Online Secondary Research- Organisations and Projects 1

What We Do

Welcome to the WFTV website

Women in Film & TV (UK) is the leading membership organisation for women working in creative media in the UK, and part of an international network of over 10,000 women worldwide.

Members of our organisation come from a broad range of professions spanning the entire creative media industry.

We host a variety of events throughout the year, present a glamorous awards ceremony every December, and run a mentoring programme for women in the industry. We also host networking evenings, collaborate with industry bodies on research projects and lobby for women’s interests.

Becoming a Member
Any female professional working in the film, television or creative media industry in the UK can become a member of WFTV (UK). This includes a broad range of occupations, such as director, writer, producer, actor, media lawyer, accountant, broadcaster, presenter, development exec, marketing and PR exec, journalist, technician, post production, distribution, senior exec, etc.

We have 2 types of membership, London and Country:
Annual London Membership is £100 + VAT, which works out at just £10 a month.
Annual Country Membership, for those who live anywhere in the UK outside the M25, is £50 + VAT, which works out at just £5 a month.

What are you waiting for? Join WFTV (UK). Still got questions? Try our FAQs or contact us.

I can’t recommend joining Women in Film & Television enough. As a young woman, still relatively new to the industry, WFTV has helped an incredible amount over the last few years with expanding my knowledge, my networking skills, contacts and confidence.”
WFTV Member, 2014

History of WFTV (UK)
In 1989, a group of women came together for the first official WFTV (UK) meeting. They were a mix of business executives, creatives and performers, including Linda La Plante, Dawn French, and Janet Street Porter. These were successful women who were fed up with the still male-dominated industry which demanded they be engaged in a constant struggle to be heard and respected.

They resolved to take positive action and follow in the footsteps of organisations in LA and New York, which had been established in the 70s, to support women working in the film and TV industries. They did this by creating a network of members and organising workshops, events, mentoring and awards to help them progress in their careers.

In 1990 the first Women in Film and Television Awards ceremony was held to recognise the achievements of some of the most successful women the industry could boast.

24 years on, the Awards is the largest annual celebration of women working in film, TV and digital media in the UK and has become a ‘must attend’ event.

The organisation has grown from being run by volunteers to having, 4 full-time members of staff, a busy programme of events and a well-respected Mentoring Scheme.

It’s the 21st Century! Do We Really Still Need an Organisation Like WFTV?

We wish it weren’t so but unfortunately industry statistics and the experience of our membership proves that there is as much need as ever for an organisation that supports women in the creative media industries to ensure they have equal opportunities and that their talents do not go to waste.

It’s a sad fact that, in 2011, women made up only 19% of writers of British films released in the UK, and only 15% of directors. In other areas of the industry, such as camera departments, sound, and lighting, the figures are even bleaker.

Women have come a long way and are achieving amazing things in the UK film, TV and digital media industries, but there’s still a long way to go and that’s why we’re here to help. (, 2014)

Women directors come together to tackle industry issues

Beryl Richards, DUK Board Member updates us on the first meeting of our female directors group.

Last week the women on the DUK board got together to discuss our concerns about women directors working in the industry. It was great to sit in the same room with six other working women directors from both factual/documentary and drama and discuss what’s going on out there and what to do about it. The room was buzzing with lots of ideas!

Like me, my drama colleagues were worried that it seems like there are no more women directors working in drama than there were 20 years ago. In factual there are more, but there’s a big drop off after the age of 35.

There are some worrying figures out there, such as a recent study out of University of California showing the percentage of women directing features has fallen from 9% to 5% in the last 10 years.

We’ve also had lots of great feedback from our women members on email about what’s happening to them. From the emails sent to us it struck all of us how isolating it can be to face these issues alone.

What we are going to do next is some initial research to look at how many women are working as directors in the different sectors and genres of television and film. Firstly we are going to research our own Directors UK data to show where women are working, and augment this information with other published research. Once we know what we are dealing with, we can work out strategies to respond. Other plans include events to celebrate the work of women filmmakers in both TV and film, and helping support women through role models, mentoring and training.

Soon we are going to hold a public meeting that we urge you all to attend, so we can share and air some of what is going on out there. And please do write to us before then to add your voice by emailing Victoria on – all information will be treated confidentially.(Richards, n.d.)

   About Us (Women’s Film and Television History Network-UK/Ireland, 2011)

We are a group of researchers, teachers, archivists, collections managers, students, professionals, and enthusiasts engaged in exploring the contributions women have made to the emergence and development of film and television.

We have come together to form the Women’s Film & Television History Network-UK/Ireland as a means of encouraging, supporting and disseminating research into women’s participation in screen media, and exploring their wide range roles, including:

· scriptwriting · producing · directing · designing costumes, sets, props · acting, dancing, singing · cinematography · sound design & recording · editing · music · distributing · trade reviewing · exhibition & cinema managing · audiences & fans · journalism, criticism.

By raising the visibility of women’s present and past relationship to cinema and television we aim to:

  • ensure women’s work is recognised in the writing of screen histories.
  • make a case for the preservation and availability of women’s films and television programmes
  • increase programming choice in film theatres, television channels, DVD outlets
  • encourage new approaches to film and television that are sensitive to gender, class and race
  • impact on the teaching of screen media in schools and colleges
  • raise the aspirations of young women who might seek careers in the media.

WFTHN focuses on British and Irish women working in the UK/Ireland or abroad and on overseas women working here. It is affiliated to Women & Film History International and encourages British and Irish contributions to international initiatives such as the Women Film Pioneers Database, the biennial international Women and Silent Screen conferences and the women’s television conference, Consoling Passions.

WFTHN is not based in a single institution but collaborates with a range of professional and academic organizations, archival collections and websites relevant to women’s filmmaking and television production such as the Women and Silent British Cinema (WSBC) website, Screenonline, the British Film Institute, The Women’s Library, WiFT (UK) and so on.


The Women’s Film & Television History Network-UK/Ireland began as a small, informal Women’s Film History group, itself inspired by a wider international movement.

Traditionally film history has paid little attention to the contribution of women to film history – other than as actresses. But from its beginning women have been active in and around cinema as directors, scriptwriters, designers, cinema owners, distributors, publicists, reviewers, audiences, campaigners and so on.

Consequently in the late 1990s an International Women Film Pioneers Project was initiated in America to address this gap in historical knowledge.

Now based in the Film Division at Columbia University, New York, it is paralleled by the biennial Women and Silent Screen Congresses staged in different countries since 2000. These initiatives are supported by the umbrella organisation, Women and Film History International.

Till recently this work has had little impact in Britain. The Women’s Film History Network-UK/Ireland was therefore initiated to promote and support research into women’s filmmaking history in Britain and Ireland, from the silent period to the present.

The Network was guided through its infancy under the dedicated leadership of its founder member Professor Christine Gledhill and, with help from, especially, Professor Julia Knight and other key founder members, it gained momentum following a successful bid for funding from the Arts and Humanities Research Council to set up a Women’s Film History Network-UK/Ireland in 2009. The AHRC gave our proposal its highest grade and we gratefully acknowledge its recognition of this neglected area of women’s history. Equally we are grateful to the Centre for Research in Media and Cultural Studies at the University of Sunderland in giving this award an institutional home.

Although funds were limited, they supported four interdisciplinary Workshops staged between 2009-2011. These Workshops drew on Network members according to expertise to form small working parties to address the conceptual and organisational issues involved in establishing the Network’s long-term function and infrastructure. Over the course of the funding period, the Network developed its online presence through its Wiki site created by Alexis Weedon and via members’ own activities, such as the Women and Silent British Cinema website co-developed by Clare Watson and Nathalie Morris. In April 2011, the Network held its inaugural conference entitled Doing Women’s Film History: Reframing Cinema Past and Future (hosted and supported by the Centre for Research in Media and Cultural Studies at the University of Sunderland), the success of which is an encouraging indication of the interest and quality of research in this area of film and television history. In part due to the contributions made by television history scholars at this conference and through discussions held in the Network’s workshops, a motion was passed in the summer of 2011 to widen the Network’s key focus to include women’s television history.

The history of the Network’s founding Workshops (2009-2011), its earlier work around silent cinema, and its first international conference are recorded on its archival Wiki, at the Women and Silent British Cinema website, and the conference blog.

Today, to ensure continuing core activities of the Women’s Film & Television History Network-UK/Ireland, a steering group of self-funding volunteers have taken on particular responsibilities in pairs or small sub-groups for two years, meeting three times a year to review and co-ordinate support activities and new developments. Steering group membership is drawn from volunteers nominated at WFTHN general meetings held at the biennial Doing Women’s Film & TV History conferences. However, volunteers may offer help or be co-opted in the interim.

We warmly invite new members to join the Network and to get involved with its concerns and activities. To join WFTHN, click here.

(, n.d.)

Women Make Movies was founded more than 30 years ago to address the under-representation and misrepresentation of women in media.

According to the latest industry statistics, the fight goes on! Below are a few startling facts about the status of women in the industry, some heartening information from Women Make Movies, plus links to other great resources for the latest statistics, articles and opinions about women in the industry.

Film & Entertainment Industry Facts

    • “In 2013, women accounted for 16% of all directors, executive producers, producers, writers, cinematographers, and editors. This represents a decrease of two percentage points since 2012 and a decrease of one percentage point from 1998. – Celluloid Ceiling 2013 Report
    • “Women accounted for 10% of writers, 15% of executive producers, 17% of editors, 3% of cinematographers, and 25% of producers working on the top 250 domestic grossing films of 2013. – Celluloid Ceiling 2013 Report
    • “Women comprised 6% of all directors working on the top 250 films of 2013. This represents a decrease of 3 percentage points from 2012 and 1998. Ninety-three percent (93%) of the films had no female directors. – Celluloid Ceiling 2013 Report
    • 36% of films employed 0 or 1 woman in the roles considered, 23% employed 2 women, 33% employed 3 to 5 women, 6% employed 6 to 9 women, and 2% employed 10 to 13 women. In contrast, 1% of films employed 0 or 1 man in the roles considered, and 32% employed 10 to 13 men.  – Celluloid Ceiling 2013 Report
    • “A historical comparison of women’s employment on the top 250 films in 2013 and 1998 reveals that the percentages of women directors, writers, executive producers, editors, and cinematographers have declined. The percentage of producers has increased slightly.  – Celluloid Ceiling 2013 Report
    • “A historical comparison of women’s employment on the top 250 films in 2013 and 2012 reveals that the percentages of women directors, writers, executive producers, and editors have declined. The percentage of women producers has remained the same. The percentage of women cinematographers has increased slightly. Celluloid Ceiling 2013 Report
    • Only 11% of all clearly identifiable protagonists are female, 78% are male. – It’s a Man’s (Celluloid) World
    • “In Academy Award history, four female filmmakers have been nominated for best director (Lina Wertmuller-1977, Jane Campion-1994, and Sofia Coppola-2004, Kathryn Bigelow – 2010), but only Kathryn has won.
      Women’s E-News
    • “In 2013, during the 85th Academy Awards, across 19 categories 140 men were nominated for awards versus 35 women. There were no female nominees for Directing, Cinematography, Film Editing, Writing (Original Screenplay), or Music (Original Score). – Women’s Media Center
    • “9 percent of the top 250 movies at the domestic box office last year were made by female directors. That’s substantially higher than the 2011 figure of 5 percent. – NY Times Report
    • Diversity means money. Broadcast comedies and dramas with more diversity get higher ratings. Films with just 21-30% diversity earned a global median box-office total of $160 million, while films with less than 10% diversity made just $68.5 million. – Indiewire
    • Women are underrepresented by a factor of nearly 2 to 1 among lead roles in film; women had the lead in just 25.6% of the films. – Indiewire
    • Things are not moving in the right direction for women onscreen.  The numbers are stuck at around 30%, yet remember, women buy 50% of the tickets.  The numbers continue to show that Hollywood doesn’t care enough about women.  They believe that sexualizing girls and women sells tickets. – Indiewire
    • “Women support women. Films directed by women feature more women in all roles. There is a 21% increase in women working on a narrative film when there is a female director and a 24% of women working on documentaries. – Indiewire
    • Females direct more documentaries than narrative films – 34.5% vs 16.9%. – Indiewire
    • Top male critics wrote 82% of film reviews featured on Rotten Tomatoes during a two-month period, with top female critics accounting for less than 20%. – The Wrap

Facts About Women Make Movies

  • “WMM has more than 500 films in its collection, representing more than 400 filmmakers from nearly 30 countries around the globe.”
  • “In the last decade, WMM has worked with dozens of local women’s organizations in Asia, Latin America and the Middle East to support new International Women’s Film Festivals.”
  • Projects that WMM has supported and distributed have been nominated for and won all of the most prestigious media awards, including the Academy Award, Emmy Award, Peabody Award, and the duPont-Columbia University Broadcast Award, among others.
  • WMM now sponsors more than 200 projects in its renowned Production Assistance Program, and has helped filmmakers raise close to $4 million in funding over the last 5 years.
  • “WMM has returned more than $1.5 million in royalties to women filmmakers over the last three years.”
  • WMM serves as an advisor to pioneering projects around the world including: the Gender Montage Project which trains filmmakers in the former Soviet Republics; and a groundbreaking program developed to promote filmmaking in Iraq.
  • WMM films have been aired by major broadcasters around the world, including HBO/Cinemax, PBS, Sundance Channel, IFC and international broadcasters such as ZDF, Arte, KBS Korea and TV Globo Brazil.

The information I have put in quotation marks is intentionally such because backlogging wouldn’t work with bullet points, and so the quotation marks represent information and statistics that I find the most relevant.

About Women Make Movies

Established in 1972 to address the under representation and misrepresentation of women in the media industry, Women Make Movies is a multicultural, multiracial, non-profit media arts organization which facilitates the production, promotion, distribution and exhibition of independent films and videotapes by and about women.

The organization provides services to both users and makers of film and video programs, with a special emphasis on supporting work by women of color. Women Make Movies facilitates the development of feminist media through an internationally recognized Distribution Service and a Production Assistance Program.

Distribution Service

The Women Make Movies’ Distribution Service is our primary program. As the leading distributor of women’s films and videotapes in North America, Women Make Movies works with organizations and institutions that utilize non-commercial, educational media in their programs.

This includes media arts centers, museums, galleries, colleges and universities, as well as other non-profit organizations and agencies, ranging from hospitals to prisons to labor unions to the U.S. Army.  Our collection of more than 500 titles includes documentary, experimental, animation, dramatic and mixed-genre work. The films and videotapes represent a diversity of styles, subjects and perspectives in women’s lives. More than half of the works in the collection were produced by women of diverse cultures, and the collection includes a variety of works by and about lesbians, older women and women with disabilities.

In the last three years, WMM has returned more than $1.5 million to women producers in royalty payments. More info.

Production Assistance Program

Women Make Movies also offers a unique Production Assistance Program which provides fiscal sponsorship, low-cost media workshops and information services to independent media artists. The services included in this program reflect Women Make Movies’ commitment to outreach and development of both emerging and established women film and video makers. More info.


Women Make Movies was established in 1972 with the specific mission of training women to become film and video makers. Through the 1970s and early 1980s, hundreds of women participated in Women Make Movies’ training programs, collectively producing 70 films and videotapes. During the late 1970’s, in response to the lack of distribution and exhibition opportunities for women’s films, Women Make Movies initiated its distribution service, began presenting on‑going screenings in New York, and sponsored two international women’s film festivals.

In 1984, Women Make Movies exhibited a ground-breaking program of media by Latin American women, Punto de Vista: Latina, and the next year co-sponsored the conference Viewpoints: Women, Culture and Public Media with Hunter College, which was attended by more than 700 artists, practitioners, theorists, and community activists.

In 1988, a new production assistance program was initiated, which included artist-in-residencies, a technical assistance program and workshops. The following year, Women Make Movies launched two international touring programs, Changing the Subject: An International Exhibition of Films by Women of Color and The Feminist I, a survey of contemporary women’s video.

In celebration of our 20th anniversary in 1992, Women Make Movies launched a touring theatrical exhibition program of new releases from the Women Make Movies collection. The tour was presented in twenty cities throughout the United States. In addition, an international touring program from the Women Make Movies’ collection was launched at the Finnish Film Archives in Helsinki, Finland and traveled to a number of cities in Europe, Asia and Latin America.

In 1997, to honor Women Make Movies first quarter century, the Museum of Modern Art in New York City organized a special tribute and twenty-five program retrospective of Women Make Movies titles. Exhibitions commemorating the organization’s 25th Anniversary were also held in Austin, Salt Lake City, Boston, Atlanta, Washington DC, as well as internationally in Brazil, Mexico, Korea, Taiwan and the former Soviet Union.

Women Make Movies launched its 30th anniversary year at the Sundance Film Festival with a record breaking ten films, including the Special Jury Prize winner, Lourdes Portillo’s Señorita Extraviada in January of 2002.

This film, along with other highly acclaimed films from the WMM collection, were featured at exhibitions around the globe as part of our 30th Anniversary celebration.  For our 40th Anniversary in 2012 we worked with museums, art centers and other cultural institutions to present more than 40 exhibitions of the films we distribute.

Over the past decade, Women Make Movies distribution service has rapidly grown into an internationally recognized resource. WMM now distributes more than 500 documentary, dramatic and experimental films representing more than 400 emerging and established women artists.

Our films are shown in media arts centers, museums, television, theaters, libraries, universities and used by thousands of educational customers and community groups throughout the United States. WMM has also worked with dozens of local women’s organizations in Asia, Latin America and in the Middle East to support new International Women’s Film Festivals.

We are proud to have films in our collection by renowned filmmakers such as Jane Campion, Julie Dash, Sally Potter, Trinh T. Minh-ha, Lourdes Portillo, Tracey Moffatt, Valie Export, Kim Longinotto, Pratibha Parmar, Ngozi Onwurah and Ulrike Ottinger, among others, as well as films that have garnered top prizes at prestigious film festivals such as Cannes and Sundance. Our Production Assistance program continues to support the production and development of film and video projects. In the past four years over 200 projects were completed with the assistance of the Fiscal Sponsorship Program.   Projects that WMM has supported and distributed have won all of the most prestigious media awards including the Academy Award, Emmy Award and the Peabody Award, among others.    Recent successes from our Production Assistance Program include Parish, by Dee Rees, the E-Team by Katy Chevigny and Ross Kaufman, Gideon’s Army by Dawn Porter and Las Marthas by Cristina Ibarra.

In the coming years, Women Make Movies looks forward to continuing to increase the visibility of women both in front of and behind the camera.

Reference List:, (2014). What We Do. [online] Available at: [Accessed 30 Nov. 2014].

Women’s Film and Television History Network-UK/Ireland, (2011). About Us. [online] Available at: [Accessed 30 Nov. 2014]., (n.d.). WMM | RESOURCES | FILM FACTS. [online] Available at: [Accessed 30 Nov. 2014].

Richards, B. (n.d.). Women directors come together to tackle industry issues. [online] Available at: [Accessed 30 Nov. 2014].

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