"Kažkaip taip natūraliai gavosi, kad dingo interesas kurti": kino profesionalės ir lyties nuostatos

LTStraipsnio tikslas - artikuliuoti menkai reflektuotas ar nereflektuotas kino darbuotojų nuostatas dėl lyties reikšmės profesijoje ir atkreipti dėmesį į subjektyvumo vaidmenį reprodukuojant ar priešinantis normatyvinei galiai. Laikausi nuomonės, kad ne tik industrija daro poveikį moterims ir veikia jų galimybes dirbti, tačiau ir pačių kino profesionalių nuostatos - tiek išsakomos kaip sąmoninga pozicija, tiek nereflektuojamos - yra reikšmingos įtvirtinant ar keičiant tam tikras industrijos praktikas. Publikacijoje išskiriu ir aptariu dvi nuostatų grupes - vyriškumo normą profesijoje ir moterų prisitaikymo profesiniame kelyje natūralizavimą. [Iš straipsnio p. 59]

ENThe article attempts to describe and investigate the outlooks of women working in the cinema industry on gender inequality, highlighting the often surreptitious viewpoints. The publication uses the typology suggested by Anna O’Brien, according to which female cinema professionals are divided into three groups depending on their subjective stance towards gender (in)equality within their professional field: their subjectivity is described as neutral, neoliberal, or liminal. The article is based on data collected in the research project “Women in the Lithuanian Cinema Industry” (2016-2018). Led by the author of the text herself, the research was carried out by Public Institution Meno Avilys and funded by the Lithuanian Council for Culture. Qualitative data was collected by conducting elaborate contextual interviews with women who work or have previously worked in the cinema industry in Lithuania. 21 professional women in total, aged 26-73 and coming from different subfields of the industry participated in the research project. The publication further discusses two prevailing approaches: the norm of masculinity in the profession and the naturalisation of women’s conformation while on their professional journeys. The data is interpreted from the theoretical perspectives of psychosocial studies and (post)feminism, which allows stressing the psychosocial aspects of professional genderisation and complementing O’Brien’s classification by articulating the hitherto unaddressed attitudes. The conclusion criticises the (neo)liberal model of professional cinema life as overemphasising women’s responsibility regarding changes in the industry, highlights the role of reflection in reproducing or resisting the normative forces, and draws attention to the historical context and its significance in interpreting the issues of professional life. [From the publication p. 361-362]