In movie scripts, men have more power and control
OREANDA-NEWS Using machine-based learning, researchers have analyzed the language in nearly 800 movie scripts and found subtle but widespread gender bias in the portrayals of male and female characters.
“…men systematically have more power and agency in the film script universe.”
At first glance, the movie Frozen might seem to have two strong female protagonists—Elsa, the elder princess with unruly powers over snow and ice, and her sister, Anna, who spends much of the film on a quest to save their kingdom.
But the two princesses actually exert very different levels of power and control over their own destinies, according to new research from University of Washington computer scientists.
“Frozen is an interesting example because Elsa really does make her own decisions and is able to drive her own destiny forward, while Anna consistently fails in trying to rescue her sister and often needs the help of a man,” says lead author of the new study Maarten Sap, a doctoral student at the Paul G. Allen School of Computer Science & Engineering at the University of Washington, whose team also applied the tool to Wikipedia plot summaries of several classic Disney princess movies.
“Anna is actually portrayed with the same low levels of power as Cinderella, which is a movie that came out more than 60 years ago. That’s a pretty sad finding,” Sap says.
‘Maybe I am wrong’ vs. ‘Bring me my horse’
In their analysis, the researchers found that women were consistently portrayed in ways that reinforce gender stereotypes, such as in more submissive positions and with less agency than men.
For example, male characters spoke more in imperative sentences (“Bring me my horse”) while female characters tended to hedge their statements (“Maybe I am wrong”). However, the bias is not just in the words these characters speak, but also in the way they are portrayed through narratives.
To study the nuanced biases in narratives, the researchers expanded prior work presented in 2016 on “connotation frames” that give insights into how different verbs can empower or weaken different characters through their connotative meanings.
The study evaluated the power and agency implicit in 2,000 commonly used verbs, where the connotative meanings were obtained from Amazon Mechanical Turk crowdsourcing experiments.
The power dimension denotes whether a character has authority over another character, while the agency dimension denotes whether a character has control over his or her own life or storyline. For each verb, turkers were asked to rank the implied level of power differentials and agency on a scale of 1 to 3.
“What we found was that men systematically have more power and agency in the film script universe,” Holtzman says.
Verbs that imply low power or agency include words like ask, experience, happen, wait, relax, need, or apologize. Verbs that confer high power or agency include words like finish, prepare, betray, construct, destroy, assign, or compose.
Using the movie scripts, the researchers automatically identified genders of 21,000 characters based on names and descriptions. Using natural language processing tools, which employ machine learning, they looked at which characters appeared as a verb’s subject and object. They then computed how much agency and power were ascribed to these characters, using their crowdsourced connotation frames.
The researchers also accounted for the fact that male actors spent more time on screen than female actors and also spoke more, accounting for 71.8 percent of the words spoken across all movies.
The team calculated separate power and agency scores for male and female characters in each movie. They also created scores based on words that the characters spoke in dialogue and on words that were used in narration or stage direction to describe those characters—exposing subtle differences and biases.
In 2010’s Black Swan, a movie centered around a female lead—a perfectionist ballerina who slowly loses grip on reality—the movie’s dialogue gives more agency to female characters. But the language used to describe the characters in stage direction and narration gave male characters more power and agency in that film.
In the 2007 movie Juno, about an offbeat young woman who unexpectedly gets pregnant, male characters’ scene descriptions and narratives also consistently score higher in power and agency, though the two genders come closer in their dialogue.
The team’s tool yields a much more nuanced analysis of gender bias in fictional works than the Bechdel Test, which only evaluates whether at least two female characters have a conversation about something other than a man.
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The tendency for male characters to score higher on both power and agency dimensions held true throughout all genres: comedy, drama, horror, sci-fi, thrillers. Interestingly, the team found the same gender bias even for movies with female casting directors or script writers.
“We controlled for this. Even when women play a significant role in shaping a film, implicit gender biases are still there in the script,” says coauthor and Allen School doctoral student Hannah Rashkin.
Next steps for the team include broadening the tool to not only identify gender bias in texts but also to correct for it by offering rephrasing suggestions or ways to make language more equal across characters of different genders.
The methodology isn’t limited to movies, but could be applied to books, plays, or any other texts.
“We developed this tool to help people understand how they may be perpetuating these subtle but prevalent biases that are deeply integrated in our language,” says senior author Yejin Choi, an associate professor in the Allen School.
“We believe it will help to have this diagnostic tool that can tell writers how much power they are implicitly giving to women versus men.”
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The researchers recently presented their study in Denmark at the 2017 Conference on Empirical Methods in Natural Language Processing.
The National Science Foundation, Google, and Facebook funded the research.