Sentences with phrase «women working in the film industry»

Our mandate is to recognize, support and raise consciousness about women working in the film industry — in front of and behind the cameras, and writing about film and the film industry — through coverage on our Web site at www.awfj.org, the presentation of awards for outstanding achievements, and through outreach programs.

During an interview with the Sydney Morning Herald, the Australian actor made a pledge to work with a female director every 18 months in a bid to help increase the number of women working in the film industry.

Not exact matches

For 2009, we again honor men who've consistently and generously supported AWFJ during the past year, as well as men who've shown extraordinary support for women who are working in the film industry.

Making history, however, are the foreign film «A Fantastic Woman» and feature documentary «Strong Island,» projects with transgender voices, making it quite possible that the work of an openly trans person could earn one of the industry's top prizes in March.

It was especially poignant to see Robinson, a lesbian filmmaker who's been working in the industry for years on various projects including The L Word, present such a radical film to both older audiences who were familiar to the character and young audiences who are growing up with the chance to see a complex women - centric narrative propelled by her.

Most of the women winners — most prominently among them Nicole Kidman and Laura Dern for their performances in Big Little Lies, and Reese Witherspoon for her producing — spoke about the issues at hand when up on stage, many of them having brought women's rights advocates who work outside of the film industry with them to the show, as a sign of solidarity and support.

A woman who worked in the film industry has filed the first civil claim in Britain against Harvey Weinstein, alleging a series of sexual assaults by the producer and seeking personal injury damages to exceed $ 400,000.

While many of the women have worked in different areas of New Zealand's growing TV and film industry, several are newcomers.

Although not quite as sharp and clever as the aforementioned Heckerling vehicle, Clueless, I Could Never Be Your Woman (its rather odd choice for a title is derived from a lyric to the 1997 White Town song, «Your Woman», covered by Tyler James in 2005, the same year this was filmed), is actually quite inventive in its own fashion, with Heckerling drawing upon her own experience in being an older woman working in a youth - oriented industry, making entertainment meant to appeal to people about 30 years her juWoman (its rather odd choice for a title is derived from a lyric to the 1997 White Town song, «Your Woman», covered by Tyler James in 2005, the same year this was filmed), is actually quite inventive in its own fashion, with Heckerling drawing upon her own experience in being an older woman working in a youth - oriented industry, making entertainment meant to appeal to people about 30 years her juWoman», covered by Tyler James in 2005, the same year this was filmed), is actually quite inventive in its own fashion, with Heckerling drawing upon her own experience in being an older woman working in a youth - oriented industry, making entertainment meant to appeal to people about 30 years her juwoman working in a youth - oriented industry, making entertainment meant to appeal to people about 30 years her junior.

As AWFJ member Nell Minow puts it, «What's important about our EDA Awards is that we bring a unique perspective in honoring the wonderful work that's done by women in film and that we weigh in on sexism that arises from ongoing male dominance in the film industry, especially as it pertains to women's images on film.»

Unfortunately, that marginalization exists across the board in our industry, extending also to women who work as film journalists.

Annual stats tracking women's work in the film industry consistently indicate that production gatekeepers are slow to welcome the work of female filmmakers, despite the recent successes of studio - backed femme - helmed and femme - centric blockbusters, and the ongoing inclusion initiatives of feminist groups such as the Alliance of Women Filmmakers and Film Fatwomen's work in the film industry consistently indicate that production gatekeepers are slow to welcome the work of female filmmakers, despite the recent successes of studio - backed femme - helmed and femme - centric blockbusters, and the ongoing inclusion initiatives of feminist groups such as the Alliance of Women Filmmakers and Film FatWomen Filmmakers and Film Fatales.

After graduating from Florida State University she worked in New York City for the next ten years in various film industry jobs including a camera woman for CNN, film stage manager, and producer of music videos and commercials.