Celluloid Ceiling

Celluloid Ceiling We're committed to raising the profile of women directors around the world both now and historically. Activism for women in media

Several books published about film directors, filmmakers and film stars - all from a different perspective.

21/04/2025

Did you know that the backbone of early American industry wasn’t built by men in overalls, but by teenage girls in petticoats?

In the early 19th century, young women were among the first wave of American industrial workers. One of the most notable examples is the “Mill Girls” of Lowell, Massachusetts. Beginning in the 1820s, textile mills began hiring girls and young women—often between the ages of 15 and 25—from rural farming families in New England. These young workers were drawn by the promise of steady wages, education, and a degree of independence that was rare for women at the time.

The mills operated on a system known as the “Lowell System,” which included long hours—often 12 to 14 hours a day, six days a week—but also boarding houses, strict codes of conduct, and mandatory church attendance. Though highly controlled, the system gave many of these women their first taste of financial self-sufficiency. Wages were low by today’s standards, but significantly more than what women could earn elsewhere at the time.

These young women weren't just workers—they were readers, writers, and thinkers. Many contributed to *The Lowell Offering*, a literary magazine written by mill girls that covered everything from poetry to labor conditions. Through these writings, historians have been able to gain rare insight into the thoughts and aspirations of working-class women in the early Republic.

Despite their youth, these workers were also among America’s first labor organizers. In the 1830s and 1840s, they staged some of the earliest factory strikes in U.S. history, protesting wage cuts and the intensification of work schedules. Though they didn’t always win, their actions laid the groundwork for future labor movements and challenged assumptions about women’s roles in the workplace.

The story of industrialization in the United States is often told through images of machines and steel, but behind those machines were young women who clocked in before dawn, ran looms for hours, and returned home to cramped dormitories. Their labor powered the first boom in American manufacturing—and their courage and conviction helped shape the fight for workers’ rights for generations to come.

20/04/2025

As you may know, the Trump administration terminated a large number of grants from the National Endowment for the Humanities (NEH) — without notice or time to submit payment requests for money already spent —  claiming that the immediate termination of the grant was necessary “to safeguard the interests of the federal government, including its fiscal priorities.” This included more than $1 million in grants for Women Make Movies filmmakers, for films that are already in production. On April 4,  WMM published a joint statement together with other peer artist support organizations. And over the weekend, Variety published an article yesterday about WMM Executive Director Debra Zimmerman’s response. 🔗in bio

20/04/2025

We are excited for this upcoming virtual event between AWD Directing Members and Roadmap Writers!

Roadmap Writers is a screenwriting education and training platform for people looking for a guided path to professional success writing for film and tv. Roadmap Writers programs are hosted by working industry executives and are designed to empower writers with actionable tools and insights to elevate their craft and cultivate relationships with industry professionals. Founded in 2016, by Joey Tuccio and Dorian Connelley, Roadmap has helped over 400 writers sign with representation, while countless others have gotten staffed on tv shows, had their scripts optioned, or sold their scripts.

Over half of Roadmap’s Success Stories have come from their Top Tier, which includes Emmy award winners and nominees, as well as many produced and staffed writers and multi-hyphenates.

AWD Directing Members can learn more and register via the event's AWD calendar page.

20/04/2025

Patricia Highsmith on film versions of her novels: "Really, I don't mind too much if they take liberties with my plots, because they're trying to do something quite different from a book, and I think they have a right to change the story as much as they wish. I couldn't write a book with the idea in my mind that it was going to be a film. That would be like thinking of a statue when you're painting a picture."

Alfred Hitchcock secured the rights to the Highsmith novel "Strangers on a Train" (released in 1951) for just $7,500 since it was her first novel. As usual, Hitchcock kept his name out of the negotiations to keep the purchase price low. Highsmith was quite annoyed when she later discovered who bought the rights for such a small amount.

Highsmith's 1955 novel "The Talented Mr. Ripley" has been adapted numerous times for film, theatre, and radio. Writing under the pseudonym "Claire Morgan," Highsmith published the first le***an novel with a happy ending, "The Price of Salt," in 1952, republished 38 years later as "Carol" under her own name and later adapted into a 2015 film.

"The appeal of 'The Price of Salt' was that it had a happy ending for its two main characters, or at least they were going to try to have a future together. Prior to this book, homosexuals male and female in American novels had had to pay for their deviation by cutting their wrists, drowning themselves in a swimming pool, or by switching to heterosexuality (so it was stated), or by collapsing – alone and miserable and shunned – into a depression equal to hell." (IMD/Wikipedia)

Happy Birthday, Patricia Highsmith!

20/04/2025

She was often the only woman in the room, and for a long time, she wasn’t even allowed in the room at all. Marie Tharp began her career in the 1940s as a geologist and when the field was overwhelmingly dominated by men. She had the kind of sharp, patient brilliance that worked wonders in silence—piecing together data, analyzing patterns, and visualizing what others had only guessed at. She didn’t just study the ocean floor. She revealed it.

While women weren’t permitted on oceanographic research vessels, Marie worked on land, translating raw sonar data collected by her male colleagues into visual maps. Line after painstaking line, she charted the terrain beneath the sea. What she uncovered was nothing short of revolutionary: a detailed ridge running down the center of the Atlantic Ocean, split by a deep valley. It was the physical evidence of plate tectonics—the very backbone of the theory of continental drift, which had been dismissed by many scientists for decades.

When she first showed the rift valley to her colleague Bruce Heezen, he brushed it off as “girl talk.” But her maps were too precise, too consistent, too grounded in fact to be ignored. Over time, the scientific community was forced to reckon with the truth her work had made visible. Her maps didn’t just confirm theories—they reshaped them. She turned the seafloor into a living, moving landscape, and with that, she helped lay the foundation for modern geology and oceanography.

Despite the enormity of her contribution, Marie Tharp was often overlooked. Her name was not always attached to her discoveries. Still, she kept mapping. She kept drawing the hidden world beneath the waves until it could no longer be denied. It’s hard not to see something poetic in that—how a woman, excluded from the literal voyage, ended up guiding the entire scientific journey from behind the scenes.

20/04/2025
This must be made into a film one day!https://www.facebook.com/share/p/1DcfKPCs3w/?mibextid=wwXIfr
20/04/2025

This must be made into a film one day!

https://www.facebook.com/share/p/1DcfKPCs3w/?mibextid=wwXIfr

In a century where women weren’t even allowed to sit in the same lecture hall as men, Anna van Schurman quietly stepped through the back door of history—and left it wide open behind her. Born in 1607 in Cologne, she was a child whose brilliance couldn't be dimmed. By the time she was three, she was reading. By eleven, she’d conquered Latin and devoured the works of Seneca. Languages poured from her like water—German, Italian, French, Spanish, even Hebrew, Aramaic, and Arabic later in life. She wasn’t just smart—she was unstoppable.
Her father, forward-thinking and brave, educated her alongside her brothers, and Anna devoured everything from mathematics and astronomy to theology and fine arts. Her artistry matched her intellect: delicate lace-like paper cuts at six, lifelike wax sculptures at eleven, and calligraphy that would eventually earn her praise from master engravers. When her family moved to Utrecht, she caught the attention of scholars who saw in her a brilliance that couldn’t be ignored. Though women were barred from universities, she was invited to attend lectures—behind a curtain, so as not to “distract” the male students. That didn’t stop her. Anna soaked up everything, reading religious texts in their original tongues and challenging long-held beliefs with grace and logic.
Then she wrote something that changed everything—a dissertation in Latin, arguing that women deserved an education equal to men. It was printed, circulated across Europe, and read by philosophers like Descartes. Letters came pouring in. She became a voice for women whose brilliance had been kept in the shadows. In the later years of her life, Anna joined a radical religious movement that welcomed female leaders, sharing property, faith, and ideas as equals. Even then, critics called her naive. But she stood her ground, turning away from prestige to live by her ideals.
Anna van Schurman was more than the “Star of Utrecht.” She was a revolution in lace cuffs—a scholar, an artist, and a voice centuries ahead of her time. Her story reminds us that barriers are only temporary, and brilliance always finds a way through.

~Weird Pictures and News

Here is a review of a book we published last year on Feminist Theatre to celebrate 50 years.
08/04/2025

Here is a review of a book we published last year on Feminist Theatre to celebrate 50 years.

LouReviews is a website which reviews, promotes and supports the arts - London theatre, films, books and digital theatre/TV

08/04/2025
For young adults thinking of STEM careers see our book ‘50 Women in Technology’
04/04/2025

For young adults thinking of STEM careers see our book ‘50 Women in Technology’

With fewer female STEM role models, your daughter’s future is at stake. How mentorship and representation can change the game.

04/04/2025

In the news this week...

🗞️ Film and TV industries consider the impact of new US tariffs
🗞️ BBC content spend to drop almost £150m in the next financial year
🗞️ C4’s Alex Mahon urges the government to stop AI companies from “scraping the value” out of the UK’s creative industries.
..and more, in this week's Directors Digest: https://ow.ly/O3U850VpW31

17/03/2025

“I believe there is an extraordinarily strong business case for the development and delivery of genuinely original storytelling of a much broader range, depth and scope of the human experience of disability — to be made and created by those who know it best.”

—John Maidens

From our archives — John Maidens on portraying deafness in Casualty: https://ow.ly/uxpg50VeV4J

17/03/2025
17/03/2025

3 Day Cinematography Workshop.
❗️Last few spaces
An intro into the art of cinematography: Lighting, lenses, staging, movement and working as a unit.

🎥 The opportunity to work with ARRI Alexa camera, Zeiss Prime lenses and Falcon 3 studio dolly with soft wheels. ARRI cameras are leading the way – at the 77th Festival de Cannes, more than 80 percent of festival films were captured with ARRI cameras, including recent Oscar winning film “Anora”

The cinematographer is one of the key creative individuals in the filmmaking process, and is certainly the craftsperson whose work audiences are most aware of. The cinematographer’s imprint is on every frame. They can elevate a film beyond its script and subject.

ℹ️ The workshop is suitable for people with some basic knowledge of camera who are considering moving into a camera department role, entering film school at the MA level, or industry camera technicians and trainees who want to learn more. It is designed for directors who want to improve their understanding of the camera’s function in visual storytelling and learn more about lighting and operating.

With teaching from Andrew Speller, an experienced cinematographer and camera operator with over 30 years in the film industry who can guide both the creative ambitions of cinematography with the technical know-how.

Learn with the support of not only an experienced tutor and film crew but professional actors on-hand to put theory to practice in camera exercises in studio at the heart of London.

📆Fri March 21-Sun March 23
£725 includes all equipment
📍LFS Shelton Street Studios

ℹ️ 🔗See link in comments below or our story for booking and info:
Limited Spaces:

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80 Hill Rise
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