Micro Film #1

Micro Film #2

Micro Film #3

I had the pleasure of interviewing filmmaker, Claudia Sangiorgi Dalimore, who has directed music videos for the likes of Thelma Plum, Holy Holy, Odette, Mojo Juju as well as directing documentary, Her Sound, Her Story (2018), that sheds light on the trials that female artists face in the music industry.  We discussed her experience as a woman in the film industry, how she embraces femininity in her work, and the importance of embracing diversity in the narratives we share. 

Despite Claudia’s, among many other women’s, proven success in filmmaking, the industry still sees an extraordinary lack of female representation. According to Screen Australia’s Gender Matters report, between 1970-2014, the feature film sector has seen an average of 30% female producers, 21% female writers, and a shocking 16% female directors (Screen Australia 2015). In the third microfilm, Claudia discusses the change needed to shake up these statistics that have remained stagnant for so long. She claims that in order to change we must assess the narratives we’re watching and think about who is making them and who is amplifying it, suggesting that with diversity among artists, comes diversity and richness in the art we consume. 

Wright explores the implications of telling someone else’s story, specifically those of Aboriginal people. She mentions that the subjects of these stories do not get a chance to ‘say what is right or wrong about the stories told on [their] behalf’(2018, p. 137). Although Wright is speaking directly about Aboriginal people, I think this finding can also be applied to other underrepresented people such as women. Without female filmmakers to tell the stories of women, we run into the same issue of wrongfully telling someone else’s story. 

What I admire about Claudia is her dedication to amplifying the stories of female artists that she can personally connect to. Because of her shared experience, she is able to contribute to the narrative she captures. French also reiterates the value of female presence in key creative roles as they are able to bring perspective to film that men can’t because of their ability to ‘connect to the experience of living in the world as a woman’ (2015, p. 8). 

She also references a quote from Jane Campion that I believe resonates with Claudia’s approach to filmmaking;

“I think the reason that actresses have excelled in my films is that I’m speaking in their language; I’m speaking through the body of a woman, the psyche of a woman, and that’s my particular insight.”

As mentioned in the second microfilm, Claudia embraces her femininity. It isn’t ‘outside of her own art and creative nature’, it is intertwined and ‘relevant‘. I often thought I had to disregard gender and feminity (although subjective) in order to close the gap, however, Claudia’s refreshing outlook has challenged this mindset. 

 

References

French, L., ‘Does Gender Matter?’ Lumina: Australian Journal of Screen Arts and Business, No. 14, May 2015, pp. 139-153

Screen Australia 2015, Gender Matters: Women in the Australian Screen Industry, viewed 15 April 2021, <https://www.screenaustralia.gov.au/fact-finders/reports-and-key-issues/reports-and-discussion-papers/gender-matters>.

Wright, A. What Happens When You Tell Somebody Else’s Story?. Int J Appl Psychoanal Studies. 2018; 15: 136– 139.