Guest Post: Why the Lack of Women-Made Films in the National Film Registry Is a Problem — and How We Can Fix It

Guest Post by Maya Pearson

New strides towards equality are being made every year for women in Hollywood. This summer “Wonder Woman” shattered box office records and glass ceilings alike, in no small part thanks to director Patty Jenkins. And one can hope that films like “Atomic Blonde” will inspire more female-led action films in the coming years. While it is important that we celebrate the groundbreaking achievements of women filmmakers today, we also have a responsibility to pay tribute to the trailblazing women who have helped us get where we are.

One way to aid this effort is by nominating films to the Library of Congress’ National Film Registry (NFR). Every year the NFR accepts 25 films that are at least 10 years old and considered to be “culturally, historically, or aesthetically significant” to preserve. While the registry is conscious of the importance of female filmmakers, women-made films are still highly underrepresented in the registry. Out of 700 films archived as of 2016, only 40 — or roughly 5.7 percent — are directed by women. While severely lacking in representation for female filmmakers, the National Film Registry has found room for controversial films helmed by men over the years. For example, the notoriously racist “Birth of a Nation” (1915) was inducted in 1992.

For decades women have worked to effect change from both behind and in front of the camera. The importance of ensuring that their filmmaking contributions are not lost cannot be understated. The NFR includes what are considered to be some of the most significant American films ever made. By ensuring that women-made films are among these ranks, we demonstrate that we value these works, stories, and experiences to the same degree as those created by men.

Women in Film and Video of Washington, D.C. (WIFV) selects several films written and directed by women to endorse for the National Film Registry every year. These are our suggestions:

• HE’S ONLY MISSING (1978), written and directed by Robin Smith, is a highly personal documentary which follows the families of American soldiers attempting to track down their loved ones during and after the Vietnam War.
• SLEEPLESS IN SEATTLE (1993) is one of the most well-known films of writer-director Nora Ephron’s career. She directed the film and co-wrote the screenplay with David S. Ward and Jeff Arch.
• EVE’S BAYOU (1997) centers on an African-American family in the 1960s. The film, written and directed by Kasi Lemmons, intertwines fraying relationships with elements of magical realism.
• BOYS DON’T CRY (1999), written and directed by Kimberly Peirce, depicts the true story of Brandon Teena, who fell victim to an anti-transgender hate crime.
• BRING IT ON (2000), written by Jessica Bendinger, is a cult classic that highlights female friendships and rivalries in high school cheerleading.
• LOVE & BASKETBALL (2000), writer-director Gina Prince-Bythewood’s revered feature debut, presents a unique hybridization of the sports and romance genres.
• STRANGER WITH A CAMERA (2000) is a haunting documentary from Elizabeth Barret which, by looking into the murder of filmmaker Hugh O’Conner, examines moral questions about documentary filmmaking itself.
• JESUS CAMP (2006) was directed by Heidi Ewing and Rachel Grady, and provides an unprecedented, objective look at evangelical Christianity in America through the eyes of children.
• MARIE ANTOINETTE (2006) was written and directed by Sofia Coppola and provides an atypical, female-driven take on the collapse of the monarchy leading up to the French Revolution.
• JUNO (2007) was written by Diablo Cody and provides an unusual look at pregnancy from the perspective of its witty teenage protagonist.

You can learn more about each of these films and how to nominate them here. You can nominate up to 50 films before the September 15, 2017 deadline.

We can’t change the amount of female representation in the past, but by nominating films for the NFR, we can help ensure that the contributions of female filmmakers are preserved for the future.

Maya Pearson is an intern at Women in Film and Video of Washington, D.C. She is studying Radio/Television/Film at Northwestern University.