REPORT

womensmediacenter.com

WOMENS MEDIA CENTER

Robin H. Pugh Yi, Ph.D. Craig T. Dearfield, M.A.

WOMENS MEDIA CENTER

The Womens Media Center founded by Jane Fonda, Robin Morgan, and Gloria Steinem has the goal of making women visible and powerful in media. Media influence is one of the most powerful economic and cultural forces today. By deciding who gets to talk, what shapes the debate, who writes, and what is important enough to report, media shape our understanding of who we are and what we can be. The problem is that we are only rarely using half of our talent and usually hearing half of the story. This report shines a light on the status of women in media and underscores the crucial need to hold media accountable for an equal voice and equal participation.

Executive Summary
This report summarizes the recent available statistical data on women who determine the content of news, literature, and television and film entertainment, as well as on how women are depicted on entertainment television and film. Data were compiled from several leading sources of statistical and analytic data on women in the media, and from recent research articles on media gender inequity. The report is intended to provide a broad overview of the status of women in the U.S. media at the beginning of 2012. Results indicate that, over the past decade, women consistently have been underrepresented in news and entertainment media, with little change in proportions over time. When films and television do depict female characters, they often reflect gender stereotypes. Women in films, particularly young women, are far more likely than men to be hypersexualized. Research has shown that underrepresentation and negative depictions in media have broad societal effects. How women are represented in media affects gender equity in general. It is important to determine the causes of underrepresentation and stereotypical depiction and to develop practical approaches to improving the status quo. Current data suggest this will include: z Determining why womens representation in news media occupations is inverse to the proportion of women with journalism and mass communication degrees z Assessing media responsibility for the proportion of women newsmakers and news experts z Studying the potential role of media in affecting gender equity among newsmakers and news experts z Assessing reasons for gender inequity in literary publications z Developing practical approaches to increasing the proportion of positive female television and film characters and woman-centric stories. Accomplishing this will require key stakeholders such as womens advocacy groups, media organizations representing all media platforms, and college and university journalism departments to identify media gender equity as a priority and to develop clear and practical plans for achieving it.

WOMENS MEDIA CENTER

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

Introduction and Methods

This report summarizes the most recent available statistical data on: z Representation of women in media occupations associated with determining content of news z Representation of women in media occupations associated with determining content of television and film entertainment z Gender equity in literature reviews z How women are depicted on entertainment television and film. A brief discussion of the implications of gender inequity in media follows the data summaries. Data were compiled from several leading sources of statistical and analytic data on women in the media, and from recent research articles on media gender inequity. The report is intended to provide a broad overview of the status of women in the U.S. media at the beginning of 2012.

Results
This section presents data on gender equity in news and entertainment media. Data include proportions of women in positions that determine content as well as women who are newsmakers, literary contributors, or in speaking roles on television or film.

Women in the News Media

This section summarizes the representation of women in key positions in newspaper, television, and radio news.

Newspapers
According to the American Society of News Editors (ASNE) Newsroom Census, women represented roughly 37 percent of newsroom employees between 1999 and 2010. According to this survey, in 2011 women represented 40.5 percent of newspaper newsroom employees. The Bureau of Labor Statistics reported that women comprised 36.9 percent of newspaper reporters, photographers, copy and layout editors, and supervisors in 2011. Figure 1 shows gender representation in newsrooms since 2011, according to the ASNE Newsroom Census.
Figure1. Gender Representation in Newspaper Newsrooms, 1999-2011 Fig 1 Percent
100 36.9 37.1 37.3 37.0 36.9 37.2 37.5 37.8 37.6 37.4 37.0 36.6 40.5

80

60

63.1

62.9

62.7

63.0

63.1

62.8

62.5

62.2

62.4

62.6

63.0

63.4

59.5

40

20

1999

2000

2001

2002

2003

2004 Men

2005

2006 Women

2007

2008

2009

2010

2011

WOMENS MEDIA CENTER

Fig 2

News Director 28.3 Asst. News Director 48.7

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

60

63.1

62.9

62.7

63.0

63.1

62.8

62.5

62.2

62.4

62.6

63.0

63.4

59.5

40

Television

According to the Bureau of Labor Statistics, women made up 40 percent of the total televi20 sion news force and 28.4 percent of television news directors in 2011. Figure 2 shows the percentages of women in key television news positions, according to the Radio Television Digital News Associations (RTDNA) 2008 Women and Minorities Survey.
0

1999

2000

2001

2002

2003

2004

2005

2006

2007

2008

2009

2010

2011

Men Women Figure 2. Percentage of women in television news positions, 2008 Fig 2

News Director 28.3 Asst. News Director 48.7 Managing Editor 30.5 Executive Producer 55.2 News Anchor 56.8 Weathercaster 21.6 Sports Anchor 7.8 News Reporter 56.7 Sports Reporter 18.7 Assignment Editor 48.7 News Producer 64.2 News Writer 63.4 News Assistant 75.0 Photographer 6.8 Tape Editor 31.7 Graphics Specialist 32.0 Internet Specialist 45.1 Art Director 34.2
Percent 0
10 20 30 40 50 60 70 80

While women are the minority for 10 of 18 positions, they represent about half of assistant news directors and assignment editors, and the majority for six key positions, including executive producers, producers, news reporters, writers, anchors, and assistants. Women are Percent underrepresented among news photographers, sports anchors, and sports reportmost Fig 3 ers. As shown in Figure 3, according to the RTDNA, women consistently comprised 40.2 50 percent of the total local television news force in between 2004 and 2011. Proportions of women news directors during this time ranged between roughly 21 and 29 percent. 40
39.1 39.3 40.0 39.9 40.2 41.4 40.0 39.9 30 20 10 0 25.2 21.3 The Status of Women in the U.S. Media 2012 2004 2005 2006 2007 2008 25.2 26.3 28.3 29.1

28.4

28.0

WOMENS MEDIA CENTER

Total Workforce News Directors

www.womensmediacenter.com 2009 2010 2011 3

Graphics Specialist 32.0 Internet Specialist 45.1 Art Director 34.2

Art Director 34.2

Percent 0
10 70 20 80 30 40 50 60

70

Fig 3

Figure 3. Women in the local television news force, 2004-2011 60 Percent 0 10 20 30 40 50 Percent
50 40

39.1

39.3

40.0

Fig 3 39.9

Percent
50 40 30 20 10

40.2 28.3 39.1 40.2 25.2 2008 28.3

41.4

40.0 28.4 40.0

39.9

Fig 3

Percent 30
50 20 40 10 30 0 20 25.2 21.3 39.1 2004 25.2 39.3 2005 21.3 40.0 2006 25.2 39.9 2007 26.3 25.2 26.3

29.1 39.3

28.0 39.9 39.9 26.3 2011 28.0

40.2 28.3

41.4

40

41.4 News Directors 40.0 25.2 21.3 2009 2010 29.1 28.4

Total Workforce

29.1

28

Total Workfo News Directo

2009

Radio

Fig 4

According to the Bureau of Labor Statistics, total 2008 10 0 radio news workforce, 18.1 percent of radio news directors, and 18.3 percent of radio 2007 2009 2010 general2004 managers2005 2011.2006 RTDNA reports 2008 women represented 22.0 2011 in The that percent of 0 local radio news force in 2011. Women comprised 10.7 percent of radio news directhe Percent tors, a steep decrease reflecting roughly one-half to one-third of the 29.2 proportions reported 28.1 30 27.5 between 2004 and 2010. 24.8 24.4
27.7 Percent 22.1 24.7 local radio Fig 4 force, 2004-2011 Figure 4.Women in the news 23.5 30 27.5 22.4 20 Percent 20.4 20.0 25.9 28.1 Total Workforce 30 27.5 24.7 News Directors 22.4 24.8 24.4 20 27.7 22.1 25.9 10 24.7 23.5 22.4 20 20.4 20.0 2004 2005 2006 2007 10 2008 2009 Total Workforce 25.9 22.0 24.8 29.2 18.1 20.4 24.4 23.5 22.0 10.7 2011 10.7 2007 2011 20.0

2004 women

2005 29.2 2006 2007 comprisedNews Directors percent of the

Total Workforce

20

28.1 22.1 27.7

29

Fig 4

Total Workforce News Directors

18

2010 18.1

News Directors
0
2004 2008 2005 2009 2006 2010 2008 2009

10

20

2004

2005

2006

2007

Fig 5

Fig 5

Women/Men Heavy The 2011Co-hosts 3% Hundred most important radio talk show hosts in America selected by the editors of Talkers magazine with input Women 13% Fig 5 from industry leaders included only 13 solo women Women/Men three women who co-host hosts and Co-hosts 3% shows with men. In 2010, National Public Radio (NPR), with a woman 13% chief executive officer Women a woman Men 84% and heading its news department, featured woman hosts for three of its five toprated shows. Overall, about half of NPR hosts and reporters are women. Men 84%
WOMENS MEDIA CENTER

Figure 5. Gender Representation in the Talkers Heavy Hundred List Women/Men Co-hosts 3%

Women 13%

Men 84%

Fig 6

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

Women 21.7%

20.0

Fig 5

10

Women/Men Co-hosts 3%

Total Workforce News Directors

18.1 10.7

Newsmakers

Studies 2004newsmakers gender13% of than to subjects of Women show women are less likely2009 men2010 be the 2011 2005 2006 2007 2008 news stories. The Media and Gender Monitor (2011) reported that, globally, 24 percent 0 of news stories are about women. This proportion has been increasing. In 2000, women were the focus of 18 percent of news stories; in 2005 the percentage had increased to 21. In stories about politics and government, women were the focus of 12 percent of stories in 2000, increasing to 14 percent in 2005, and 19 percent in 2010. According to the Men 84% Global Media Monitoring Project, women represent 23 percent of newsmakers on the 84 news Web sites they monitor (Macharia, OConnor & Ndangam, 2010). In 2010, NPR Women/Men Co-hosts 3% Fig 5 reported that only 26 percent of its news sources were women (Shepard, 2010). American University School of Public Affairs Women and Figure 6. Gender representation on Sunday Politics Institute monitors the gender of guests Women 13% morning television news shows, 2011 on Sunday morning news talk shows airing on NBC, CBS, ABC, CNN, and Fox News. Fig 6 As shown in Figure 6, in 2011, women represented just over one-fifth (21.7%) of guests. Women 21.7% This is a decrease from 24.5 percent in 2010. Men 84% Lovley (2010) reported that 13.5 percent of appearances by U.S. representatives and senators on Sunday morning television news talk shows were women. Women comprised Men 78.3% 16.8% of the 112th U.S. Congress. News producers interviewed for the article said women lawmakers often reject requests for interviews. Fig 6 The 2010 NPR Ombudsman stated, Admittedly, the relative lack of female voices reflects Women world. The fact remains that even in the fifth decade after the feminist revoluthe broader21.7% Percent tion, men are still largely in charge in government at all levels, in corporations and nearly 18 Fig 7 all other aspects of society. That means, by default, there are going to be more male than 16 female news sources. 16 16
14 12

Women inMen 78.3% News Sports

2008 2011

According to studies conducted by Lapchick et al. in 2008 and 2011 for the Associated 11.5 11.4 10 Press Sports Editors (ASPE) women are 10 small minority in key sports news occupations, with a 10 9 9 8 virtually no change over three years.
7 6 6.5 6 6 Figure 7. Representation of Women in Key Sports News Occupations 4 Percent 18 2 16 0 Editors Asst. Editors Columnists Reporters Copy Editors Designers 16 16 2008 14 2011 12

Fig 7

10 Fig 8 8 Percent 6 100 4 2 80 0

WOMENS MEDIA CENTER

11.5 11.4

10 6.5 6 26.4

10 6 27.0 7 24.4

9 26.1 25.1 24.7 26.2 26.5

30.1

28.1

27.3

25.1

60

69.9

Editors

71.9

Asst. Editors
73.6

72.7

Columnists
74.9

73.0

Reporters

75.6

Copy Editors
73.9

74.9

Designers

75.3

73.8

73.5 5

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

Percent

40

10 8 6 4

11.5 11.4 10 6.5 10 7 9 9

6 6 Women Journalism and Mass Communication Graduates

While women represent less than half of several key media occupations, for over a decade 2 women they have outnumbered men by two or three to one among journalism and mass 0 communication graduates. Editors 7 shows theReporters Figure Columnists proportions of men and women graduates Editors Asst. Copy Editors Designers since 1999, according to the 2010 Annual Survey of Journalism and Mass Communication Graduates (Becker et al., 2010).
Figure 8. Gender Representation Among Journalism and Mass Communication Graduates Fig 8 Percent
100 30.1 28.1 26.4 27.3 25.1 27.0 24.4 26.1 25.1 24.7 26.2 26.5

80 69.9 71.9 73.6 72.7 74.9 73.0 75.6 73.9 74.9 75.3 73.8 73.5

60

40

20

1999

2000

2001

2002

2003

2004 Men

2005 Women

2006

2007

2008

2009

2010

Fig 9

Percent Women journalism and mass communication graduates have consistently had slightly higher 100 (2-6%) full-time employment rates than their male counterparts. Becker et al. (2010) attribute 83 83 84 84 this to women being more likely to specialize in advertising and public relations,82 which offer more full-time jobs than other occupations in the field.
80

Reviews of Literature by Women

Over the past year, the press has paid increasing attention to gender equity in book re60 views. Weiner (2012) reported that men had written 62 percent of books reviewed by The New York Times between July 2008 and August 2010. In 2011, 59.1 percent of fiction reviewed in The New York Times was written by men. Williamson (2012) reports that 70 40 percent of books reviewed on NPR in the fall of 2011 were written by men. A follow-up analysis by Franklin (2011) showed that the proportion of reviews was close to the proportion of publications. A review of 13 publishing houses 2010 catalogs showed that 55 20 percent of books published were written by men. King (2010) found that women were the minority among reviewers and authors reviewed in 0 13 literary1998 journals. Romm (2011) conducted a rough count of literary magazine editors 2005 2009 2010 2011 and concluded, for now the gatekeepers of literary culture- at least at magazines- are Men Women still primarily male. Page (2011) interviewed editors of four journals regarding this topic. All reported being concerned, and invested in gender equity. John Freeman, editor of Granta magazine, said he worries about these gender imbalances a lot, adding, While Percent numbers and graphs like this are helpful, he said, conspiracy theories are not, because 30 1998 we have to ask a deeper question, which is how gendered are our notions of storytelling?
2007
WOMENS MEDIA CENTER

17

17

16

16

18

Fig 10

25 20

24 23 22 The 2010 Status of Women in the U.S. Media 2012

2009 2011

24

25 www.womensmediacenter.com 20 20 18 18 17 6

18

17

18

30.1 30.1 80 80

28.1 28.1

26.4 26.4

27.3 27.3

25.1 25.1

27.0 27.0

24.4 24.4

26.1 26.1

25.1 25.1

24.7 24.7

26.2 26.2

26.5 26.5

69.9 71.9 73.6 72.7 74.9 75.6 73.9 74.9 75.3 73.8 73.5 Women in Film and Television 73.0 69.9 71.9 73.6 72.7 74.9 73.0 75.6 73.9 74.9 75.3 73.8 73.5 60 This section describes representation of women in behind-the-scenes occupations that determine 60

content of film and television entertainment, and how women are depicted in these media.

2004 2005 2006 2007 2008 2009 2010 Men Women Men Women Figure 9: Gender representation in key behind-the-scenes roles, 1998, 2005, 2009, 2010, 2011 Fig 9 Fig 9 Percent Percent
100 100 80 80 60 60 40 40 20 20 0 0 83 83 83 83 84 84 84 84 82 82

40 Behind-the-scenes in film 40 In 2011 Lauzen, director of the San Diego State University Center for the Study of Women in Television and Film, found, through her Celluloid Ceiling project, that women comprised 20 18 percent of people in key behind-the-scenes occupations working on the top 250 do20 mestic grossing films. Lauzen defines key roles as: directors, writers, executive producers, producers, editors, and cinematographers. Figures 9 and 10 show the proportions of 0 0 women1999key2000 2001 2002 2003 between2005 2006 2011. 2008 2009 2010 in behind-the-scenes roles 2004 1998 and 2007

1999

2000

2001

2002

2003

17 17

17 17

16 16

16 16

18 18

1998 1998

2005 2005

Men Men

2009 2009

Women Women

2010 2010

2011 2011

Figure 10: Gender representation in top-grossing 250 films by occupation Fig 10 Fig 10 Percent Percent 30
30 25 25 20 20 15 15 10 10 5 5 0 0 9 9

1998 1998 2007 2007 2009 2009 2010 2010 2011 2011
13 13 10 10 7 7 6 7 7 6 5 5 8 8 10 10 14 14

24 24 18 18 14 14 18 18 15 15

25 24 25 23 24 22 23 22

20 20

17 17

18 18 17 18 18 17

20 20

4 4

2 2 2 2 2 2

4 4

Directors Directors

Writers Writers

Executive Producers Executive Producers

Producers Producers

Editors Editors

Cinematographers Cinematographers
7

WOMENS MEDIA CENTER

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

Fig 11

100

40

Women comprised 5 percent of movie directors in 2011 (Lauzen 2012). This is a decrease 20 from 7% in 2009 and 2010 (Lauzen 2010) and 9 percent in 1998 (Silverstein, 2012). Women were most likely to work in the romantic comedy, documentary, and romantic 0 drama genres. They were least likely to work in the horror, action, and comedy genres 1998 2005 2009 2010 2011 (Lauzen 2010). Lauzen (2008) found that films with at least one woman in a key behind-the-scenes role yield comparable box office grosses to films with comparable budgets and only men in these roles. Percent
Fig 10
25 17 17 16 16 18

Men

Women

In 30 2011Jennifer Yuh Nelson set the record for the top-grossing film directed by a woman 1998 with Kung-Fu Panda 2, which made $637.6 million worldwide (Susman, 2011). 2007
2009 23 Behind-the-scenes in television 22 2010 Figures 11 and 12 shows womens representation in key behind-the-scenes roles in en20 20 20 tertainment television (Lauzen, 2011a). In 2010-2011 women 18 18 comprised 25 percent of 2011 18 18 all professionals in these roles. This is a17 slight decline from 27 17 percent in the 2009-2010 15 season and up from 21 percent in 1997-1998. Key roles include: creators, executive pro14 14 15 13 ducers, producers, writers, directors, editors, and directors of photography. The Directors 10 10 Guild of America reports that only 12 percent of episodic television directors in the 20109 10 8 2011 season were women, a slight decrease from 13 percent in 2009-2010. Only 15 7 7 6 percent of episodic directors newly hired in 2009 and 2010 were women. According to 5 4 the 5 Guilds September 14, 2011 press release, At the urging of the Guild, several4produc2 2 of tion companies established diversity programs designed to increase the number 2 women and minority directors and give them exposure to executive producers and others who hire. 0 Directors Executive borne Producers Editors However, those diversity Writers programs haveProducers disappointing results. Cinematographers Figure 11. Gender representation in key behind-the-scenes entertainment television roles, 2010-11 season
25 24 24

Fig 11

100

82

78

63

85

89

80

96

Percent in Behind-the-scenes Occupations

80

60

40 37 20 22 15 11 20 4

18

1998

2005 Men

2009 Women

2010

2011

Fig 12

WOMENS MEDIA CENTER

45 40 35

The Status of Women in the U.S. Media 2012 38 39 37 2006-2007 35

1997-1998 2009-2010

www.womensmediacenter.com

1998

2005 Men

2009 Women

2010

2011

Figure 12: Percentages of women in key behind-the-scenes occupations in television entertainment, 1997-2011, by occupation Fig 12
45 40 35 30

1997-1998 2006-2007 2009-2010 2010-2011

22 22 18 19 19 29

38 39 37

35 29

Percent Women

25 20 15 10 5 0 18

21 21

20 15 8 16 13 11 15

18 19

20

3 3 4 0

Creators Executive Producers Producers

Writers

Directors

Editors Directors of Photography

Female characters in television In the 2010-2011 season, females accounted for 41percent of all fictional television characters. This represents a decline of 2 percentage points from the 2007-2008 season, when female characters accounted for an historical high of 43 percent of fictional television characters (Lauzen, 2011b). Female characters were typically younger than male counterparts, white, and more likely to have an undefined employment status. Shows with at least one woman writer or creator have a slightly higher percentage of female characters (44 percent) than shows with only male writers and creators (40 percent) (Lauzen, 2011b). Female characters in film Smith, Choueti & Gall (2012) assessed gender equality in the 100 top-grossing films of 2007, 2008, and 2009. They found that women represented only one-third of speaking characters across all three years (29.9%, 32.8%, and 32.8%, respectively). Only about one in six (16.8%) films depicted gender balance (women in 45-54.9% of speaking roles). In 2007, only 11.9 percent of films depicted gender balance, increasing to 15.0 percent in 2008. When at least one woman is involved in directing or writing, there are more female speaking characters on-screen. In many cases women film characters were hyper-sexualized. In all three years, female characters were more likely than males to wear sexy clothing, more likely to be depicted partially nude, and to be referred to as attractive. In 2009 25.8 percent of females versus 4.7 percent of males in these films were shown in sexy attire; 23.6 percent of females versus 7.4 percent of males were shown partially nude; 10.9 percent of females versus 2.5 percent of males were referred to as attractive. Proportions of females shown in sexy attire have changed little since 2007 (27.0%; 2008=25.7). Proportions of female characters shown partially nude also have changed little- 21.8 percent in 2007; 23.7 percent in 2008. Referrals to female characters as attractive have gradually declined from 18.5 percent in 2007 to 15.1 percent in 2008 and 10.9 percent in 2009. Girls and women between the ages of 13 and 20 are more likely than others to be referred to as attractive (21.5% versus 13.8% of 21-30 year-olds and 3.9% of 40-64 year-olds). Lauzen and

WOMENS MEDIA CENTER

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

Dozier (2005) found that women characters in both film and television are not typically portrayed in leadership roles and are less likely than male characters to achieve their goals. Lauzen (2011a) reported that three of the 10 top-grossing films of 2010, and 19 of the 100 top-grossing films were woman-centric. She reported that 2 of the top 10 and 18 of the top 100 highest grossing films of 2009 were woman-centric. While some industry leaders say male protagonists generate more profit, Lauzen (2008) demonstrated that films featuring female protagonists are as profitable as films featuring male protagonists, when controlling for budget. Films with larger budgets generate larger grosses regardless of the protagonists sex. Historically, films with male protagonists have had larger budgets. Smith, Choueti & Gall (2012) report that women purchased more than half of movie tickets in 2009.

Discussion and Implications

While there is good news, such as the recent success of Kung Fu Panda 2 and women representing the majority in several television news occupations, over the last decade, women have consistently been underrepresented in occupations that determine the content of news and entertainment media, with little change in proportions over time. Women also have been underrepresented in screen roles. When films and television do depict female characters, they often reflect gender stereotypes. Women in films, particularly young women, are far more likely than men to be hypersexualized. We have known for years, based on many social science studies, that underrepresentation and negative depictions in media have broad societal effects. Trepte (2006) summarized several results as demonstrating, [M]edia entertainment functions as a source of information on groups and their legitimate status (p. 266). Media images can confirm or change stereotypes (Reid, Giles & Abrams, 2004). How women are represented in media affects gender equity in general. It is important, then, to determine the causes of underrepresentation and stereotypical depiction and to develop practical approaches to improving the status quo. Current data suggest this will include: z Determining why womens representation in news media occupations is inverse to the proportion of women with journalism and mass communication degrees z Assessing media responsibility for the proportion of women newsmakers z Studying the potential role of media in affecting gender equity among newsmakers z Assessing reasons for gender inequity in literary publications z Developing practical approaches to increasing the proportion of positive female television and film characters and woman-centric stories z Understanding why currently existing that aim to increase gender equity have produced few measurable results to-date. Accomplishing this will require key stakeholders such as womens advocacy groups, media professional organizations, and college and university journalism departments to identify media gender equity as a priority and to develop clear and practical plans for achieving it.

WOMENS MEDIA CENTER

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

10

References
American Society of Newspaper Editors Newsroom Census. http://www.asne.org/Key_initiatives/Diversity/Newsroom_census.aspx Becker, L.B., Vlad, T., Kazragis, W., Toledo, C. & Desnoes, P. (2010). 2010 annual survey of journalism and mass communication graduates. Prepared by the James M. Cox, Jr. Center for International Mass Communication Training and Research, Grady College of Journalism and Mass Communication, University of Georgia for The Association of Education in Journalism and Mass Communication, and McCormick Foundation. Bureau of Labor Statistics. (2011). Women in media. Quick Takes. http://www.catalyst.org/ publication.248/women-in-media Directors Guild of America. (Sept. 14, 2011). Press Release. Franklin, R. (Feb.7,2011). A literary glass ceiling? The New Republic. http://www.tnr.com/article/books-and-arts/82930/VIDA-women-writers-magazines-book-reviews King, A. (2010). The count 2010. VIDA. http://www.vidaweb.org/the-count-2010 Lapchick, R., Little, E., Mathew, R. & Zahn, J. (2008). The 2008 racial and gender report card of the Associated Press sports editors. Prepared by DeVos Business Management Program, University of Central Florida. Lauzen, M.M. (2011a). Boxed in: Employment of behind-the-scenes and on-screen women in the 2010-11 prime-time television season. White paper. Center for the Study of Women in Television and Film, San Diego State University. Lauzen, M.M. (2011b). The celluloid ceiling: Behind-the-scenes employment of women on the top 250 films of 2010. White paper. Center for the Study of Women in Television and Film, San Diego State University. Lauzen, M.M. (2008). Woman @ the box office: A study of the top 100 worldwide grossing films. White paper. Center for the Study of Women in Television and Film, San Diego State University. Lauzen, M.M. & Dozier, D.M. (2005). Maintaining the double standard: Portrayals of age and gender in popular films. Sex Roles, 52, 437-446. Lovley, E. (June 15, 2010). Women scarce on Sunday shows. Politico. http://www.politico.com/ news/stories/0610/384483.html Macharia, S., OConnor, D. & Ndangam, L. (2010). Who Makes the News? Global Media Monitoring Project Report, 2010. World Association for Christian Communication. Media and Gender Monitor (May, 2011), 22, http://www.whomakesthenews.org/images/stories/website/MGMpdfs/media%20%20gender%20monitor%20no%2022.pdf Page, B. (Feb. 4, 2011). Research shows male writers still dominate book world. The Guardian. http://www.guardian.co.uk/books/2011/feb/04/research-male-writers-dominate-book-world Papper, B. (2004-2011). Radio Television Digital News Association Radio Television Digital News Association Women and Minorities Data reports. http://www.rtdna.org/pages/research/womenand-minorities.php Papper, B. (2008). Cover story: 2008 Women and Minorities Survey. Prepared for Radio Television Digital News Association. http://www.rtdna.org/pages/media_items/the-face-of-the-workforce1472.php Reid, S.A., Giles, H. & Abrams, J.R. (2004). A social identity model of media usage and effects. Zeitschrift fur Medienpsychologie, 16, 17-25. Romm, R. (Feb. 2,2011). Why it matters that fewer women are published in literary magazines. XX Factor. http://www.slate.com/blogs/ww_factor/2011/02/02/vida_study_fewer_female_authors_published_in_literary_magazines.html
WOMENS MEDIA CENTER

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

11

Rutgers Center for American Women in Politics. (2011). Facts on women in Congress 2011. http://www.cawp.rutgers.edu/fast-facts/levels_of_offices/Congress-currentfacts.php Shepard, A.C. (2010). Where are the women? NPR Ombudsman. http://www.npr.org/blogs/ ombudsman/2010/04/where_are_the_women.html Silverstein, M. (Jan. 24, 2012). What Bigelow effect? Number of women directors in Hollywood falls to 5 percent. Women and Hollywood. http://blogs.indiewire.com/womenandhollywood/ what-bigelow-effect-number-of-women-directors-in-hollywood-falls-5-percent Smith, S.L. & Choueiti, M. (2011). Gender inequality in cinematic content? A look at females on screen and behind-the-camera in top-grossing 2008 films. White paper. Annenberg School for Communication and Journalism, University of Southern California. Susman, G. (Aug. 30, 2011). The Smurf ghetto: Hollywoods new glass ceiling for women directors. Moviefone. http://www.blog.moviefone.com/2011/08/30/highest-grossing-successful-femaledirectors-kung-fu-panda-2 Talkers. http://www.talkers.com Trepte, S. (2006). Social identity theory. Psychology of Entertainment. (Bryant, J. & Vorderer, P., eds.) Mahway, NJ: Lawrence Erlbaum Associates. Weiner, J. (Jan. 17, 2012). Jennifer Weiner. http://www.blogspot.com/2012/01/back-in-thesummer-of-2010-some-female.html Williamson, E. (Jan. 25, 2012). Gender bias at NPR- and what it reveals about the world of literary fiction. The Boston Phoenix.

by Akeso Consulting, LLC, a woman-owned independent research company.

Report design: Diahann Hill

This report was produced for the Womens Media Center

womensmediacenter.com

WOMENS MEDIA CENTER

The Status of Women in the U.S. Media 2012

www.womensmediacenter.com

12