Australian female camera crew workers experienced “confronting” and “shocking” levels of sexism, according to one of the country’s leading cinematographers, with a new study finding that almost 90% of female operators have experienced discrimination or sexual harassment.
Released on Thursday, the study into discrimination in the film industry was led by Dr Amanda Coles and Dr Justine Ferrer from Deakin University’s department of management. The first of its kind, A Wider Lens concentrated on the workplace experiences of Australian camera crews, including cinematographers, camera operators, focus pullers, clapper loaders and personnel who use steadicams, underwater cameras and drones.
Analysing data reported to Screen Australia between 2011 and 2019, the report found camera crews for feature films and scripted television series were comprised of 80% men.
The second part of the research analysed 640 responses to a 2021 Australian Cinematographers Society camera workforce survey.
Almost 90% of female professional camera operators who responded reported experiences of discrimination or sexual harassment. Half of all respondents said they had experienced or witnessed racism on a film set.
“I have heard grips rating all the women on sets bodies, lighting guys make racist comments about having to light black men,” one respondent said. “Camera guys who have said they prefer to work with men, cause women cry. Blatant homophobia when there is queer content on screen … it only takes one offhand comment to remind those of us in the minorities that we are not welcome.”
Ari Wegner, a director of photography who was nominated for a 2022 Academy Award for her cinematography on The Power of the Dog, said the industry must act in light of the report’s findings.
“For things to improve, we must first have a clear picture of the current situation – as confronting as that may be,” she said in a statement.
“This report offers some shocking statistics as well as tangible recommendations, which I hope will be heard and implemented … Australia is in a great position to be a world leader in transforming the film industry – if we choose to act.”
The president of the Australian Cinematographers Society which commissioned the study, Erika Addis, said while the findings related specifically to the film industry’s camera departments, she believed they probably reflected the broader industry.
“While its findings are shocking, it also provides a roadmap forward,” she said.
Job insecurity, reliance on short-term contracts and long, unsociable hours are a given in the film and television production industries. But for women, and those identifying as LGBTQ+, culturally diverse or living with a disability, another layer of challenges confronted them in their workplace on a daily basis, the report’s authors said.
Yet in an industry where reputation and the reliance on peer recommendation is crucial to contracts, few were prepared to confront instances of bullying, harassment or discrimination directly.
Women more experienced, paid less
While all cinematographers/directors of photography reported periods of under-employment and income insecurity between 2011 and 2019, the report found that women doing the same work as men were being paid less and having shorter careers.
Men “consistently progressed into decision making, technically demanding and creatively prestigious roles in camera” at much higher rates than women.
And as budgets grow, the likelihood of a film or television series hiring a female director decreased.
Women directors of photography (DOPs) were most likely to work on low-budget features (21%) and Australian TV drama (19%), and less likely to work on feature films with budgets exceeding over $2m (14%).
In big-budget films (more than $14.3m) made in Australia over the past decade, the DOPs were all men. And among the 26 cinematographers who reported earning more than $156,000 a year in the industry, there was not a single woman.
But these figures were not a result of women in the industry being less qualified than their male peers.
The study found 73% of women DOPs had more than 10 years professional experience, compared with 69% of men; and 95% of women DOPs held a relevant diploma qualification or higher, compared with 67% of men.
In recent years a string of Australian female cinematographers have attracted international acclaim for their work, including Wegner, Mandy Walker (DOP on Baz Luhrmann’s Elvis), Zöe White (who filmed the The Handmaid’s Tale), and Bonnie Elliot (Apple TV+ series, Shining Girls).
If Australia expects to further develop a world-class film industry, and attract international projects to its shores, it needs to establish an equitable, diverse and inclusive workplace culture, the report concluded.
The report made 19 recommendations, including: mandatory compliance with the Australian Screen Industry code of practice on discrimination, sexual harassment and bullying (which is currently voluntary); the rollout of a high-profile industry-wide anti-bullying and harassment campaign; and a national, independent and bespoke system of incident reporting and victim support.
Carolyn Constantine, a cinematographer for the Australian comedy drama Bump, said a cultural change was needed to ensure a sustainable and healthy industry.
“We want to make sure that that [talent] pool is more diverse than it has been,” she told the Guardian. “So what’s reflected in front of the camera is also reflected behind the camera.”
