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ONWOMENAReportongenderinequalityintheCanadianindependentscreen-basedproductionindustryAreportofCanadianUnionsforEqualityonScreenCUESPreparedbyDr.AmandaColesAssociateResearcherInteruniversityResearchCentreonGlobalizationandWorkCRIMTLecturerGraduatePrograminArtsandCulturalManagementSchoolofCultureandCommunicationUniversityofMelbourneCUESCanadianUnionsforEqualityonScreen FocusonWomenisanexamina-tionofgenderequalityintheCanadianindependentscreen-basedproductionindustry.In2012representativesfromtheAllianceofCanadianTelevisionandRadioArtistsACTRAtheDirectorsGuildofCanadaDGCtheInternationalAllianceofTheatricalStageEmployeesMovingPictureTechniciansArtistsandAlliedCrasoftheUnitedStatesItsTerritoriesandCanadaIATSEtheNationalAssociationofBroadcastEmployeesandTechnicians-OntarioNABET700-CEPWritersGuildofCanadaWGCUniondesartistesUDAandWomeninViewbeganacollectivediscussiononhowtoadvancewomenscareersandworkopportunitiesintheproductionofscreen-basedcontentinCanada.econversationbuiltuponCanadianandinternationalindustryeventsthathadfocusedonthequestionofwomensaccesstolabourmarketsjobscareerpathsandindustryleadershipopportunitiesinthepastfewyears.1emandateofCanadianUnionsforEqualityonScreenCUESistoachievegenderequalityintheproductionofscreen-basedmediabyraisingawarenessoftheissueandgeneratingdiscussionwithintheindustrybyRecordingannualemploymentandgender-basedstatisticsfromindustryunionsguildsandassociationsReportingannuallytostakeholdersandthepublicontheseemploymentandgenderstatisticsandDevelopingagenderequalitychecklistforvoluntaryuseinpre-productionofprojectsinCanadianscreen-basedmediaFocusonWomenisthemarkofamatureandworld-classinde-pendentfilmtelevisionandconvergentmediaproductionsectorinCanada.2Itreflectstheimportanceoftherolethatunionsplayinthelivesofculturalworkersthehighlycollaborativeandinterrelatednatureofworkinginthescreen-basedindustriesandthedepthandbreadthoftalentintheCana-dianindustrythatproducesawardwinninginternationallyexportedscreen-basedproductthatisseenallovertheworld.Cultureisbigbusiness.In2012independentlmtelevisionandconvergentmediamadeinCanadarepresented4.99billioninproductionvolumeand104100full-timeequivalentjobs.3Butscreen-basedcontentisaboutmorethantheeconomyandjobs.Mediabothreectsandshapesthewaythatweseetheworld.Scriptedtelevisionprogrammingdramaticprogramminginparticularconsistentlydrawsmoreaudiencesthananyothergenre.4AccordingtotheMotionPictureProductionAssociationofAmerica68oftheCanadaU.S.populationor225millionpeoplewenttothemoviesatleastoncein2012.502FocusOnWomenCUESCanadianUnionsforEqualityonScreen FocusOnWomen03AsUNI-MEIstatesintheir2011GeneralAssemblyResolutiononEqualityintheMediaEntertainmentandtheArtsthemediaartsandentertainmentsectorsaretheframeworkofpoliticaleconomicandsocialdevelopments.Atthesametimetheyareapowerfultoolforcreatingpublicopinionandpeopleconstructtheirperceptionoftheworldthroughwhattheyareseeinginthemedia.ConsequentlyourinteresthereisalsotopromptadiscussiononwhogetstotellwhosestoriesandwhatthissaysaboutthevibrancyanddiversityoftheCanadianmedialandscapeandthecareerpathsofthewomenwhoworkwithinitbothonandoscreen.BasedondatafromnationalunionocesthisreportishistoricforseveralreasonsFirstourndingsrepresenttherstgender-basedanalysisoftheunionizedindependentscreen-productionindustrywork-forceinCanada.WherenationaldatawasnotavailableweworkedwithunionocesinVancouverMontrealTorontoandtheAtlanticRegiontocaptureboththeregionalcomplexitiesandbroadtrendsinhighlyunionizedfilmandtelevisionproductionlabourmarkets.6esemarketsaccountforover75oftheindependentsectortotalproductionvolumeacrossthecountryprovidingstatisticallyrobustdataforanalyticalpurposes.OurstatisticalanalysisisbasedondataprovidedbyACTRANationalDGCNationalWritersGuildofCanadaIATSELocal891BritishColumbiaandYukonIATSELocals411and873TorontoIATSELocal514MontrealIATSELocal849AtlanticInternationalCinematographersGuildIATSELocal669InternationalCinematographersGuildIATSELocal667NABETLocal700-CEPandUniondesartistesbetweenJuly2012andApril2013.7isstrategyallowsustocompareandcontrastndingswiththein-depthresearchthathasbeendoneinthemediasectormorebroadlyaswellasthatwhichisregionallyfocused.8Secondbybringingtogetherunionrepresentativesfromacrossthefullspectrumofcreativetechnicallogisticandadministrativeworkersinvolvedincreatingscreen-basedcontentFocusonWomenreectsandcapturesthehighlycollaborativenatureofworkinginthescreen-basedproductionindustry.irdFocusonWomenistheinauguraleditionofaseriesofreportsthatwilltracktheprogressofgenderequalityinthe Canadianindependentscreen-basedproductionsectorthroughstatisticalanalysisandscholarlyresearch.TheobjectivesofthereporttherstsuchreportissuedbyCUESaretohighlighttheopportunitiesandchallengesthatwomenfaceintheircareersasculturalworkersinthescreen-basedindustriesidentifyareasthatrequirefurtherexaminationandmakerecommendationstoandworkwithindustryandpolicystakeholderstoadvancegenderequalityasahumanrightintheworkplaceandasamatterofthepublicinterest.WHATWEKNOWBehindthescreenedivisionoflabourinthelmandtelevisionindustryishighlygenderedbasedontraditionalgenderroles.Womenareover-whelminglyconcentratedinareasthataretraditionallyconsideredtobewomensworksuchashairmakeupandwardrobescriptsupervisionandpublicityandofficeandadministrativejobs.Figure1Femaledominatedoccupationalcategoriesasapercentageofmembershipbydepartment04FocusOnWomen FocusOnWomen05Figure2MaledominatedoccupationalcategoriesasapercentageofmembershipbydepartmentFirstourndingsrepresenttherstgender-basedanalysisoftheunionizedindependentscreen-productionindustryworkforceinCanada.WherenationaldatawasnotavailableweworkedwithunionofficesinVancouverMontrealTorontoandtheAt-lanticRegiontocaptureboththeregionalcomplexitiesandbroadtrendsinhighlyunionizedfilmandtelevisionproductionlabourmarkets.Technicalpositionssuchascameragriplightingsoundconstructionandspecialeffectsareoverwhelminglymaledominated. Figure3GenderbalancedoccupationalcategoriesasapercentageofmembershipbydepartmentYOUCANTBEAgenderbalanceofmenandwomenwithindepartmentsismoreprevalentinentrylevelpositionssuchasProductionAssistantsandCameraTrainees.Yetaswithotheroccupationsandindustriesthegendersplitwithindepartmentssharplyfavoursmenwhoprogressupdecisionmakinglevelsandincomebracketsatmuchhigherratesthanwomen.isisparticularlyevidentinsomeofthekeycreativepositionsthatdeneCanadiancontent.1006FocusOnWomenthegendersplitwithindepartmentssharplyfavoursmenwhoprogressupdecision-makinglevelsandincomebracketsatmuchhigherratesthanwomen.ThisisparticularlyevidentinsomeofthekeycreativepositionsthatdefineCanadiancontent.ereareseveraldepartmentsthatapproachorfallwithinagen-derequalityzoneofa40-60rep-resentationofmenandwomeneitherway.9TheseincludeProductionManagersanim-portantdecision-makingposi-tiontheArtDepartmentAssistantDirectorsPropsandSetDecorationandProductionAssistantsalthoughallarestillmaledominated. Figure4CareerpathbygenderDirectorsFigure5CareerpathbygenderEditorsFocusOnWomen07ArecentreportbyWomeninViewshowsthatof139featurelmsreleasedin2010and2011inCanadawomencompriselessthan20ofthedirectorsand21ofthescreenwriters.ActorsTantooCardinalleftandMichelleThrushonsetwhilefilmingBlackstoneSeason2. Figure6CareerpathbygenderDirectorsofPhotographyFigure7CareerpathbygenderProductionDesigners08FocusOnWomen ArecentreportbyWomeninViewshowsthatof139featurelmsreleasedin2010and2011inCanadawomencompriselessthan20ofthedirectorsand21ofthescreenwriters.11WomeninViews2013reportonCanadiantelevisionincludesagender-basedanalysisofthekeycreativepositionsinthe21live-actiontelevisionserieswhichreceivedthemostsignificantlevelsofinvestmentfromtheCanadianMediaFundin2010and2011.12eresultsareshockingbutperhapsnotsurprising.Justoverhalf-11outof21-oftheseriesweredirectedentirelybymen.Notoneofthetotal288episodesinthese21seriesengagedafemalecinematographer.esituationforfemalescreenwriterswasbetter-ofthe136individualsengagedaswritersoftheseseries8865weremenand4835werewomen.DatafromtheWritersGuildofCanadashowstroublingstatisticsaboutthelongevityofthefemalescreenwritersearningpotential.Theproportionofhighincomeearnersformalescreenwritersremainssteadybetween35-55yearsofageat35forbothagegroups.Amongthefemalememberswhile48ofthetopfemaleincomeearnersareinthe35-45agebracketthisslipsbyhalfto24inthe45-55agegroup.InthewordsofJillGolnickPresidentoftheWGCItmakesnosensethatwomenattheheightoftheircareerswhentheyhavemasteredtheircraftandhavedeepexperiencecannolongergetwork.13Wecouldntagreemore.ThewomenworkingbehindthescenesinCanadianmediaarefacingsystemicbarrierstocareeradvancementintothehighestcreativeanddecisionmakingranks.isisbothanemploymentequityissueaswellasasocialpoliticalandculturalissue.Agenderimbalancebe-hindthescreenshapesthestoriesweseeonthescreensuchaswhethertheroleofamedicalexpertisplayedbyawomanorwhetheragirlsbedroomsetincludessciencebooksanddetectivenovelsontheshelves.Alltheseelementsarepartofthestorytellingprocessthatshapesourun-derstandingoftheworldandeachother.WHATWEKNOWOnscreenWhathappensbehindthescreenhasamajorimpactonwhatandwhoweseeonthescreen.AsRalisatricequitablesdemonstratedintheirrecentreportongenderinequalityintheQuebeclmin-dustrynotonlyarethegreatmajorityoflmsdirectedbymenbutlmsdirectedbymenarefarmorelikelytofeaturemalechar-actersinleadingrolesandfemalecharactersinlmsdirectedbymenstrictlyconformtogenderstereotypesintermsofageandappearance.14DatafrombothUniondesartistesandACTRAclearlyshowsthatfemaleperformershavefewerworkopportunitiesthanmenearnconsiderablylessthanmenonaverageandthatmenscareersasperformerslastlongerthanwomen.FocusOnWomen09 BothUDAandACTRAdataalsoshowapersistentgenderincomegap.AccordingtoUDAin2004femalemembersannualearningsaveragedonly75ofmaleperformers.In2007thatnumberimprovedandfemaleperformersinUDAwereearningonaverage81ofwhatmaleperformersearnedannually.Troublinglythatnumberhaddroppedagainby2012whenfemaleperformersaverageearningsfelltoonly79oftheirmalecolleagues.ismirrorsdatafromACTRA.In2010theav-erageannualincomeoffemaleperformersengagedintheactorcategorywas89ofwhatmaleper-formersearned.eincomegapnearlydisappearedin2011whentheaverageannualincomeforfemalesinactorrolesroseto96ofmensincome.Howeverby2012theincomegapwidenedagainwithfemalesintheactorcategoryearningamere83ofwhatmaleperformersearnedonaverageinthesamecategoryoverthesameperiod.ItisimportanttohighlightthatACTRAdataalsoshowsaverypromisingtrendatthehighestearningcategory.In2010femaleprincipalperformersearnedonaverage89ofwhatmenearned.In2011womensaverageincomeasprincipalperformersroseto93ofmensincome.In2012womensaverageincomeasprincipalperformersexceededthatoftheirmalecolleagueswhentheyearnedonaverage101oftheaverageincomeofmaleperformersinthesamecategory.10FocusOnWomenFigure8NumberofworkingUDAmemberscinemaandtelevisionbygenderandagegroup2012Figure9PercentageofworkingACTRAmembersbyperformancecategorybygender2010-2012 HoweversimilartothendingsoftheWritersGuildofCanadaevidencesuggeststhatfemaleperformersoverallhaveconsider-ablyshorterandlesslucrativecareersthanmaleperformers.In2008ACTRAdidananalysisofaverageincomeforitsmembersbyageandgender.eresultspaintastarkvisualpictureofamajorincomedierentialbetweenmaleandfemaleperformersthatisdirectlytiedtoageaswellasgender.DatafromUDAalsoshowsthatmenandwomenhavedierentialaccesstofeaturelmandtelevisionwork.BothmaleandfemaleperformersearnedmoreworkinginQuebectelevisionthancin-emain2012.Howevermenearnedconsiderablymoremuchlaterintheircareersthanfemaleperformersinbothformats.Figure11Averageperformerincomebygenderandformat2012UniondesartistesFocusOnWomen11Evidencesuggeststhatfemaleperformersoverallhaveconsiderablyshorterandlesslucrativecareersthanmaleperformers.Figure10ACTRAmemberaverageearningsbyagerangeandgenderOctober2007-September2008.15 Itiscriticaltorememberthatthegenderincomegapfordirectorsperformersandscreenwritersgrowsovertimeasaconsequenceofthecompoundedimpactofresidualspayments.WHATWENEEDTOFINDOUTenumbersofwomeninentrylevelpositionstellusthatwomenareinterestedinworkinginthescreen-basedindustries.Yetwedonotseethistranslatedintohighnumbersofwomeninleader-shipkeycreativeanddecisionmakingroles.Otherstudiessuggestthatthereareseveralfactorsatplaysimultaneouslythatcontributetothisproblem.LeakypipelinesFurtherresearchanddataisrequiredtode-terminethedegreetowhichthesenumbersreectachillycli-mateforwomenintheindustry.eseincludeexclusionarynetworksgenderstereotypinganddiscriminatoryhiringprac-ticesthatsystemicallyfavourmenoverwomenincertainroles.Womenfacebarrierstoadvancingintheindustryparticularlyintechnicalrolesasheadsofdepartmentaswritersordirectorsandper-formers.QualityoflifeissuesWeneedmoreresearchtoexaminethedegreetowhichwomenexperienceprofessionaltrapdoorsthatcausethemtoleavethelabourmarketandtheircareers.ismaybeaconsequenceoftheirroleasprimarycaregiversatparticularpointsintheirlivessuchaschildandeldercareandhowthisinteractswiththeprecariousfreelancenatureoftheindustryknownforunpredictableschedulesandexcessiveworkinghoursthatarehostiletofamilyschedulesandworklifebalance.Talkingboutmygenerationehighernumberofwomeninentryandmid-careerpositionsthroughouttheindustrymayalsoreectchangingindustrypatternsovertime.Weneedtotrackwhetherthenumbersofwomenincameratraineepositionsin2013forexampletranslateintohighernumbersofunionizedfemaleDirectorsofPhotographyin10-15years.Moretimeseriesdatagoingbackadecadeormorewillhelpustodeterminewhetherthepastisapredictorofthefutureforwomeninthein-dustry.HardnumbersGender-basedanalysisofnumberofdaysworkedperannumincomeandearningsandgenreformatwouldproviderichinformationonhowgenderplaysoutinscreen-basedindustrieslabourmarkets.Wesuggestthatthekeyarms-lengthfederalagenciessuchasTelelmtheCRTCtheCanadaMediaFundCAVCOandtheprovincialdevelopmentagenciescanplayanimportantsupportingroleingatheringthistypeofdataandtrackingthegender-basedimpactofpublicspendingonthescreen-basedcontentinCanada.Datafromtheseagencieswouldalsocapturelabourmarketandgender-baseddataonnon-unionworkintheCanadianscreen-basedindustries.FocusonWomenisarststepinunderstandingthecomplexityoftheissuesthatwomenareclearlyfacingasprofessionalsintheCanadianindependentscreen-basedproductionindustry.epointofthisreportistobuildonexistingresearchandforegroundgenderequalityasanissuethatneedstobeaddressedintheCanadianindependentscreen-basedproductionsector.ItisinthepublicinteresttohavethecontentthatfillsourmanyscreensrepresentthefullrangeofabundantcreativetalentinCanada.SowhatcanwedoaboutitnowandACTIONNextstepsEqualitydoesnotmeanthatwomenandmenwillbecomethesamebutthatwomensandmensrightsresponsibilitiesandopportunitieswillnotdependonwhethertheyarebornmaleorfemale.Genderequalityimpliesthattheinterestsneedsandprioritiesofbothwomenandmenaretakenintoconsiderationrecognizingthediversityofdierentgroupsofwomenandmen.Genderequalityisnotawomensissuebutshouldconcernandfullyengagemenaswellaswomen-UNWomen2013.16AchievinggenderequalitywillrequirethecommitmentandsupportofthefullrangeofindustrystakeholdersintheCanadianscreen-basedindustries.Weneedindustrywomenandmenandtheirunionsprofessionalassociationsemployersandpolicy-makersfocusedonandactivelyengagedinthisissue.Wecalluponindustrystakeholdersandkeydecisionmakerstocommittooneorallofthefollowingactionitemsinthenext12monthsandtotellusaboutwhatstepsyouvetakeninyourorganizationstomakegenderequalityapriority.Wellmakesuretoleteveryoneknowwhatagreatjobyouredoing.1.FormaGenderEqualityWorkingGrouporWomensCommitteewithaclearmandate.Commitorganizationaltimeandresourcestoensureitisabletomeetitsmandate.2.Gathergender-baseddataforyourorganization.Doagenderauditofthedecisionmakingstructures.Wearehappytohelpgetyoustarted.3.Adoptagenderequalitystatementforyourorganization.Readitatthestartofmeetingsandevents.Wearehappytoprovideexamplesthatyoucantailortoyourorganization.4.Putgenderequalityonyourconferenceagenda.5.Dogender-basedprofessionaldevelopmentinitiativesorgenderequalitytrainingforyourmembersstaemployeescrew.6.JoinCUESHelpusgetandkeepgenderontheagenda.OneofourmaingoalsistodevelopaGenderEqualityChecklistfortheCanadianscreen-basedproductionindustry.ForanexampleofwhatagenderequalitychecklistlookslikepleaseseetheonedevelopedbyeSwedishUnionforeatreArtistsMediaandSwedishPerformingArtsathttpwww.a-actors.comuploadsgender20equality20checklist.pdf12FocusOnWomen CUESCanadianUnionsforEqualityonScreenFormoreinformationonthisReportortogetinvolvedinCUESpleasecontactMaritStilesatmstilesactra.caor416-644-1518orvisitourwebsiteatwww.cueonscreen.caFocusOnWomen131SomeexamplesincludethedevelopmentofagenderequitychecklistforthetheatrebytheInternationalFederationofActorsFIAtheSexMoneyMediaConferencehostedbySimonFraserUniversityWomeninViewin2010the2012WomenMakingWavesConferencehostedbyWIFT-AtlanticandResolution5onEqualityintheMediaEntertainmentandtheArtspassedbyUNI-MEIatthe2011GeneralAssembly.2IndependentproductionsaredefinedasCanadianandforeignservicetheatricalandtelevisionproductionsthatarenotproducedinternallybybroadcasters.AccordingtodatafromtheCanadianMediaProductionAssociationin201279ofallfilmandtelevisionproductioninCanadawasmadebytheindependentproductionsector.SourceCanadianMediaProductionAssociationProfile2012AnEconomicReportontheScreen-basedProductionIndustryinCanada.3SourceCanadianMediaProductionAssociationProfile2012AnEconomicReportontheScreen-basedProductionIndustryinCanada.FigureswerecalculatedbyaddingthetotalproductionvolumeandnumberofFTEjobsoftheindependentCanadianfilmandtelevisionproductionforeignlocationandserviceproductionandconvergentdigitalmediaproductionfigures.Broadcasterin-houseproductionfiguresarenotincludedinthisreportastheunionsrepresentingworkersintheCanadianindependentscreen-basedproductionindustrydonotrepresentworkersinthein-housebroadcastingsector.4SeeBBMCanadaWeeklyTop30TVPrograms.httpwww.bbm.caenweekly-top-30-tv-programs5MotionPictureAssociationofAmerica.2012.TheatricalMarketStatistics2012.httpwww.mpaa.orgresources3037b7a4-58a2-4109-8012-58fca3abdf1b.pdf6Thefreelancenatureoftheindependentproductionsectormeansthatunionmembersregularlymovebetweengenressuchasfeaturefilmsdomestictelevisionseriesdocumentariesandlifestyleprogramming.Unionsmaygivemembersdispensationtoworkonnon-unionprojectsthatgenerallyfalloutsideoftheirtraditionaljurisdiction.Thisproducesanationallabourmarketthatislargelysupportedbyfilmandtelevisionprofessionalswhoaremembersofaunionguildorprofessionalassociationbutwhomaynotalwaysbeworkingunderacollectiveagreement.SeealsoConferenceBoardofCanada.2010.CulturalHRStudy2010-HRTrendsandIssuesReport.OttawaCulturalHumanResourcesCouncil.7OtherlabourorganizationshavejurisdictioninlocalizedregionssuchastheTeamstersinBritishColumbia.TheCanadianMediaGuildandCEPalsohavejurisdictioninvariouspublicandprivatebroadcastersacrossCanadabutdoesnotrepresentworkersintheindependentproductionsector.8SeealsoConferenceBoardofCanada.2010.CulturalHRStudy2010-HRTrendsandIssuesReport.OttawaCulturalHumanResourcesCouncil.EkosResearchAssociatedInc.andPaulAudleyAssociatesLtd.2004.FrameWorkEmploymentinCanadianScreen-BasedMediaANationalProfile.SubmittedtoWomeninFilmandTelevision-Toronto.FerenceWeickerCompany.2005.WomensLabourIssuesintheFilmandTelevisionIndustryinBritishColumbia.AreportpreparedfortheBCInstituteofFilmProfessionals.LupienAnnaencollaborationavecFrancineDecarriesetRalisatricequitables.2013.LavantetlarriredelcranIinfluencedusexedescinastessurlareprsentationdeshommeetdesfemmesdanslacinmaqbcoisrcent.WomenInFilmandTelevisionToronto.2012.FrameworkIICanadasscreen-basedworkforce.WomeninView2012.WomeninViewonScreen2010-2011report.httpwww.womeninview.caWomenInViewforthcoming.WomeninViewonTelevision.9TheconceptofagenderequalityzoneinmediaproductionisdrawninpartfrompracticesinfilmfundinginSweden.SeeInternationalFederationofActorFIA.2010.HandbookofgoodpracticestocombatgenderstereotypesandpromoteequalopportunitiesinfilmtelevisionandtheatreinEurope.httpwww.fia-actors.comuploadsEngendering_EN.pdf10ForscriptedliveactionprogramingthekeycreativefunctionsforwhichCanadiancontentpointsareawardedincludescreenwriterdirectorfirstandsecondleadperformersdirectorofphotographyartdirectorpictureeditorandcomposer.FormoreinformationseetheCanadianRadio-televisionandTelecommunicationsCommission.2013.CanadianProgramCertification.httpwww.crtc.gc.caenginfo_shttv11.htm11WomenInView.2012.WomeninViewOnScreen2010-2011FilmReport.httpwww.womeninview.cawp-contentuploads201210Women-in-View-on-screen-final-2.pdf12Eachoftheseseriesreceivedover1millioninsupportfromtheCMF.13GolnickJill2013.WritingWomenintothePictureCanadianScreenwriterVol1523.14LupienAnnaencollaborationavecFrancineDecarriesetRalisatricequitables.2013.LavantetlarriredelcranIinfluencedusexedescinastessurlareprsentationdeshommeetdesfemmesdanslacinmaqbcoisrcent.15IncludesearningsforallfullandapprenticememberswithorwithoutearningsallstatusallbranchesnotincludingUBCP.16SourceUNWomen.2013.httpwww.un.orgwomenwatchosagiconceptsandefinitions.htm CUESCanadianUnionsforEqualityonScreenAuthorbioDr.AmandaColesholdsaPhDinComparativePublicPolicyfromMcMasterUniversity.CurrentlyanAssociateResearcherwiththeInteruniversityResearchCentreonGlobal-izationandWorkCRIMTAmandawillbecommencingherfacultypositionasLecturerinthegraduateprograminArtsandCulturalManagementattheUniversityofMelbourneinJune2013.HerworkonculturallabourandCanadianpoliticshasbeenpublishedintheCanadianJournalofCommunicationtheEuropeanjournalCulturalTrendsandfortheCanadianCulturalObservatorypolicyresearchbranch.Amandaalsoconsultsonarangeoflabourmarketandpolicyissuesforthescreen-basedindustries.eAllianceofCanadianCinemaTelevisionandRadioArtistsACTRAisthenationalunionofprofessionalperformersworkingintheEnglish-languagerecordedmediainCanada.ACTRArep-resentstheinterestsof22000membersacrossCanadathefoundationofCanadashighlyac-claimedprofessionalperformingcommunityeDirectorsGuildofCanadaDGCisana-tionallabourorganizationthatrepresentsover3800keycreativeandlogisticalpersonnelinthescreenbasedindustrycoveringallareasofdirec-tiondesignproductionandediting.TheDGCnegotiatesandadministerscollectiveagreementsandlobbiesextensivelyonissuesofconcernformembersincludingCanadiancontentconditionsCRTCregulationsandensuringthatfundingismain-tainedforCanadianscreenbasedindustry.NABET700CEPrepresentsover1000qualiedlmtelevisionanddigitalmediatechniciansinfifteendifferentdepartmentsandhasservicedproductionintheProvinceofOntarioforoverfortyyears.eUniondesartistesUDAisalabourunionrep-resentingartistswhoworkinFrenchinQuebecandCanadawhichhasasamissiontheidenticationthestudythedefenseandthedevelopmentofthesocialmoralandeconomicinterestsoftheartists.eUDAcounts12000activemembersandtrainees.WomeninViewwasociallyfoundedin2011aerthesuccessofSexMoneyMediaaninternationalsymposiumongenderequityinmediathattookplaceinVancouver2010.AtWomeninViewweseektounderstandandcombattheforcesbehindthecurrentdownwardtrendsinwomensparticipationandthelackofmovementwecontinuetoseeinwomenmovingintoseniorlevelcontentdeterminingpositions.WomeninViewissupportedbygrantsprivatedonationsandindustrypartnerswhoarecommittedtoforwardingresearchandactionbasedstrategiesthatwillcreateamoreequitableandsustainablemediaindustryforallCanadians.eWritersGuildofCanadaWGCrepresentsmorethan2100professionalEnglish-languagescreenwritersacrossCanada.ThesearethecreatorswhowritetheCanadianentertainmentweenjoyonourtelevisionsmoviescreensanddigitalplatforms.CanadianUnionsforEqualityonScreenCUESparticipatingorganizationsIATSELocals411514667669849873and891supplieddataforthisreport.eInternationalAllianceofeatricalStageEmployeesMovingPictureTechniciansArtistsandAlliedCrasoftheUnitedStatesItsTerritoriesandCanadaIATSEwasfoundedin1893andtodayisthelargestunionrepresentingworkersintheenter-tainmentindustrywithover113000members.IATSEmembersworkinallformsoflivetheatremotionpictureandtelevisionproductiontradeshowsandexhibitionstel-evisionbroadcastingandconcertsaswellastheequipmentandconstructionshopsthatsupportalltheseareasoftheentertainmentindustry.eyrepresentvirtuallyallthebehindthescenesworkersincrasrangingfrommotionpictureanimatortotheatreusher.84987314FocusOnWomen FocusOnWomen15ONWOMEN FocusOnWomenEqualitydoesnotmeanthatwomenandmenwillbecomethesamebutthatwomensandmensrightsresponsibilitiesandopportunitieswillnotdependonwhethertheyarebornmaleorfemale.Genderequalityimpliesthattheinterestsneedsandprioritiesofbothwomenandmenaretakenintoconsiderationrecognizingthediversityofdierentgroupsofwomenandmen.Genderequalityisnotawomensissuebutshouldconcernandfullyengagemenaswellaswomen.-UNWomen2013CUESCanadianUnionsforEqualityonScreenPrintedinCanadabyUnionLabourReportdesignbyErickQuerciCreativeProcessDesign2013