1. Issue and argument
Without a doubt, directors play a crucial role in movie production. The creative and financial responsibility is concentrated on this position, and mismanagement in planning and guidance can have disastrous consequences for the film project (John et al. 2017). In the case of a film d’auteur, directors have almost complete control over the film, including the screenwriting. According to John et al. (2017), directors can be best viewed as project managers. So, when we look for leadership in the industry, we find it in the position of director.
When it comes to the female share in top positions, the movie industry is not different from other labour market sectors. The underrepresentation of women among directors is still evident today and is currently reflected in the public debate concerning the success of Greta Gerwig’s blockbuster film ‘Barbie’.
In this study, we examine the dynamics of gender gaps in directing films in Germany from the early beginnings to today. While prior studies devoted to the career paths of film directors (John et al. 2017, Chan et al. 2018, Peng et al. 2019) have a strong focus on box office revenues and, therefore, rely on relatively short sample periods, our ambition is to give a more complete picture over the evolution of the movie industry and female participation in leadership therein.

2. Methodology
Our data was collected from filmportal.de, an online database on German film established by the publicly funded “Deutsches Filminstitut - DIF” (‘German Film Institute’). While the raw data includes 155,336 observations for the years 1890 to 2023, our sample is restricted to 87,985 entries for which we know about the director’s name, 27,443 individuals in sum. From first names, we categorise the director’s gender using the genderize.io algorithm. Additional variables are the year of release, the type and length of the movie, the production company and the producer, prizes, and public funding, among others. Furthermore, for a subsample of 22,394 movies, we have deeper information on the director level including the date of birth, education, and other positions in the industry.

3. Takeaway and results
Figure 1 gives a first impression of the dynamics of the German movie industry. It shows the strong impact of WWII and the rapid increase of female participation in leadership starting in the 1960s. Besides the general trends in female labour market participation, the increase may also result from the founding of film schools which has helped to establish formal education as a way to enter the profession. For instance, the Deutsche Film- und Fernsehakademie was founded in 1966.
Furthermore, we find that, on average, men direct significantly more movies than women (3.494 vs. 2.212). On the contrary, the gender difference in the number of positions in the industry (like actor and producer) is statistically significant but small (4.644 vs. 4.482, t-test, p-value = 0.023). Regarding age, we find a mean difference of 3.201 (p-value = 0.000). However this difference is substantially smaller at the time of debut (1.161, p-value = 0.008), suggesting a longer survival of male filmmakers in the profession.
In the next step, we estimate different types of linear probability models to examine how the likelihood of making another movie, making a commercial movie and getting public funding are shaped by the director’s gender. The sample is limited to the time after 1960 to avoid biases due to the Nazi regime, WWII, and post-war periods.
First, we find that female directors are 3.1 percentage points (ppts) less likely to make another movie after the actual movie, conditional on the film category and length, country and production company dummies, and year fixed effects. Evaluated at the sample mean, this means a reduction of 4.5%. The unconditional gender effect is 5.0 ppts (7.3% when evaluated at the sample mean), derived from a model with only year fixed effects. Figure 2 illustrates how the gap evolves decade-wise: We see a step-wise closing of the gap up to a point (in the 1990s) where the point estimator loses statistical significance.
Second, we carry out a similar exercise with the probability that the focused movie is a ‘commercial’ movie being the dependent variable. Here, we define ‘commercial’ movies as those works with which money can be earned, i.e. narrative and animated films as well as documentaries with a length of at least 60 minutes Our estimates show that the unconditional gender gap of 14.1 ppts (or 42.6% at the sample mean) is reduced to 3.8 after ppts (or 11.5%) after controlling for prior experience in ‘commercial’ filmmaking and the production company, among others. These findings hint at strong barriers for women in the industry. Decade-wise (unconditional) estimates of the gender gap, similar to Figure 2, show a sharp decrease in the 1960s to 1980s but no clear trend after that.
Finally, for public funding, we find no (unconditional) gender gap for an ‘empty’ model with year dummies only but a gender gap of 0.9 ppts (meaning 7.3% at the sample mean) in favour of female directors. A decade-wise analysis reveals that this gap has only developed recently and is most pronounced in the last decade (2.6 ppts in the 2010s).
In summary, we can document a closing gap in female leadership in the German movie industry. Possible channels are the establishment of sector-specific formal education that may work as a job market signal to overcome discrimination, and public finding. However, when we look at making films that provide a living, the gender gap is still present and substantial.

Outlook:
Methodologically, our next step is to estimate survival models like in Hanssen (2020). Additionally, we are collecting data from German film school graduates to see how much of the increase in female participation can be explained by formal education.


References:
Chan, J. H., Ko, A. C., Au, A. K. & Yeung, M. C. (2018), ‘A relational perspective on pure project perfor- mance: Network centrality and cinematic achievements in the hong kong film industry’, Management Research Review 41(6), 753–772.

Hanssen, F. A. (2020), ‘“What’s Wrong with the Way I Talk?” The effect of sound motion pictures on actor careers’, Economic Inquiry 58(1), 474–495.

John, K., Ravid, S. A. & Sunder, J. (2017), ‘Managerial ability and success: Evidence from the career paths of film directors’, Journal of Corporate Finance 44, 425–439.

Peng, F., Kang, L., Anwar, S. & Li, X. (2019), ‘Star power and box office revenues: evidence from china’,
Journal of Cultural Economics 43(2), 247–278.

Beyond the Screen: Co-Creation of Meaning and Social Impact in Cinema - A Case Study of 'Roma'
Guadalupe Moreno-Toscano

Introduction:
In the intricate tapestry of modern marketing, the thread of authenticity is woven tightly with the fabric of celebrity legitimacy to create a compelling narrative that resonates with audiences worldwide. Authenticity in marketing is no longer a mere buzzword but a cornerstone of consumer engagement strategies, denoting a genuine and relatable presentation of brands that aligns seamlessly with the experiences and values of the audience. Celebrities, with their public image and credibility, serve as amplifiers of this authenticity, infusing brand narratives with a sense of trust and admiration that is unparalleled. This confluence of authentic branding and credible endorsements paves the way for a robust co-creation of value, transforming passive consumption into active participation, where consumers contribute significantly to the brand's narrative and market success.

The power of authenticity and the influence of celebrities in marketing are exemplified in the cinematic triumph of ‘Roma’ (2018), directed by the acclaimed Mexican filmmaker Alfonso Cuarón. Garnering international acclaim, including a historic victory at the Academy Awards for Best Foreign Language Film, ‘Roma’ has become a beacon of Mexican cinema's global impact and influence. The film’s narrative, a poignant exploration of social and political issues, was presented with a raw authenticity that captured the zeitgeist, proving that cinema can transcend entertainment to become a platform for meaningful discourse. Its distribution through Netflix underscored the potential of digital platforms to magnify filmmakers' reach, challenging traditional industry paradigms and signaling an era where quality cinema merits substantial investment, as evidenced by Netflix's unprecedented $25 million marketing campaign for the film.

Furthermore, the success of ‘Roma’ is a testament to the evolving landscape of the film industry, highlighting the significant roles of women and underrepresented groups. Netflix's strategic bet on Cuarón's vision—a daring departure from mainstream tastes with its artful, slow-paced storytelling in black and white, Spanish and Mixtec—paid off, engaging a broad audience and achieving a historic feat for Mexican cinema. The film's multifaceted impact is not just a result of Cuarón's artistic prowess but also a reflection of a celebratory middle ground in marketing, where the dialectical relationship between producer and consumer is acknowledged and celebrated, with neither assuming dominance.

As ‘Roma’ demonstrated, films provide marketers with unique economic opportunities and the ability to wield cultural influence that extends beyond traditional product placements. This film, in particular, has shown that by leveraging the authentic narrative of a celebrated creator and the legitimacy of its celebrated cast, a movie can become more than a visual spectacle—it can become a vessel for co-creation of value, community, and societal transformation.

Argument:
This paper argues that the film 'Roma' represents a paradigm shift in the cinema industry, where the co-creation of meaning is elevated through the authentic portrayal of cultural narratives and the legitimizing influence of its celebrated cast. This authenticity, coupled with the personal and professional legitimacy of the film's celebrities, forges a deeper connection with the audience, encouraging a shared process of meaning-making that transcends traditional cinematic experiences and fosters a profound social impact.

Literature review:

The interplay between authenticity in marketing and celebrity endorsements has long been a subject of interest among scholars and practitioners alike. McCracken (1989) first identified the powerful dynamic that celebrities bring to the branding equation, acting as living embodiments of a brand's image and ethos. This synergistic relationship has evolved, as noted by Moraes, Gountas, Gountas, and Sharma (2019), where the celebrity's role is not just to endorse but to embed themselves within the brand's narrative, offering a human element to products and services.

Moulard, Garrity, and Rice (2015) have further delved into the nuance of this relationship, examining how the authenticity narrative of a famous person can be leveraged to construct and fortify a brand's image. Authenticity here is defined not simply as a marketing tactic but as an essential component of consumer perception, aligning the brand's values with the experiences of its audience. It is this authenticity that enables brands to present their products in a manner that is not only relatable but also credible, especially when associated with a legitimate celebrity figure.

Lunardo, Gergaud, and Livat (2015) extended this notion by exploring how films, as cultural artifacts, can serve as conduits for human branding. The cinematic medium offers a distinct advantage, allowing for a more subtle and nuanced form of product placement, as described by Lehu and Bressoud (2008), particularly when traditional advertising channels become saturated. Films not only showcase products but also embed them within narratives that carry emotional and cultural weight, thus enhancing their appeal and value to the consumer.

Chen (2019) emphasizes the unique position of films in the marketing landscape, attributing to them the capacity for considerable economic opportunities and cultural influence. This influence is magnified when a film manages to capture the societal zeitgeist, providing a platform for brands to connect with consumers on a deeper level. The success of films in this regard hinges on the ability to remain authentic and to resonate with the audience's sense of identity and experience.


Methodology Overview:
A mixed-methods case study approach, combining qualitative content analysis and social impact assessment.

Primary Case Study: The film ‘Roma’ by Alfonso Cuarón, focusing on its marketing campaign, audience engagement strategies, and social initiatives.

Data Sources and Analysis:

1. Content from the microsite "miromapelicula.com." Analyze the submissions and interactions on "miromapelicula.com" to understand the nature of audience engagement and co-creation of meaning.
2. Public statements and videos from the film's creators and cast, particularly Yalitza Aparicio. Analyze the nature of interactions, the extent of community engagement, and the narratives shared during these campaigns.
3. Information about the social impact on organizations supported by the film's initiatives. Investigate the impact of the film's social initiatives, focusing on the contributions to The National Domestic Workers Alliance, CACEH, SINACTRAHO, and Fondo Semillas. Assess the extent to which these initiatives contributed to societal change and supported the rights of domestic workers and indigenous peoples.

Integrate the findings to provide a comprehensive view of how ‘Roma’ used a co-creative approach to not only engage audiences but also to foster social impact. Discuss how these findings contribute to understanding the changing dynamics in cinema and arts marketing. This paper will offer a detailed and nuanced understanding of how ‘Roma’ extended its cinematic experience into a participatory, socially impactful movement, redefining the roles of viewers and filmmakers in the co-creation of meaning and value in cinema.



Main Factors Analyzed:

The study of co-creation of meaning within Alfonso Cuarón's 'Roma' is substantiated through the analysis of data derived from the director's call to action and the collection of nine diverse testimonies. These responses, while varied in their individual narratives, collectively underpin the film's ability to evoke a spectrum of deeply personal and universal emotions, reflecting on themes of loss, belonging, and the nuances of everyday life. The film serves as a catalyst for audiences to engage in a shared process of reflection and meaning-making, thereby extending the cinematic experience into the realm of personal and communal introspection.

The social impact of 'Roma' is further evidenced through interviews with members of organizations such as The National Domestic Workers Alliance, CACEH, SINACTRAHO, and Fondo Semillas. These discussions reveal the tangible effects of the film in promoting awareness and sparking dialogue regarding the rights and recognition of domestic workers. The narrative of 'Roma' has not only resonated on an emotional level but has also led to real-world advocacy and policy discussions, highlighting the film's role as a powerful vehicle for social commentary and change.

The insights from these interviews underscore the film's contribution to a broader societal conversation about labor rights and societal inclusion, particularly for marginalized groups. By bringing these issues to the fore through a compelling and authentic narrative, 'Roma' has successfully harnessed the emotive power of storytelling to contribute to the co-creation of meaning and to effectuate social impact, demonstrating cinema's potential as an influential medium in shaping public discourse and contributing to the advancement of social justice.


Conclusion:

The narratives and emotions elicited by ‘Roma’ extend beyond personal impact, reflecting the film's broader influence on social consciousness and discourse. The portrayal of domestic workers in ‘Roma’ amplified an international conversation on labor rights and social justice, utilizing the soft power of cinema to inspire empathy and drive change. The film's success in fostering global awareness and action for equality exemplifies the potential of cinema as a catalyst for social transformation.

References:
Refer to tables