Worcester State Professor of Communications Julie Frechette is an award-winning scholar specializing in media studies and feminist studies. In addition to publishing three books, Frechette has contributed chapters in the edited volumes Gender, Race, and Class in Media (2020, Sage College Publishing); Gender and Media: A Reference Handbook (2022, ABC-CLIO); and New Media Technology and the Motion Picture Industry (2014, Peter Lang), each of which offers critical insights into equity and representation in media landscapes.
Her most recent book chapter, in New Media Technology and Motion Pictures, edited by Dan Hunt and published by Peter Lang in 2024, is “Times Up for Equity in Hollywood: Assessing the Politics of Inclusion in the Film Industry.” We recently caught up with Frechette to talk about her new chapter. This interview has been edited for length.
Q: Tell us about your latest book chapter and how you came to write it?
A: My latest book chapter is related to my research on gender representation, media politics, and equity in mass media. It evolved from previous research I had conducted on the impact of #MeToo on pop culture and politics, the portrayal of women in news media, and the barriers of sexual harassment in corporate media. This time, I provided a deeper examination of the overall growth, decline, or stagnation of women in all aspects of film, including production, directing, and acting.
I was invited to write the chapter when my colleague Dan Hunt approached me about a book project that he was pursuing on the evolving role of new media in motion pictures and how digital technologies have transformed film production, distribution, and audience engagement. He wanted to include a chapter that focused on women in film, and he was familiar with my scholarly publications in this area.
This opportunity allowed me to delve into research that details women’s important roles in film from its inception to today. One of my goals was to recognize the overlooked contributions of early female filmmakers. I begin the chapter by naming forgotten female figures in film, starting with the silent-era directors and screenwriters who played a pivotal role in shaping cinema but were later marginalized as the industry became male-dominated. For example, I highlight one of the first film directors, Alice Guy-Blaché, who, along with Lois Weber, was a prominent director in early Hollywood, and Dorothy Arzner, one of the first female sound film directors. They, along with others, were innovators whose legacies were largely ignored for decades.
Fast-forward to the most recent decade, where I go on to explore the progress of women in film by documenting the increasing inclusion of women in directing, producing, and screenwriting roles, particularly with the rise of streaming platforms that offer more opportunities for diverse voices.
This part of my work required accessing multiple media equity reports, with data citing more women in directing, producing, and screenwriting roles in recent years, though their numbers remain disproportionately low. When it comes to box office success, films led by women, such as Wonder Woman, Captain Marvel, and Everything Everywhere All at Once, have proven that female-driven stories are commercially viable. Yet the overall data on gains for women in film remain nuanced. For instance, although more women are working in film, certain positions—such as cinematographers, editors, and studio executives—still have very few female professionals.
Despite high-profile successes, the percentage of female directors in major studio films remains under 20%. Additionally, pay and opportunity gaps remain. Women in film, especially women of color, continue to earn less and receive fewer high-budget opportunities compared to men. Sadly, tokenism and stereotyping persist in Hollywood. Despite the fact that there are more female characters in films, they are often stereotyped, sexualized, or sidelined, rather than given complex, meaningful roles.
Q: What are your opinions about equity in the latest Academy Awards?
A: The 2025 Academy Awards marked some notable strides in diversity and gender equity, reflecting both progress and ongoing challenges. For instance, for the first time, the Best Picture category achieved gender parity, with five of the 10 nominated films featuring female leads: Anora, Emilia Pérez, I’m Still Here, The Substance, and Wicked. This is a significant advancement in showcasing women’s narratives on a prominent platform.
However, the Best Director category continued to highlight gender disparities. Despite the historic nomination of Coralie Fargeat for The Substance, only one of the five nominees was female, underscoring the persistent underrepresentation of women in directorial roles. This disparity reflects broader industry trends, where women directed merely 16% of the highest-grossing films in 2024.
There were some notable awards. Zoe Saldaña’s win for Best Supporting Actress in Emilia Pérez was a milestone, making her the first American of Dominican origin to receive an Oscar in this category.
The reason gender equity in the Academy Awards matters is because inclusion and representation are basic human rights, and recognizing diverse identities can inspire future generations of women of color in the arts. We need to see continued commitment to systemic change to achieve genuine equity in the film industry.
Q: What should filmgoers be aware of regarding equity?
A: First, it’s important to understand the long history of systemic inequalities in media. The film industry has long been dominated by white, male voices, leading to underrepresentation of women, people of color, LGBTQ+ individuals, and other marginalized groups in key roles such as directing, screenwriting, and producing. As I mention in my chapter, many pioneering women and filmmakers of color have been forgotten in history.
Second, representation matters. The stories told in film shape cultural perceptions and understanding. A lack of diverse perspectives reinforces stereotypes, while authentic representation can foster understanding and inclusivity. It’s not enough to just include more women in film, but representation should go beyond tokenism—characters from diverse backgrounds should be given depth, agency, and meaningful narratives.
The same is true for what goes on behind the scenes. Equity isn’t just about who is on screen; it’s also about who gets to tell their stories through their unique lens. Film audiences should care about who is directing, writing, and producing films because it impacts whose identities we see on screen, whose voices we hear, and whose unique perspectives are offered.
Finally, audiences should examine pay equity in Hollywood. Pay gaps remain a serious issue, with women and people of color often earning significantly less than their male counterparts in similar roles.
So, what’s the good news? I look at how social movements like #MeToo and Time’s Up have shed light on gender discrimination and sexual harassment in Hollywood, leading to increased accountability, such as inclusion riders and diversity pledges that are being used by some filmmakers to ensure more equitable hiring practices.
Q: Was there anything that surprised you or stood out to you as you did your research for this chapter?
A: What stood out for me is the role of audiences in demanding greater diversity and equity in film. Let’s face it, audiences have a lot of power: They help drive industry change by watching, discussing, and promoting films. Social media has amplified people’s voices and perspectives on how films portray different groups and whether they represent them equitably, fairly, and accurately. By being mindful of whose voices and stories are amplified or silenced, filmgoers can play an active role in pushing for a more equitable and inclusive film industry.
I was surprised to find case studies documenting that films with diverse casts and inclusive storytelling tend to perform better financially. For instance, blockbuster hits led by women and people of color—such as Black Panther, Crazy Rich Asians, and Wonder Woman—have shattered outdated industry assumptions that diverse films are “risky” investments.
There’s also a change in audience demographics. Younger, more diverse moviegoers are shaping the industry, preferring films that reflect their own experiences and identities. Data from box office trends and streaming platforms suggest that audiences actively seek out films with strong representation, influencing what gets produced.
Also, let’s not forget the impact of social media and word-of-mouth marketing. We know that social media platforms amplify the success of diverse films, with audiences promoting inclusive movies and calling out projects that lack representation. Hashtags like #OscarsSoWhite and #RepresentationMatters have pressured studios to rethink casting and storytelling decisions.
Visit Frechette’s Academia.edu page to read the full chapter.
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