Some key historical developments that have advanced the media include Dorothy Arzner inventing the boom microphone and Natalie Kalmus helping devise and promote the Technicolor process. Margaret Booth cut MGM's first sound film, and Viola Lawrence cut Goldwyn's; Anne Bauchens had a lifetime position cutting all of DeMille's epics from 1919 on, and he would not sign a production contract without her being included. Susan Morse has edited all of Woody Allen's films since 1977.

There are women in all the major craft unions, though usually not in equitable numbers with men , except for a few such as Makeup and Hairstylists, which includes 477 women (out of a total membership of 781), and Costume Designers : 200 women (out of 270). Other examples (1991 statistics) include Electricians : 14 (out of 1000), Grips : 30 (1100), Props : 268 (3591), Painters : 72 (714). 

One reason for such low numbers of female members may be limiting attitudes on the part of producers and directors, not any real inabilities on the part of women. Prior to extensive union participation, people making films, including women, were under relatively less constraint regarding what jobs they could perform. Actresses could grip and paint sets. Later on there developed restrictive notions such as the idea that women were too weak to carry film cans, or set up cameras. 

Brianne Murphy, recognized as the first woman Director of Photography, currently lensing the series "Love and War", notes that it is easier now to get in the photographers' union, but no easier to get work ; "When I was thirty, thirty five, I think they felt a young girl couldn't handle it. Now they look at me and say gee, I don't think I'd hire my mother to do that. You have to keep a sense of humor about it." 

Noted filmmaker Agnes Varda has commented "You ask me 'Is it difficult to be a woman director?' I'd say it is difficult to be free; it is difficult not to be drowned in the system. We have a lot of women in the film industry - it is in terms of consciousness that we have not got it right" (quoted in Reel Women : Pioneers of the Cinema 1896 to the Present, by Ally Acker). 

Many people express guarded optimism about women finding more employment today in craft areas. Ted Rubin, Business Representative for Scenic, Graphic and Title Artists Local 816 (with a 50% female membership) comments "The opportunities in entertainment are limited because it is a small industry; given that, though, the opportunities for women are good, and art doesn't have a gender." 

Larry Mirisch (The Mirisch Agency), an agent who works with a variety of technical professionals, feels that "Women are finally being recognized for the important contributions they make in film and television, and more and more people are open to working with women in key positions, and are listening to their creative and technical contributions." 

Career consultant Linda Buzzell (founder/director of the Entertainment Industry Career Institute, and author of the new book How To Make It In Hollywood ) notes, "While I certainly see a lot of progress, and more and more women getting a toehold, a foothold, and doing well in the various crafts, I also sense a great deal of insecurity. Many women are concerned this toehold may not survive the recession. I happen to think it will, but I know there's a great deal of fear." 

The issue of work schedules and finding time for family involvement also affects many women, perhaps especially single mothers : common twelve or more hour work days don't leave much room for a life outside the studio, including children and other relationships. 

An additional perspective is offered by Georgia Durante of Performance Two : "There are more and more calls for women stunt drivers because women are either buying the majority of cars or have the say-so. I see a big difference from when I started in 1980." Lori Lynn Ross of United Stuntwomen's Association notes the stunt field is very competitive, for both men and women, but also thinks the opportunities are getting better, and points out that most of her "small but elite" group are constantly working, and five or six are stunt coordinators. 

In addition to some of the more traditional areas of craft, there are fields such as digital effects that are growing and in need of qualified people. Kathy White, computer graphics Technical Director (Rhythm and Hues Studios), feels that "Every company is hungry for good people - it doesn't matter if they're male or female." Robyn Roberts, Digital Camera Supervisor at Disney, is likewise positive : "I think it is getting better for women in technical areas. There are great opportunities." 

Rhonda Gunner, cofounder and President of Video Image, comments "Visual effects was a male dominated area for years, but now with computers more women are involved and can contribute on a technical level as well." 

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[originally published in Hollywood Reporter Special Issue: Women in Entertainment, Dec. 8, 1992]

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Rachel Abramowitz  Is That a Gun in Your Pocket: Women's Experience of Power in Hollywood 
[msnbc.com/news review:] "Abramowitz has covered Hollywood for the last decade and spent seven years conducting interviews for this book... dozens of agents, directors, actors and producers.. Key Hollywood players tell the stories behind Barbra Streisand's struggles on the set of "A Star is Born," Jodie Foster's experience playing a prostitute in "Taxi Driver," Penny Marshall's battles with Whoopi Goldberg on the set of "Jumping Jack Flash," and Sherry Lansing's odyssey from Max Factor model to chairman at Paramount. Abramowitz also fills us in on which up-and-coming women we should watch for in Hollywood."

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