澳大利亚学生银幕作品中镜头背后的性别多样性

K. Dooley, M. McHugh, M. Berry, C. Batty, James Verdon
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引用次数: 1

摘要

本文探讨高等教育工作者如何尝试在学生作品的镜头背后解决性别多样性问题。2020年澳大利亚电影制作教育和研究协会(ASPERA)的报告《澳大利亚电影学院银幕内外的多样性》概述了一项全国性调查的结果,该调查衡量了澳大利亚大学(基于重大项目的)银幕制作单位镜头背后的性别多样性水平。调查结果显示,虽然在澳大利亚的电影制作部门和电影学院完成顶点项目的男女学生人数接近偶数,但剧组角色却高度性别化。在电影摄影师和音效设计师(男性占主导地位)以及制作人和制作设计师(女性占主导地位)的角色中,性别倾斜最为明显。我们认为,对这一主题的调查需要对第三屏幕生产环境的特异性进行检查。学生项目的工作人员可能会很紧张,包括对导演等热门职位的竞争,而选择是根据学生的喜好和性格做出的。在这篇文章中,我们进一步深入研究了来自ASPERA调查的定量和定性数据,以检查教育者对一些学生生产角色的性别性质的态度和方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Approaches to gender diversity behind the camera in Australian student screen productions
This article asks how educators at tertiary level might attempt to address gender diversity behind the camera in student productions. The 2020 Australian Screen Production Education and Research Association (ASPERA) report Diversity On and Off Screen in Australian Film Schools outlines the results of a national survey measuring levels of gender diversity behind the camera in Australian university capstone (major project-based) screen production units. The survey results reveal that, while close to even numbers of male and female students are completing capstone projects in screen production departments and film schools in Australia, crew roles are highly gendered. A gendered skew is most pronounced in the roles of cinematographer and sound designer (male dominated), and producer and production designer (female dominated). We argue that an investigation of this subject calls for an examination of the specificity of the tertiary screen production environment. The crewing of student projects can be fraught, involving competition for popular roles such as that of director, and choices are made based on student likes and dispositions. In this article, we further drill into quantitative and qualitative data from the ASPERA survey to examine educator attitudes and approaches towards the gendered nature of some student production roles.
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