Category: Women Beside the Screen

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.

 

Prompt 1

Prompt 2

Prompt 3

Video essay on Cate Shortland’s Somersault (2004) and Berlin Syndrome (2017)

Discussing common character traits and themes.

Examine a non-fiction film about filmmaking. I suggest you choose one from the viewings in this Studio. Analyse the stylistic choices in this film in terms of visual storytelling style, editing style, and interview style.

What initially appears to be a cookie-cutter snapshot of suburban family life, Marilee Bennett’s autobiographical documentary, A Song of Air (1988) takes an unexpected turn as she confesses the disharmony in the relationship between her and her now-deceased father. Bennett uses existing footage shot by her father to illustrate and juxtapose her commentary about their family dynamics and changing relationship. She initially paints a stoic image of her father, describing him as her ‘provider’, ‘omnipotent god’ with absolute power. Bennett cuts slowly between still and moving images of herself as a child, held by her father. This patient editing, along with the absence of music allows us to focus on the images and narration that suggests a tight bond and admiration between the two.  

As the film progresses, we are gradually introduced to Bennett’s hidden conflict surrounding, what once felt like a protective expression of love, her father’s unachievable ideals that burdened her adolescence. Bennett pieces together images of what her father wanted her to remain; a young, innocent, modest child but her commentary suggests otherwise. She talks about her ‘hunger for the exotic’ and craving for things she was raised to condemn. These sweet archival images are contrasted with recent footage of what appears to be Bennett floating underwater and screaming away from the camera. These juxtaposing images communicate her inner anguish she repressed for so long. This is a visual representation of her suffocation, or drowning, in the expectations and disappointment of her father she once idolised. 

The melancholic sound of the piano matches Bennett’s revelation of both wanting to murder her father and longing for his presence she has now lost. We watch her younger self cry which then cuts to her current self sinking, then screaming. These poignant images make up for the lack of emotion expressed in Bennett’s monotoned narration. Her lifeless tone, however, holds just as much storytelling power as it reflects a sense of numbness and suggests Bennett undecided on her feelings towards her father. 

Montages can, at times, reflect a lazy approach to editing; a thoughtless collage of images, however, Bennett’s piece is anything but. Every image, every word, is intentional. Nothing is without meaning in this film. The significant snapshots of her past alongside Bennett’s painfully honest narration creates an emotionally charged recount of her childhood and cleverly depicts something so challenging to articulate; her internal battle of both despising and longing for the man responsible for her anguish.

References

A Song of Air 1987, ACMI Collection, directed by Marilee Bennett.

 

 

Generate six questions you would like to ask a woman in the film industry. Explain why you have chosen each question, and your strategy for the interview.

Why did you choose to work within the film industry?

I think it is important to get a sense of why this person is passionate about what they do, particularly when the odds are stacked against them in such a male-dominated industry. 

Who would you consider your greatest inspiration?

Later in the interview, I hope to open a dialogue about the often competitive culture within the female category of filmmakers (because of the very few opportunities made available to them), so I’d like to encourage the conversation of ‘women supporting women’. I think in order to create a welcoming space for aspiring female filmmakers, we must look back on the legacy so many women have left behind. 

In what ways is it more challenging for women to establish a role within filmmaking than men?

This question will hopefully open up a dialogue about the uneven playing field women face when entering the film industry. 

Can you recall a time where you were treated differently from your male counterparts?

This is a continuation of the previous question, but by asking for a specific example of the mistreatment within the industry, we will gain a deeper understanding of the realities female filmmakers face. This question will also offer a personal perspective/experience to the wider conversation about inequality within film.  

Have you noticed a competitive nature between female filmmakers? If so, why do you think this is the case?

This question comes from personal experience/curiosity as I have become increasingly aware of the way women are forced to compete against one another for the limited number of roles made available to them. I personally see a lack of women celebrating the successes of other women and am interested to see if it is a prominent culture within the film industry.

Do you feel hopeful about the future of aspiring female filmmakers?

I have included this question to give viewers a sense of hope about the industry, so as to not discourage aspiring filmmakers from pursuing a career in the industry. I think it may also provide a strong conclusion and possible call to action for the documentary.

 

My strategy for the interview

To be concise, my strategy for the interview is to have a conversation with the interviewee, rather than responding to their answers with the next question. In the past, I have found that people respond better when you are also showing interest and contributing to the dialogue. This often encourages them to elaborate and respond with more confidence because they feel that their answers are valued.