Welcome to Francis Academic Press

International Journal of Frontiers in Sociology, 2025, 7(2); doi: 10.25236/IJFS.2025.070204.

The Analysis of Female Investors’ Role from Silent Investors to Industry Leaders in Reshaping the Film Industry

Author(s)

Xiaoyan Wang

Corresponding Author:
Xiaoyan Wang
Affiliation(s)

Harrow International School Shenzhen Qianhai, Shenzhen, China

Abstract

With the advancement of women's status in the global economy and society, the role of female investors in the film industry has become increasingly prominent. From being a 'silent investor' in the early days to becoming a leader in the industry today, female investors have demonstrated unique influence in film financing, content creation, and market operations. They have promoted the diversification of film content through the injection of capital, especially playing an important role in gender equality, social justice, and cultural diversity. In addition, female investors, through their unique decision-making style and leadership, have promoted changes in the structure of the film industry, facilitated the restructuring of the industry chain, and facilitated global cooperation. The rise of female investors in Hollywood and independent films in the United States and globally marks a profound transformation in the film industry. This article aims to explore how female investors can reshape the film industry through their capital, decision-making style, and leadership, providing new impetus for the diversification and globalization of the film industry.

Keywords

female investors; Film industry; Capital participation; Diversified content; Industry Structure

Cite This Paper

Xiaoyan Wang. The Analysis of Female Investors’ Role from Silent Investors to Industry Leaders in Reshaping the Film Industry. International Journal of Frontiers in Sociology (2025), Vol. 7, Issue 2: 23-28. https://doi.org/10.25236/IJFS.2025.070204.

References

[1] Naomi G , Corinne L .The Power of Time: The Impact of Free IVF on Women’s Human Capital Investments[J].European Economic Review,2021,(prepublish):103645-103655.

[2] Jenny S .(Un)masking femininity: desire and fantasy in Anna Biller’s; The Love Witch[J]. Feminist Media Studies,2022,22(5):1211-1226.

[3] Jessica T , Laura G .“Having it both ways”: containing the champions of feminism in female-led origin and solo superhero films[J]. Feminist Media Studies,2023,23(2):656-670.

[4] Hao X ,Hu F ,Li Z .Entrepreneur-investor gender match effects in startup funding: Evidence from an entrepreneurial-themed reality TV show in China[J]. International Review of Economics and Finance,2024,93(PA):811-832.

[5] Allison D , L. M F .Female mate preference in romantic cinema: A study of Hallmark Channel originals[J]. Evolutionary Behavioral Sciences,2025,19(1):62-75.

[6] Breaking Barriers: Dr. Mya Speller Cullins Becomes the First African-American Woman to Self-Fund 15 Films in a Single Year[J]. M2 Presswire,2025,

[7] Dhillon M , Bhattacharya S .Representations of mothers having children with disability in Hindi cinema: a feminist thematic analysis[J]. Disability & Society,2025,40(2):467-489.

[8] Ibáñez M L .Women’s Essay Films in Francophone Europe. Exploring the Female Audiovisual Thinking Process[J]. Quarterly Review of Film and Video, 2025, 42(2):375-409.

[9] N P, Tripathi P .Representation of Aged Female Fans in Select Malayalam Films: An Intersectional Feminist Perspective[J]. Quarterly Review of Film and Video, 2025, 42(2):319-334.

[10] Routray S , Gaur R .A postcolonial feminist representation of motherhood in recent Bollywood sports movies[J].Women's Studies International Forum,2025,109103062-109103072.

[11] Mary H .Photography, Subjectivity, and the Politics of the Image from Helke Sander to Angela Schanelec[J].Camera Obscura: Feminism, Culture, and Media Studies,2018,33(3):49-73.

[12] Havas J , Sulimma M .Through the Gaps of My Fingers: Genre, Femininity, and Cringe Aesthetics in Dramedy Television[J].Television & New Media,2020,21(1):75-94.

[13] Kollin S .Uncertain Wests: Kelly Reichardt, Settler Sensibilities, and the Challenges of Feminist Filmmaking[J].Zeitschrift für Anglistik und Amerikanistik,2020,68(1):7-20.

[14] Linden D V S , Nimmegeers S , Geskens K , et al. Demographic and attitudinal antecedents of consumers' use and self-investment trajectories over time in an online TV content platform[J].Journal of Service Management,2020,ahead-of-print(ahead-of-print):535-562.

[15] Corbett A .Postfeminist Film & Literary Aesthetics: In Search of the Female Gaze[M].Taylor & Francis:2025-02-06. 

[16] Sun, Y., Pai, N., Ramesh, V. V., Aldeer, M., & Ortiz, J. (2023). GeXSe (Generative Explanatory Sensor System): An Interpretable Deep Generative Model for Human Activity Recognition in Smart Spaces. arXiv preprint arXiv:2306.15857.