Ariel Dougherty is a teacher, filmmaker, producer and mentor for women directed media/culture of all stripes. SWEET BANANAS (director, 1973) and !WOMEN ART REVOLUTION (Producer, 2010) are among the hundreds of films she has worked on. She writes at the intersections of women-identified media, especially film production, women's human rights, and funding for film. Currently, she is working on a book entitled Feminist Filmmaking Within Communities.
Collectively, state legislatures passed 288 restrictions on women’s reproductive rights between 2010 to 2015. Now, a new film tells the stories of women’s horrific health experiences, and the imprisonments, both actual and threatened, that are a consequence of these laws.
Birthright: A War Story is a new documentary that exposes the radical religious right’s infiltration state legislatures. This movement’s goal is not only to strike down women’s constitutional right to abortion but also to curb women’s access to birth control. Some seek to put the rights of fetuses above those of women.
A massive defunding for women is now under consideration in the United States Senate. All told, it represents billions of dollars annually that will come straight out of primarily women’s wallets.
You may not usually think of the federal government as a philanthropic institution. Yet from our country’s start, congressional acts have subsidized various segments of the population and for a variety of reasons. Take the 1792 Postal Act. A spirited debate went on in the second session of Congress, over maintaining access to information. That Congress voted to create low postal rates for newspapers and to improve roads by creating postal routes to ensure expansion and development of our fledgling country, rather than solely serve existing communities. Americans still benefit from reduced media postal rates today.
Young feminists have been organizing across the globe for decades, but their work, particularly in the media sector, has been woefully underfunded. I know, since I was one of them. In 1969, when I co-founded Women Make Movies, women’s funds didn’t exist.
Over the decades, thousands of young activists have gathered at events like the International Forum on Women’s Rights and Development, the flagship event of AWID (Association of Women’s Rights in Development), and have talked about the need for more funding for young feminists, particularly in media. As the last decade closed, many young activists lamented that no women’s fund specifically addressed their youthful organizing needs. So they decided to start their own, with AWID and Fondo Centralamericano de Mujeres (Central America Women’s Fund) incubating this spark of an idea.
The telling of more women’s stories is necessary to advancing women’s lives. Regrettably, though, a mere 4.6% of Hollywood features today are directed by women. As a result, women have fewer speaking parts – 34% according to Dr. Martha Lauzen’s 2015 annual report “It’s a Man’s (Celluloid) World.” And only 22% of the protagonist were women. This leaves a huge gap in one of America’s most popular exports. Is this really the picture people in the United States want to offer around the globe?
For decades, film women have been working to change this picture. Especially since the Equal Employment Opportunity Commission officially took up a complaint over a year and a half ago, discussions among women in Hollywood and elsewhere have intensified.