She Must Be Seeing Things! Gender disparity in camera department networks

Jones, P; Verhoeven, D; Dadlani, A; Zemaityte, V

She Must Be Seeing Things! Gender disparity in camera department networks

Jones, P Verhoeven, D

Dadlani, A Zemaityte, V

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Publisher:: ELSEVIER
Publication Type:: Journal Article
Citation:: Social Networks, 2024, 76, pp. 120-134
Issue Date:: 2024-01-01

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Field	Value	Language
dc.contributor.author	Jones, P
dc.contributor.author	Verhoeven, D https://orcid.org/0000-0003-3680-3561
dc.contributor.author	Dadlani, A
dc.contributor.author	Zemaityte, V
dc.date.accessioned	2024-09-30T01:23:09Z
dc.date.available	2024-09-30T01:23:09Z
dc.date.issued	2024-01-01
dc.identifier.citation	Social Networks, 2024, 76, pp. 120-134
dc.identifier.issn	0378-8733
dc.identifier.issn	1879-2111
dc.identifier.uri	http://hdl.handle.net/10453/181072
dc.description.abstract	This paper reports on a network-based investigation of the gendered nature of work in the screen sector. Using nine years of Australian film and television production data, we explore how the networks of project-based collaboration might explain the disparities in the career trajectories of men and women. Our analysis finds that projects with men as directors tend to reproduce familiar teams to the exclusion of women, while projects led by women in key creative roles tend to make more space for women. Moreover, we find that there is a significant number of men who only work with men (regardless of whether they have worked with them before), but no corresponding group of women who only work with women. Our findings bear on proposed equity interventions, especially government policies designed to encourage women to enter the industry. Ultimately, even accounting for the statistical domination of men in the network, we argue that inequities in the organisation of the screen sector appear to be driven much more by the closed network behaviours of men than they are by the positioning or behaviour of women.
dc.language	English
dc.publisher	ELSEVIER
dc.relation.ispartof	Social Networks
dc.relation.isbasedon	10.1016/j.socnet.2023.09.004
dc.rights	info:eu-repo/semantics/openAccess
dc.subject	1601 Anthropology, 1608 Sociology
dc.subject.classification	Sociology
dc.subject.classification	4401 Anthropology
dc.subject.classification	4410 Sociology
dc.title	She Must Be Seeing Things! Gender disparity in camera department networks
dc.type	Journal Article
utslib.citation.volume	76
utslib.for	1601 Anthropology
utslib.for	1608 Sociology
pubs.organisational-group	University of Technology Sydney
pubs.organisational-group	University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	University of Technology Sydney/Faculty of Arts and Social Sciences/School of Communication
utslib.copyright.status	open_access	*
dc.rights.license	This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/
dc.date.updated	2024-09-30T01:23:04Z
pubs.publication-status	Published
pubs.volume	76

Abstract:

This paper reports on a network-based investigation of the gendered nature of work in the screen sector. Using nine years of Australian film and television production data, we explore how the networks of project-based collaboration might explain the disparities in the career trajectories of men and women. Our analysis finds that projects with men as directors tend to reproduce familiar teams to the exclusion of women, while projects led by women in key creative roles tend to make more space for women. Moreover, we find that there is a significant number of men who only work with men (regardless of whether they have worked with them before), but no corresponding group of women who only work with women. Our findings bear on proposed equity interventions, especially government policies designed to encourage women to enter the industry. Ultimately, even accounting for the statistical domination of men in the network, we argue that inequities in the organisation of the screen sector appear to be driven much more by the closed network behaviours of men than they are by the positioning or behaviour of women.

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http://hdl.handle.net/10453/181072