To clarify, I am only focusing on the film industry…for the world in general, progress would definitely be the wrong word.
2017 seems to be a game-changer for the film industry. Events and releases of this year seem to have started a necessary chain of reaction to change what we see on screen, who is making it behind the scenes, and the treatment of people working in the industry. Some of the events behind this seeming shift in Hollywood’s perspective are wholly positive, others come from horrifically negative roots that have begun to form a positive change thanks to the bravery of many people. It feels like, at least for some of these changes, the industry, and world, can no longer ignore certain issues, and this may be a long overdue turning point in the battle for equality.
#metoo
One of the most important movements that has sprung this year is #metoo. Prompted initially by the flood of horrifying and disgusting stories of Harvey Weinstein’s actions harassing and assaulting tens of women, the viral hashtag that began as a response to public allegations within the film industry has spread globally showing how sexual harassment doesn’t discriminate between where you work, and people have had enough. The size of the movement signaled that anything of this kind would no longer be tolerated; the strength of numbers, after the ignoring of individuals, has finally given the allegations and stories the power and impact they deserve. This is something that started in the film industry, due to its place in the public eye, but has spread far and wide and with that is hopefully an indicator of a global change in attitudes. Victims will hopefully be in a place where they feel they can speak up and will be listened to. Observers of such grotesque behaviour will step in. These disgusting attacks will hopefully, finally, be stamped out as the world finally rises up to saying this behaviour is not okay, it will not be tolerated, and the victims will not be the ones who have to fear that their career will suffer. Justice will hopefully be served to those who have evaded it for so long (of course, through a legal system – which will hopefully also be impacted by this tide of change – not through the court of public opinion). It is all thanks to the incredible bravery of the survivors of this horrendous harassment and abuse. These women and men must be truly commended in sharing their pain in the vein of vying for a better tomorrow.
The movement seems to also be beginning to have an impact on the ‘separate the art from the artist’ stance. Whilst, of course, people will be sad that perhaps a piece of art they have loved has been tainted or ruined by the stories coming out around it, this cannot be placed in a state of priority over the impact the events have had on the survivors. Abusers and assaulters (criminals) should not be allowed to maintain their position of power where they can wield greater consequence for the victim. Yes, they may have done some great work artistically, but why should we continue to reward them when those who have suffered at their actions oftentimes find their career prospects slashed. The last-minute replacement of Kevin Spacey in All the Money in the World indicates a change in public opinion, that the outrage at his alleged actions would be so great as to seriously harm the film financially; people are less willing to stand for art over artist anymore. This may even dredge up some ‘historical’ allegations that were swept under the rug due to admiration for the accused at the time, and the accusers may finally be seriously listened to.
This has also brought the matter of equal pay further to the forefront, as women’s rights have been the centre of conversation. More and more examples of financial discrimination have been revealed, but it seems now, especially with the public attention, people are beginning to fight back. Men and women are starting to work together more prominently to help try and bring equal and fair pay to more of Hollywood, which again has spread far beyond.
This does not feel like something that will fade away. It is a pivotal moment in progressing towards a safer and more equal world.
Representation and Diversity
In focusing more on films themselves, 2017 seems to be the year that it was finally proven that everyone wants to see films about women, and people of colour. The ridiculous Hollywood myth, which seemed to rule studio’s decision-making processes, that only films about men, and white men, can be successful, has hopefully been dispelled, primarily through two of the most successful and culturally impactful releases of the year: Wonder Woman and Get Out.
I have written previously about the importance of Wonder Woman’s success, but now, at the end of this year, it seems its impact has resonated in the way everyone hoped. Both in front of and behind the camera, Wonder Woman put women at the forefront in a way they rarely are in the film industry. Patty Jenkins broke the record for highest opening weekend box office and highest grossing live-action film for a feature directed by a woman. She also became only the second (or first, depending on reports) woman to direct a film costing $100 million or more. Wonder Woman became the DCEU’s first critical success, and broke into the public consciousness in a way most other superhero releases haven’t (it also had the lowest second-weekend drop for Warner Bros. since The Dark Knight). Did I mention that this was the first female superhero film we’ve had in this superhero renaissance that has blasted us with a flood of films every year for a decade (and the first directed by a woman). The first time they have put a woman at the forefront. We have had nearly 40 superhero films since the MCU started in 2008. We have had three separate Spiderman franchises and two Batmans in about 15 years. All of this, and this was the first female superhero film. The fact that it smashed the box office, and its presence rippled through pop culture proved that women can be action heroes, and ones that everyone wants to watch. Its impact was so huge, its hard not to see it making a genuine change in the industry. The film also, in its gender flip of what we’re used to seeing, gave a prime example of how secondary characters and love interests (that women are often relegated to being) should be treated, which will hopefully influence other films in the future.
One of the surprise smashes of the year was Jordan Peele’s debut: Get Out. The film centred on the experience of being African-American, and it was that experience and the feelings of that result from it that completely drove the story and formed the basis of the horror plot. The film not only featured a black protagonist, but its entire plot was laced with social commentary about the state of race relations in modern America. This is sadly another absolute rarity in film, but the huge cultural impact of Get Out looks set to change that. The film is the most profitable film of the year, and has made its way deep into the zeitgeist. Much like how men watched a film about a woman in Wonder Woman, people of all races watched Get Out. It served to not only help to satisfy a starved part of the market for stories told from an African-American perspective, but served to educate others about the state of race relations and the insidious ways they have weaved into society. It could bring about real social change in people’s attitudes and the ways they understand one another. Its indisputable success looks to do great things for diversity in cinema, as well as wildly original screenplays.
In terms of the LGBTQ+ community, the year has also featured some stunning and lauded films featuring romances and perspectives that are not heterosexual (the default that floods the vast majority of films). From Moonlight winning the Oscar for Best Picture, to smaller but acclaimed films such as God’s Own Country and A Fantastic Woman, as well as the Oscar-tipped Call Me by Your Name making waves, the year has featured some great cinema capturing romances and stories of members of the LGBTQ+ community. We can only help that this is part of a steady rise of their representation in cinema.
As for the Oscars themselves, there was no #Oscarssowhite, and whilst not a huge amount of progress was made in terms of their statistics for women, it was a good year for diversity otherwise. Three of the Nine Best Picture nominees focused on African-American stories, with Moonlight going on to win and becoming the first LGBTQ+ film to claim the prize. There were also two African-American acting winners (including Mahershal Ali becoming the first Muslim actor to win an Oscar), plus seven of the 20 nominees were not white. 2017 also seems to be showing signs of producing a diverse Oscar race for next year’s awards season, with more women and African-Americans seemingly being in contention.
It has not only been an eventful year, but seemingly a game-changer. It will hopefully become a banner year for the industry as it progresses forward with equality and representation in mind in all aspects of the business, focused on safe and fair working environments, equal pay, and hopefully a more diverse slate of releases, now it has finally been proven there is an appetite for them.
