Report on Film Industry Production Trends in Relation to Sustainable Development Goals

Introduction: The Case of “The Hand That Rocks the Cradle” Remake

A recent statement by actress Rebecca De Mornay regarding the upcoming remake of the 1992 film “The Hand That Rocks the Cradle” has brought to light critical issues within the film industry. These issues intersect with several United Nations Sustainable Development Goals (SDGs), particularly those concerning gender equality, innovation, and sustainable economic practices. This report analyzes the actress’s comments and the broader industry trend of remakes through the lens of the SDGs.

Exclusion and Professional Sentiments

Actress Rebecca De Mornay’s Reaction

Rebecca De Mornay, who played the lead role in the original film, expressed feelings of “betrayal” upon learning she was excluded from the new project. She stated that she was not contacted about the remake and criticized the decision to recast her iconic role without consultation. Despite this, she expressed curiosity about the new interpretation. Her comments highlight a perceived lack of professional courtesy and a disconnect between original creators and new productions, which impacts the institutional integrity of the industry.

Analysis of Industry Practices and Sustainable Development Goals

The practice of remaking established films rather than producing original content has significant implications for the creative economy and its alignment with global sustainability targets.

SDG 8: Decent Work and Economic Growth & SDG 9: Industry, Innovation, and Infrastructure

The film industry’s reliance on remakes poses a challenge to sustainable innovation and economic growth. De Mornay criticized this trend as a form of “laziness,” arguing that it stifles the creation of new stories.

• Lack of Innovation: Prioritizing remakes over original scripts limits opportunities for new writers and creators, hindering the industry’s innovative capacity (SDG 9).
• Sustainable Economic Models: A production model heavily reliant on recycling past successes may not be sustainable long-term, as it fails to cultivate new intellectual property and diverse creative talent (SDG 8).
• Support for Originality: De Mornay championed her new film, “Saint Clare,” as an example of a “new” story, underscoring the value of originality in fostering a dynamic and resilient creative sector.

SDG 5: Gender Equality

The original film explored complex themes of female power, vengeance, and domestic roles. A remake offers an opportunity to re-examine these themes through a contemporary lens, but the exclusion of the original female lead raises questions about intergenerational dialogue and respect for women’s contributions to the industry.

• Representation: The recasting of iconic female roles without acknowledging the original artists can be seen as a missed opportunity to promote solidarity and mentorship among women in film.
• Evolving Narratives: While remakes can update outdated gender portrayals, failing to involve key figures from the original production may lead to a loss of nuanced perspective, impacting the quality and authenticity of female representation (SDG 5).

SDG 12: Responsible Consumption and Production

The concept of responsible production can be extended to cultural goods. The film industry’s production patterns influence cultural consumption globally.

• Cultural Monoculture: An overabundance of remakes can lead to a less diverse cultural landscape, limiting consumer choice and exposure to new ideas.
• Sustainable Creativity: A sustainable production model should balance commercial viability with artistic and cultural enrichment, fostering a cycle of new creation rather than perpetual recycling. The repeated remaking of films like “A Star Is Born,” while commercially successful, exemplifies this pattern.

1. Original 1937 film
2. 1954 version with Judy Garland
3. 1976 version with Barbra Streisand
4. 2018 version with Lady Gaga

Conclusion

The controversy surrounding “The Hand That Rocks the Cradle” remake serves as a microcosm of larger systemic issues in Hollywood. From the perspective of the Sustainable Development Goals, the industry’s current trajectory raises concerns about its commitment to fostering innovation (SDG 9), promoting gender equality and respectful labor practices (SDG 5 & 8), and ensuring responsible, sustainable cultural production (SDG 12). A shift towards valuing and investing in original storytelling is essential for the industry’s long-term health and its contribution to a more sustainable and equitable global society.

Analysis of Sustainable Development Goals in the Article

1. Which SDGs are addressed or connected to the issues highlighted in the article?

The article, while focused on the entertainment industry, touches upon themes that connect to several Sustainable Development Goals (SDGs). The primary connections are to goals concerning economic growth, innovation, and equality.

• SDG 8: Decent Work and Economic Growth: The article discusses the functioning of the film industry (Hollywood), a significant economic sector. It highlights issues related to employment practices and creative labor through Rebecca De Mornay’s experience of being excluded from a project central to her career. Her comments reflect on the business strategies of the industry, which directly relate to economic growth and the nature of work within the creative economy.
• SDG 9: Industry, Innovation, and Infrastructure: This goal’s emphasis on fostering innovation is highly relevant. De Mornay directly critiques the film industry’s lack of creative innovation. Her statement, “New stories seem to be impossible for people to come up with… There’s a kind of laziness of falling [into] ‘Oh, well, that works. So let’s just do that one again,’” is a clear commentary on the industry’s production patterns and a call for more originality and innovation.
• SDG 5: Gender Equality: The article centers on the perspective of a 65-year-old female actress who feels excluded and betrayed. While not explicitly framed as a gender issue, the entertainment industry has well-documented challenges regarding gender and age equality. Her exclusion from a project she is famous for can be viewed through the lens of ensuring women’s full and effective participation in economic and cultural life.

2. What specific targets under those SDGs can be identified based on the article’s content?

Based on the issues discussed, the following specific SDG targets can be identified:

1. Target 8.2 (under SDG 8): “Achieve higher levels of economic productivity through diversification, technological upgrading and innovation, including through a focus on high-value added and labour-intensive sectors.”
   • Explanation: De Mornay’s criticism of Hollywood for producing remakes instead of “new stories” is essentially a call for creative innovation rather than relying on proven formulas. Fostering original content can be seen as a way to increase the “value added” of the cultural sector and drive economic productivity through new intellectual property.
2. Target 9.5 (under SDG 9): “Enhance scientific research, upgrade the technological capabilities of industrial sectors in all countries… encouraging innovation…”
   • Explanation: Although the target mentions “scientific research,” its core principle of encouraging innovation within an industrial sector applies directly. The film industry is a creative industry, and De Mornay’s plea for “more imagination with new scripts” aligns with the goal of fostering innovation to ensure the sector’s dynamism and sustainability.
3. Target 5.5 (under SDG 5): “Ensure women’s full and effective participation and equal opportunities for leadership at all levels of decision-making in political, economic and public life.”
   • Explanation: De Mornay’s statement that “nobody reached out to her” about the reboot signifies a lack of participation in a project that is part of her professional legacy. This situation can be interpreted as a failure to ensure the “full and effective participation” of a key female figure in the economic and cultural decision-making process related to her own work.

3. Are there any indicators mentioned or implied in the article that can be used to measure progress towards the identified targets?

The article does not contain explicit statistical data, but it implies several qualitative indicators that could be used to measure progress:

• Ratio of original productions to remakes: This is a direct indicator for innovation (Targets 8.2 and 9.5). De Mornay’s complaint that “New stories seem to be impossible for people to come up with” implies that this ratio is currently low. An increase in the proportion of original films, like “Saint Clare” which she praises for being “new,” would indicate progress.
• Inclusion and consultation of original creators: This is an indicator for decent work and participatory practices (Targets 5.5 and 8.5). The fact that De Mornay “found out about it” without being contacted suggests a lack of inclusive processes. A measurable indicator would be the percentage of remakes that involve consultation with or participation from the original cast and creative teams.
• Representation of diverse voices in creative roles: This is an indicator for equality (Target 5.5). While not stated directly, the exclusion of an older female actress from a project she defined implies a potential gap in representation. Tracking the involvement of women, particularly veteran actresses, in significant roles and creative decisions would be a relevant measure of progress.

4. Table of SDGs, Targets, and Indicators

Source: foxnews.com