Conclusion: Moving Beyond Numbers to Make Change Happen

  • Natalie Wreyford


The final chapter draws together the arguments of the book, summarizing and reiterating the key findings into conclusions about why gender inequality 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 women must do, to how can film work be more women-friendly? It proposes that we need not only more women, but a diverse range of women, as both screenwriters and employers and in all key roles. In this way, we can start to trouble the binary gendered assumptions that inform our films, our culture, and our lives.


  1. BAFTA Masterclass. 2013. Why don’t more women write for TV? Institut Français, London. Recording available: Accessed 2 Apr 2018.
  2. Banks, Mark, and Katie Milestone. 2011. Individualization, gender and cultural work. Gender, Work & Organization 18 (1): 73–89.CrossRefGoogle Scholar
  3. Bigelow, Kathryn. 2008. Director, The Hurt Locker. Screenplay by Mark Boal. Voltage Pictures.Google Scholar
  4. Bourdieu, Pierre. 1984. Distinction: A social critique of the judgement of taste. Cambridge, MA: Harvard University Press.Google Scholar
  5. Crenshaw, Kimberle. 1989. Demarginalizing the intersection of race and sex: A black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics. University of Chicago Legal Forum 1989 (1), Article 8: 139–167.Google Scholar
  6. Franklin, Ruth. 2011. A literary glass ceiling? New Republic. Accessed 2 Apr 2018.
  7. Gilbey, Ryan. 2018. The end of the auteur? The Guardian. Accessed 2 Apr 2018.
  8. Gill, Rosalind. 1993. Justifying injustice: Broadcasters’ accounts of inequality in radio. In Discourse analytic research: Repertoires and readings of texts in action, ed. Erica Burman and Ian Parker, 75–93. London: Routledge.Google Scholar
  9. ———. 2014. Unspeakable inequalities: Post feminism, entrepreneurial subjectivity, and the repudiation of sexism among cultural workers. Social Politics: International Studies in Gender, State & Society 21 (4): 509–528.CrossRefGoogle Scholar
  10. Goldhill, Olivia, and Sarah Marsh. 2012. Where are the black ballet dancers? The Guardian. Accessed 2 Apr 2018.
  11. Hemley, Matthew. 2017. Women directors face gender gap at top theatres ‘sobering’ report claims. The Stage. Accessed 2 Apr 2018.
  12. Kelan, Elisabeth. 2009. Performing gender at work. Hampshire: Palgrave Macmillan.CrossRefGoogle Scholar
  13. McRobbie, Angela. 2005. The uses of cultural studies: A textbook. London: Sage.Google Scholar
  14. Negus, Keith. 2002. The work of cultural intermediaries and the enduring distance between production and consumption. Cultural Studies 16 (4): 501–515.CrossRefGoogle Scholar
  15. Sarkeesian, Anita. 2015. Gender breakdown of games showcased at E3 2015. Feminist Frequency. Accessed 2 Apr 2018.
  16. Scharff, Christina. 2015. Blowing your own trumpet: Exploring the gendered dynamics of self-promotion in the classical music profession. The Sociological Review 63 (1_suppl): 97–112.CrossRefGoogle Scholar
  17. Steele, David. 2013. Succès de plume? Female screenwriters and directors of UK films, 2010–2012. BFI. Accessed 2 Apr 2018.
  18. Taylor, Stephanie, and Karen Littleton. 2012. Contemporary identities of creativity and creative work. Oxfordshire: Routledge.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Natalie Wreyford
    • 1
  1. 1.University of SouthamptonSouthamptonUK

Personalised recommendations