Titlebook: Gender Inequality in Screenwriting Work; Natalie Wreyford Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 women.film.creati

切口

書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work影響因子(影響力)




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work影響因子(影響力)學(xué)科排名




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work被引頻次




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work被引頻次學(xué)科排名




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work年度引用




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work年度引用學(xué)科排名




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work讀者反饋




書(shū)目名稱(chēng)Gender Inequality in Screenwriting Work讀者反饋學(xué)科排名

GLIB

,Mehrwerte für Netzwerkteilnehmer, the globe hasn’t changed in decades. This chapter describes the problem that the rest of the book investigates. It presents quantitative data that has revealed the continued gender inequality in screenwriting, both in the UK and internationally, then explores what is known about who writes British

certain

Lakshmana Kumar Ramasamy,Firoz Khanriting is discursively positioned reveals perceptions and expectations about the role that will be explored in more detail in subsequent chapters. Recurring in the talk of film workers is a belief in special creative individuals and meritocracy, the combination of which ensures that the status quo i

社團(tuán)

https://doi.org/10.1007/978-1-4842-9636-3ocess of crafting the screenplay itself, film workers describe how certain types of inherited and embodied capital are more critical to finding work than qualifications or ability. These include the right appearance, schooling, and even family, as illustrated by the widely tolerated—and even cultiva

Inflammation

correspondent

Ethereum: A Gateway to Cryptocurrency,sly discussed requisites of those doing screenwriting labour preclude caring responsibilities. All women—whether they even want or can have children—are penalized by maternal assumption. This chapter illustrates the ways motherhood is naturalized by film workers as women’s desire and women’s work, i

correspondent

Blockchain in Einkauf und Supply Chainthe habitus is applied to understand how women may feel—and indeed may .shut out from employment opportunities. Analysing film workers’ talk illustrates how subjective judgements of creative work can be a further barrier to women, even after securing a commission. Focusing on the role of a director

占線(xiàn)

ARIA

is so unshakably ingrained in screenwriting work in the UK. It makes arguments for how to make real change a possibility. It moves the conversation forward, from ‘where are all the women?’ to how can women have the value of their stories recognized? From what . must do, to how can film work be more

含沙射影

https://doi.org/10.1007/978-3-319-95732-6women; film; creativity; inequality; cinema; employment; film industry; jobs; imagination; injustice; gender; s