Celluloid Ceiling

EditorsGABRIELLE KELLY, screenwriter and producer, is also a media educator and story expert. She has worked in Hollywood on both studio and indie films and on productions from Russia, Brazil, China and Europe. Her films include: All the Queen's Men, Stag, D.A.R.Y.L. for Paramount/Columbia, and her script of indie feature All Ages Night is set in the music scene of LA. She developed and edited the industry bible, The Movie Business; a Legal Guide with entertainment lawyer Kelly Crabb and was given the Female Maverick Tribute by Female Eye Film Festival in 2014. CHERYL ROBSON is a producer of several short independent films, most recently Rock n Roll Island. She worked at the BBC for several years and then taught filmmaking at the University of Westminster, before setting up a theatre company. She also created a publishing company where she has edited over fifty books and published over 150 international writers. As a writer, she has won the Croydon Warehouse International Playwriting Competition and as an editor, received a Special Jury Prize for Peace with author Robin Soans, for The Arab-Israeli Cookbook.

• INTRODUCTION Gabrielle Kelly and Cheryl RobsonAFRICA. African Women Directors: 'Francophone African Women Filmmakers:40 years of cinema, Paris (1972-2012)'Beti Ellerson2. Speak Up! Who's Speaking?: 27African Female Filmmakers Speak forThemselvesMaria Williams-HawkinsAMERICAS3. The home, the body and otherness: 54Canadian representations of identity andfeminism in Mary Harron's American Psycho,Sarah Polley's Away From Her and the SoskaSisters' American MaryKaren Oughton4. Female Filmmakers in Latin America 77Ana Maria Bahiana5. USA: Flouting the System: Lois Weber, 92Dorothy Arzner and Ida LupinoJacqui Miller6. From Hollywood to Indiewood to Chinawood: 106Women Film Directors in the USGabrielle Kelly7. US: Women Film Directors of the Indie 127WorldNathan Shaw8. Oscar-worthy Women Directors 140Patricia Di Risio9. Interview with Kathryn Bigelow 155Ana Maria BahianaASIA10. Moving Up: 160Women Directors and South-east Asian CinemaAnchalee Chaiworaporn11. Films from an Unknown Woman: 179Remediating the absence of gender politics inthe films of women directors in China, Taiwanand Hong KongPieter Aquilia12. Women Filmmakers of South Korea 203Anchalee Chaiworaporn13. 'Why are you making such a big deal just 210because I am a woman?' Women Directors ofPopular Indian CinemaCoonoor Kripalani14. Cats and Dogs and Wild Berries: 233New Voices in Japanese CinemaAdam Bingham15. To Direct Patriarchy: Women Film Directors 249in PakistanIram Parveen BilalAUSTRALIA & NEW ZEALAND16. Brilliant Careers: Three Waves of 255Australian, New Zealand and IndigenousWomen Film DirectorsPieter AquiliaEUROPE17. Alice Guy-Blache, True Pioneer 272Tania Field18. A Century of Madchen: Femmes 280and Frauen in Fascist, New Wave, andContemporary European CinemaHeidi Honeycutt19. Hidden Histories on Film: 309Female Directors from South Eastern EuropeDina Iordanova20. Iron and Reel: Russian Women Directors 316Through the Soviet Era and BeyondKarlanna Lewis21. Where's Britannia? 329Melody BridgesMIDDLE EAST22. Coming Forth (Day) by Day: Arab Female 349Filmmakers Making StridesRonan Doyle23. In Their Own Words: Interviews with 355Contemporary Women Directors from theMiddle EastElhum Shakerifar24. Voices of Israeli Women Filmmakers 366Amy KronishSUMMARY 380Gabrielle Kelly

"The level of public consciousness about the barriers faced by female filmmakers is higher than it has ever been. Despite this, the discussion more often than not centres around North America and to a lesser extent, Europe, Australia and New Zealand (and I am guilty as charged). This is perfectly understandable, but clearly women do make films outside of these countries, and it can be illuminating to consider how their experiences reflect or differ from those with which we are more familiar. To this end, the arrival of a new book, "Celluloid Ceiling," could not be more timely. Edited by Gabrielle Kelly and Cheryl Robson, it takes a purposefully global overview of the status quo and in doing so provides some fascinating stories and insights, reminding us of what is lost when we limit the discussion to Anglophone directors." - Matthew Hammett Knott - indiewire