With peak TV refusing to actually peak, the consistent influx of new television content not only brings with it new opportunities to tell female-centric stories, but also more chances for women to …
With peak TV refusing to actually peak, the consistent influx of new television content not only brings with it new opportunities to tell female-centric stories, but also more chances for women to take pivotal production positions. That includes cinematographers, who have the opportunity to tell these stories in ways that subvert the traditional male gaze.
But the training and hiring processes have yet to catch up, resulting in the number of female cinematographers working in scripted television in the 2018-19 television season maxed out at 5%, according to the Boxed In report for that time. According to’s own research, representation is looking slightly better for the 2019 calendar year, rising to 6.6%, but these are still meager numbers overall.
“You have to schedule time during prep. We took time out to meet with the actress. You have to make it a priority,” Tran says. She and the episode’s director, Lisa Cholodenko, sat down with Dever to explain what it would look and feel like on set, as well as on-screen. One place to which television productions can look to find these women is independent film, according to Schaffer. There, 16% of cinematographers are women, and the working environment of shorter schedules sets them up perfectly for the pace of TV.
Adds Berkofsky: “If the actors are uncomfortable, I’m going to bring it to the attention of the 1st AD, and I’m the one holding the camera, so I’m not going to roll if someone doesn’t feel comfortable. I think a lot of female DPs are like that. There’s no joy in participating in something where someone feels uncomfortable. It’s a horrible feeling, and I think as a woman I’m tuned into that.”
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