{"id":12389,"date":"2025-10-10T18:49:04","date_gmt":"2025-10-10T16:49:04","guid":{"rendered":"https:\/\/ricerche.apaonline.it\/ricerca\/le-attivita-audiovisive-2024-evidenze-sulle-imprese-e-sulloccupazione\/focus-donne-le-dipendenti\/"},"modified":"2025-10-22T11:15:41","modified_gmt":"2025-10-22T09:15:41","slug":"focus-on-women-employees","status":"publish","type":"ricerca","link":"https:\/\/ricerche.apaonline.it\/en\/research\/le-attivita-audiovisive-2024-evidenze-sulle-imprese-e-sulloccupazione\/focus-on-women-employees\/","title":{"rendered":"Focus on Women: Employees"},"content":{"rendered":"\n<p>According to data from ISTAT&#8217;s Statistical Archive of Active Companies (ASIA) for 2022, the distribution of employees in the audiovisual sector is available, broken down by gender.<\/p>\n\n\n\n<p>The percentage distribution of employees by gender in the Italian audiovisual core in 2022 shows a male prevalence, consistent with the general trend across the entire national production system (59.8% men among total companies). However, the audiovisual sector shows a slightly higher incidence of women than the average: women represent 42.6% of the total, compared to 40.2% across all industries.<\/p>\n\n\n\n<p class=\"titolo_grafico_con_sottotitolo\"><strong>Employee gender breakdown of the audiovisual core by sectors<\/strong><br>Year 2022 (%)<\/p>\n\n\n\n<figure class=\"wp-block-table is-style-stripes table\"><table><tbody><tr><td><\/td><td><strong>Sectors<\/strong><span style=\"font-size: medium; white-space-collapse: collapse;\"><\/span><\/td><td><strong>Composition %<\/strong><span style=\"font-size: medium; white-space-collapse: collapse;\"><\/span><\/td><td><\/td><td><\/td><\/tr><tr><td><\/td><td><\/td><td><strong>Women<\/strong><span style=\"font-size: medium; white-space-collapse: collapse;\"><\/span><\/td><td><strong>Men<\/strong><span style=\"font-size: medium; white-space-collapse: collapse;\"><\/span><\/td><td><strong>Total<\/strong><\/td><\/tr><tr><td>5911<\/td><td>Theatrical, video &amp; TV production activities<\/td><td>40.8<\/td><td>59.2<\/td><td>100.0<\/td><\/tr><tr><td>5912<\/td><td>Theatrical, video &amp; TV post-production activities<\/td><td>39.1<\/td><td>60.9<\/td><td>100.0<\/td><\/tr><tr><td>5913<\/td><td>Theatrical, video &amp; TV distribution activities<\/td><td>53.0<\/td><td>47.0<\/td><td>100.0<\/td><\/tr><tr><td>5914<\/td><td>Exhibition activities<\/td><td>48.0<\/td><td>52.0<\/td><td>100.0<\/td><\/tr><tr><td>6020<\/td><td>Programming and TV broadcasting activities<\/td><td>42.4<\/td><td>57.6<\/td><td>100.0<\/td><\/tr><tr><td><\/td><td><strong>TOTAL AUDIOVISUAL CORE<\/strong><span style=\"font-size: medium; white-space-collapse: collapse;\"><\/span><\/td><td><strong>42.6<\/strong><\/td><td><strong>57.4<\/strong><\/td><td><strong>100.0<\/strong><\/td><\/tr><tr><td><\/td><td><strong>TOTAL COMPANIES<\/strong><span style=\"font-size: medium; white-space-collapse: collapse;\"><\/span><\/td><td><strong>40.2<\/strong><\/td><td><strong>59.8<\/strong><\/td><td><strong>100.0<\/strong><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p class=\"has-small-font-size\">* All data include Rai &#8211; Radiotelevisione italiana S.p.a. and Istituto Luce-Cinecitt\u00e0 for equal comparison, although classified as Public Offices and therefore not included in the Business Register.<br>Source: Symbola Foundation elaborations on Istat data<\/p>\n\n\n\n<p>Analyzing the individual sectors, significant elements emerge:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>theatrical, video &amp; TV distribution <\/strong>is the only sector where women are the <strong>relative majority <\/strong>(53.0%), indicating a particularly marked female presence;<\/li>\n\n\n\n<li>activities related <strong>to exhibition <\/strong>have an almost balanced composition (48% women), confirming a trend towards greater equality;<\/li>\n\n\n\n<li>in <strong>production<\/strong>, <strong>post-production, <\/strong>and <strong>TV programming &amp; broadcasting<\/strong>, the presence of women is below 43%, indicating work contexts still characterized by a significant predominance of men.<\/li>\n<\/ul>\n\n\n\n<p>Although a <strong>gender gap persists, <\/strong>the overall figure demonstrates that the audiovisual sector is more inclusive than the national average.<\/p>\n\n\n\n<p>Examining the composition of employees in the Italian audiovisual core by sector reveals a percentage distribution of women and men that highlights notable differences.<\/p>\n\n\n\n<p>In the <strong>theatrical, video &amp; TV production<\/strong> sector, the share of female employees is 36.1%, compared to 38.9% of men, with a difference of 2.8 percentage points, indicating a greater concentration of men. An imbalance, albeit smaller, is also observed in <strong>post-production<\/strong>, where women account for 3.2% and men for 3.7%.<\/p>\n\n\n\n<p>On the other hand, some sectors exhibit a greater concentration of women. This is the case for <strong>theatrical, video<\/strong> <strong>&amp; TV distribution<\/strong>, where the share of women (4.9%) exceeds that of men (3.2%), and for the <strong>exhibition<\/strong> sector, where the share of female employees (9.7%) surpasses that of men (7.8%).<\/p>\n\n\n\n<p>Finally, the TV programming &amp; broadcasting sector accounts for almost half of the entire audiovisual core of employment, with a similar concentration between women (46.1%) and men (46.4%).<\/p>\n\n\n\n<p>In conclusion, a reading of the sectoral composition within the two groups shows that women and men tend to concentrate in different production sectors: women are more present, in relative terms, in distribution and exhibition, while men are more represented in production and post-production, highlighting a different sectoral specialization between genres in the audiovisual core.<\/p>\n\n\n\n\n<div id=\"grafico-block_66cb36898eee6e7c9ab1ee6c9e76213c\" class=\"grafico mb-5\">\n\n     <p class=\"titoletto pt-2 mb-3 bd\">Distribution of women and men employed in the audiovisual supply chain by production sectors<br \/>\n          <span class=\"small text-black-50\">Years 2022 (%)<\/span>     <\/p>\n\n          <img decoding=\"async\" src=\"https:\/\/ricerche.apaonline.it\/website\/wp-content\/uploads\/2025\/10\/17-1.png\" class=\"img-fluid\" \/>\n     \n     \n<\/div>\n\n\n<p class=\"has-small-font-size\">*All data include Rai &#8211; Radiotelevisione italiana S.p.a. and Istituto Luce-Cinecitt\u00e0 for equal comparison, although classified as Public Offices and therefore not included in the Business Register.<br>Source: Symbola Foundation elaborations on Istat data<\/p>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":0,"parent":12317,"menu_order":5,"template":"","class_list":["post-12389","ricerca","type-ricerca","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Focus on Women: Employees &#8212; APA Ricerche<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ricerche.apaonline.it\/en\/research\/le-attivita-audiovisive-2024-evidenze-sulle-imprese-e-sulloccupazione\/focus-on-women-employees\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Focus on Women: Employees &#8212; APA Ricerche\" \/>\n<meta property=\"og:description\" content=\"According to data from ISTAT&#8217;s Statistical Archive of Active Companies (ASIA) for 2022, the distribution of employees in the audiovisual sector is available, broken down by gender. 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