment to work in. She did say though that the discrimination against women moreso has to do with the wider systems in the industry, such as on a government level, but things are getting better slowly. Today, there are ‘precedents for targeted Government support for gender’ (Screen Australia, 2015) but much more can still be done in order to achieve better participation of women in the industry.

References:

French, L 2015,  ‘Does Gender Matter?’ Lumina: Australian Journal of Screen Arts and Business, No. 14

French, L 2019,  Women Documentary Filmmakers as Transnational “Advocate Change Agents” Interdisciplina Journal, Vol. 7, No. 17

Screen Australia 2015, Gender Matters: Women in the Australian Screen Industry, Australia

Prompt 1: https://www.mediafactory.org.au/eleanor-holloway/2021/03/18/a1-prompt-1/

Prompt 2:https://www.mediafactory.org.au/eleanor-holloway/2021/03/18/a1-prompt-2/

Prompt 3: https://www.mediafactory.org.au/eleanor-holloway/2021/03/18/a1-prompt-3/

Editors on Editing by Ally Acker shows interviews with some of Hollywood’s most successful women editors, and interviews them on the legacy they continue in being as such. The beginning of the episode gives context to the history of film editing, which was seen as a woman’s craft as early as the silent era, and in France specifically. Women were considered to be neat and organised, and physically were available to keep out of the way of the rest of production. Margaret Booth tells of her earliest days editing, cutting reels all day as a high-school student.

In most of the interviews, the camera remains tight and follows any movement the interviewee makes. The interview with editor Carol Littleton is wider, contextualising more of her background as she wears a bright blue top contrasting to the darker background. As what she says gets more personal, so does the camera; moving closer to her face which remains the center of the frame. This technique allows the audience to wholly connect with the subject, on a personal level. The subjects discuss their own journeys and projects, which is reflected in this intense and unwavering focus from the camera. 

As the interviewees speak, their voices become the voiceover. Images are laid over the top of the dialogue, giving context particularly to certain time periods, and certain people. As the editors discuss particular scenes, the scene is then played out in full. This allows the audience to view from the editors’ perspective – watching the cuts, transitions, and how the scene is constructed. 

The content of the documentary is focused on how these women have taken part in the blueprint and legacy of film editors, through questions asked on their most successful and important edits. Editing in film is built upon extreme focus and care in the approach to cutting – additionally, a different approach and work ethic as a man, reflects Littleton. She also states that ‘women humanise the workplace,’ (Littleton, 18:21) and feels lucky to be working at a time where women editors are more respected in the industry. The documentary hones in on this struggle each woman has had in having to prove themselves in each and every project, until they are consistently taken seriously. 

The documentary provides an intimate and vast look into women editors in the US that have worked on a wide range of films in different ages of cinema. Through interview techniques, framing, and editing, the audience gets an intimate look into these editor’s careers from the context of being women in a male-dominated industry.

References:

Editors on Editing 2009, Film, Reel Women Media, Kanopy, Directed by Ally Acker, viewed 17 March 2021 <https://rmit.kanopy.com/video/editors-editing>

I am interviewing Lucy Paplinska on her work as an editor and director. I was drawn to interviewing her because her body of work spans over telling diverse Australian stories. She has a wide range of editing for non-fiction and fiction television and film, along with writing, producing, and directing experience, so I believe there will be a breadth of knowledge to draw from in the interview, especially in context to being a woman in the film industry.

I want to start the interview contextualising her career based on where she began. This could include first work, education, and what her aspirations at the time were.

What were you first interested in, and then when did you first make that decision to work in the media? how was that first step acheived?

I want to focus the subject’s journey as a practitioner and what were the personal motivations for reaching certain points in her career. Additionally, I want to delve into the creative side to understand how each project is approached and achieved.

What is the most common way for you to come about your work? What motivates you to work on a certain project?

Her work on documentary shows that drive to share Australian voices in a diverse way. I want to delve into this, especially because these were intimately worked on – she wrote, produced, and directed.

What was your journey like in creating your two documentaries – did you find parallels in the creative and production processes? How did they come to be?

By contextualising the interview as for the MWFF, I will discuss some of the focuses and studies within our class, looking at disparities between men and women in the film industry.

Have you found that being a woman in the industry has affected your work differently than your male colleagues?

As she is primarily an editor, I want to focus on how this differs throughout different mediums.

How does your approach to editing differ from television to film, and fiction to non-fiction?

I am intrigued to know if she maybe prefers one medium over an other, or priorities in her work the subject itself.

Do you have any current aspirations or directions you want to focus on, in terms of what you want to achieve, or have achieved? 

Video Essay

References:

My Brilliant Career 1979,  Film, the New South Wales Film Corporation, Australia, Directed by Gillian Armstrong, viewed 15 March 2021 <https://search-informit-org.ezproxy.lib.rmit.edu.au/doi/10.3316/edutv.3426843>

PELICULAS MUDAS / Silent cinema 2018, The cheaters/Los tramposos (1929, Australia), Paulette McDonagh., YouTube, uploaded 13 May, viewed 17 March 2021 <https://www.youtube.com/watch?v=KzVqdTHTikA&ab_channel=PELICULASMUDAS%2FSilentcinema>

The Cheaters 1929, Film, McDonagh Productions, Australia, Directed by Paulette McDonagh, viewed 14 March 2021 <https://rmit.primo.exlibrisgroup.com/discovery/delivery/61RMIT_INST:RMITU/12152758170001341?lang=en.