THE VISION: Femalefilmmakers.xyz is the first stop for women filmmakers to educate themselves about web3, film3, NFTs and blockchain and how to apply this technology to their creative projects.
How do we do this?
We use Twitter Spaces, live virtual masterclasses, in real life workshops, organizing exhibitions of the NFTs, building community.
Do I have to be a filmmaker to support this project? NO!
Do I have to be female to support this project? NO!
💜 We are aiming to build a global community of film lovers, art lovers and people who want to see change in the world. 💜
By collecting any of the below listed NFTs you are actively:
If you cannot purchase an NFT, please join our community on Twitter and on Discord and spread the word about our mission. We host Twitter Spaces regularly and spotlight female led film3 NFT projects as well as platforms, who are supporting creators in this space.
Genesis – a collection of 6 unique NFTs
This collection of illustrations highlights women working in the film industry and also gives visibility to minority groups. It is a small collection, but the foundation for building a great community that supports the vision that we urgently need more women in the film industry. Created by Josephine LF and Anna Kova.
“Female Filmmakers: Female Gaze” – a collective collection of 20 unique pieces by invited female artists
This is a collective collection of 20 one of one pieces by female artists from all around the world (Mexico, Colombia, South Africa, Romania, UK, just to name a few). Among the artists are amazing NFT women such as @PowerofWomen, @lucywhostudio or @marincosmos.
Each female artist has paid tribute to women working in the film industry or revealed their vision of female gaze.
Proceeds of this sale will go to create a treasury to allow continuous education for women in film about web3.
“Female Filmmakers: The Crew” – the continuation of Genesis
This collection of 1/1 illustrations is a continuation of the Genesis collections that aims to give visibility to women working in the film industry through beautiful and colorful illustrations.
Created by Josephine LF and Anna Khuman.
Create educational opportunities for female filmmakers to learn about web3, NFTs, and metaverse.
Create a funding pool for female filmmakers (the sales of one film enable the creation of the next, thus making a circular economy possible). Script contests. Unique film related perks for collectors, possibility to vote on next projects, collabs with other female led NFT projects, access to metaverse cinema, opportunities to grow as female filmmaker
Collabs with Metaverse Movie Theaters
Collabs with Metaverse movie theater to screen films made by women (all those stories we have always been told nobody wants to see or will never get made/sold) – here is your home of representation. Special accesses and passes for NFT holders of any of the Female Filmmakers NFT collections.
‘FEMALE FILMMAKERS: FEMALE GAZE’
20 female artists from all around the world pay tribute to female filmmakers and reveal their vision of female gaze.
Collect the NFTs on OpenSea.
50% of the one of one art pieces will go to each participating female artist. The rest of the proceeds will be used to empower women in the film industry and build a treasury for this project.
We need more women in film and more women filmmakers in web3
The lack of women working in the film industry has a direct implication in the stories that are told and produced and that therefore reach the big screens or our homes via VOD platforms. Cinema has an immediate effect on how we perceive our reality.
Just one example of many: According to a study by the Geena Davis Institute, 7 out of 10 girls say Katnisss from The Hunger Games and Princess Merida from Brave influenced her decision to practice archery.
But of the top-grossing 1500 films between 2007-2021, females made up 34% of all speaking characters. Males accounted for 66% of speaking characters, and less than 1% featured a woman or girl of color in a leading or co-leading role.
Even though the MeToo movement sensitized a large audience to the lopsided power dynamics between the genders in Hollywood, the lack of representation of women in behind-the-scenes roles is not often cast into the limelight, either.
These numbers are similar around the globe.
In Ibero-America, combining data from different countries, there are approximately 30% female producers and 15% female film directors (Spain 19%, Colombia 13%). If we look at technical roles, the numbers are even worse (for example, Directors of Photography Spain 15%, Colombia 6%, Lighting/Gaffers Colombia 1%).
As web3, blockchain and NFTs shorten the distance between creators and audience, we believe that this is a huge opportunity for women and underrepresented voices to make their films comes true. This new technology cuts out middle persons, so traditional gatekeepers have no say in what is “production worthy” or not. The chance to rely solely on your audience is an historical moment in the history of storytelling.
Sources: USC Annenberg Inclusion Initiative, CIMA, Killary Cinema Lab
The Male Gaze
A camera slowly travels the curves of a woman’s body, a sexual, voracious perspective, a bit of porn that breaks a woman’s body into pieces? This is an example of the male gaze, a theoretical term coined in 1975 by film critic Laura Mulvey. The male gaze can come from the audience, from a male character within the film, or from the camera itself.
The male gaze theory establishes that women in audiovisual media are represented from a heterosexual and masculine perspective that sexualizes and objectifies women. The concept is that instead of existing independently for the sake of being, the purpose of the female character is male viewing pleasure.
The Female Gaze
Babette Mangolte, (Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles): “In the early 1970s, when I came to New York from Paris, there was definitely a desire to invent a female gaze. Women began to shoot films made by women and also for women. We all felt that men had shown their point of view enough, and now we should try to find if we could invent a new language that was different from that of our dads or lovers.”
The female gaze is a term from the feminist theory that represents the gaze of the female viewer, character and / or director of a film, and in addition to gender, it is about representing women as subjects with agency, not as passive objects (of heterosexual male pleasure).
In contemporary usage, the female gaze has been used to refer to the perspective that a filmmaker (screenwriter / director / producer) brings to a film that is supposed to be different from the male point of view.
The female gaze is not about forbidding sex, desire and fantasies, but about showing that these can exist without objectification.
Josephine LF: “For me, as a filmmaker, the female gaze is a balanced look at human beings regardless of their gender. But it is also being very conscious as a filmmaker to constantly ask yourself when you are filming: Am I imitating something learned? How am I setting the camera when filming bodies? Especially when I show a woman.”
The female gaze can be all that cinematographic work not yet created by women. There are many stories to tell, many points of view still to represent.
Josephine Landertinger Forero, born in 1983, is a film director and producer, mother of two daughters, passionate about human rights, migration, diversity, gender equality and women’s empowerment, working on these subjects since 2009.
She is a member of the Colombian Academy of Motion Pictures (ACACC) in the specialty of Directing, member of Dones Visuals Catalonia, European Women’s Audiovisual Network, CIMA Spain and Girls Club Women & Hollywood. Founder of Global Eyes Production and creator of the online directory of organizations that work on gender equality in Ibero-American cinema accionmujeres.com.
Founder of the first online academy for Spanish speaking female filmmakers, Just Love Film Academy.
Her film “Home – the country of illusion” was nominated for Best Colombian Documentary by the ACACC in 2017, a reflection on identity and the sense of belonging. It can be seen on various platforms such as Filmin, Mowies, Amazon Prime or Flixolé. As an NFT and film pioneer, her second feature film “I’m Cris from Tierra Bomba” will have a collection of impact NFTs in association with OutRight International.
Josephine studied Film and Communication at the Freie Universität Berlin, Germany. She specialized in German postwar cinema, Italian Neorealism, documentary cinema and journalism in armed conflicts.
Anna is an illustrator who specializes in colorful, stylish and creative illustrations. She gets inspiration from different kinds of art, urban environment and other cultures.
She studied Art at the Russian State University for the Humanities. After graduating, she took a special long term course in commercial illustration. She has created illustrations for different projects. Some of them are a non-profit organization supporting women in STEM, storyboards for tech start-ups, learning print materials for kids, illustrations and graphic design.
Anna is the illustrator of the Genesis and The Crew collections.
Mariana is a Mexican multidisciplinary artist.
Her practice involves photography, text and film, and it is mostly related to the themes of identity and intimacy.
She is currently studying Film Production and is passionate about gender equality in the film industry. She is a web3 enthusiast.
Edu has been working in the book industry for almost ten years and leading Stilo Media, a 25-year-old family enterprise.
He is a web design nerd, and a movie buff. He watches more films than Josephine weekly! And is her biggest supporter.
Graduated Industrial Engineer from the Technical University Berlin.