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an interesting question of gender WOMEN OF MOTION
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women
of motion page 1/6
The success
of Women In Motion lies in the program's ability to allow the young women
in the audience to experience the variety of careers in, and ways of entering
into, the Australian Film and Television Industries. To bring together
such a diverse program, and to make it interesting to its young audience,
is a challenge, and one that requires a group of committed and willing
volunteers. Over the years Women in Motion was heavily supported by the
different WIFT(victoria) Management Committees, who were also all volunteering
their time. However, whilst the program relies on the involvement of many,
its overall organisation is the responsibility of the project coordinator.
From an initial idea of Sue Maslin's in 1989, Women In Motion has been overseen and developed by a number of women. Between 1990 and 1995 the program was run by Marsha Emerman, who then handed the job on to Rita Cattoni in 1996. Barbara Clifford took over the job for 1997, and after its brief retirement in1998 and 1999 (it was replaced by A Screen of Her Own and Our Brilliant Careers), Susan Miller organised Women In Motion for 2000. Whilst the essential purpose and structure of Women In Motion has remained the same over the years, there have been subtle developments over time which owe much to the individual women who were running it. From the films chosen to screen, to the volunteers approached for involvement, each year was an expression of the tastes and interests of the coordinators of the event. So who were these influential women? |
| This history was researched and written by Mia Treacey. This site is published in good faith and based on accurate and reliable information. Every effort has been made to ensure that the information in this site is accurate and up-to-date. No liability can be accepted for error or omission. The author welcomes advice of any changes or corrections. No part of this history or site may be reproduced by any process without written permission of the author. Copyright © 2000 Mia Treacey |