IWD 25: Historic Scottish Women in Film
Photo by Mason Kimbarovsky on Unsplash
Written by Mariia Khymyshynets
Throughout history, femininity was seen as weak and incapable of taking the traditional male-dominated roles. However, the New York march in 1908 and, later, the Russian women’s strike of 1917 (the day we now celebrate as International Women’s Day) changed the perception of women in society. To celebrate this day, let’s explore the contribution of women in the film industry in Scotland.
Photo credits: Women Film Pioneers Project
Jenny Gilbertson (1902-1990) was a cinematographer, director, editor, and screenwriter. Born into an upper-middle-class family, she was expected to follow a conventional path. But it was not the life she was going to accept. She went to Glasgow University and later moved to London to study journalism. After attending an amateur film screening, she discovered her passion for filming and acquired a 16mm Cine-Kodak camera. Gilbertson’s first and most popular film, A Crofter’s Life in Shetland, was released in 1931. Throughout it, she emphasised the equal status between men and women, acknowledging their contribution to the household economy. Ms Gilbertson had an extraordinary career in filmmaking of 59 years - making five more films before the start of World War II, pausing her career to support her family, and resuming it in the 1970s to produce 24 more films.
Photo Credit: University of Glasgow Library Blog
Louise Gibson Annand (1915-2012) was a painter, educator, and filmmaker. Coming from a family of teachers, she too became an educator. Thinking about a future career, Louise went to study English Literature at the University of Glasgow. In 1949, Ms Annand was appointed to the school museum service at Kelvingrove Art Gallery where she worked until her retirement. While working at the museum, she was introduced to film as an educational medium and was involved in the launching of a branch of the Educational Film (later Media) Association, producing films on renowned Scottish artists, including J.D. Fergusson, Jessie M. King, and Charles Rennie Mackintosh. She never stopped painting and continued her artistic activity, regularly holding solo and group exhibitions. While balancing her roles as an artist and teacher, Ms Annand found time to be active in the community: she was a member of the University of Glasgow's Business Committee, Chair of the Glasgow Alumni Association, a member of the Fine Art Commission of Scotland, and Chair of the Society of Scottish Women Artists (Visual Arts Scotland) and the Glasgow Society of Women Artists.
Photo credits: Daily Record
May Miles Thomas (1959-present) is a writer, director, and editor. She studied at the Glasgow School of Art, where she graduated in design and photography. Her career started in the 1980s at BBC Television, where she shifted from production design to directing music and art documentaries. Ms Thomas’ films echo her commitment to diverse storytelling and exploring complex topics. Her most recent film, Voyageuse (2018) delves into the life of her mother-in-law, Erica Thomas. She wanted to tell a story of Erica as an individual beyond her role as an academic or mother, highlighting extraordinary female experiences. What began as a passion project - an attempt to see a woman from a different perspective - was sparked by the discovery of a small cellophane bag containing four old lipsticks and a plaintive handwritten note: "I have no idea when I stopped using lipstick." This deeply personal moment evolved into a highly regarded film.
These women are just a small part of the film industry that prove the notion of male superiority wrong. They demonstrate that diverse backgrounds, motivations, and unique stories contribute to an ever-growing presence of women - not only in film, but across the wider creative industries.