Purpose Throughout the years, many scholarly answers were given to the question regarding the gender bias in Wikipedia. However, the research literature seldom explores how different barriers are interconnected and rarely focuses on what prevents women who initially declared their interest from eventually participating in the website. The purpose of this paper is to deal with this lacuna and explore the gender bias in Wikipedia through examining how the different barriers are interlinked in a manner that deters women and prevents them from editing in the website. Design/methodology/approach Based on action research with a mixed evaluation method and two rounds of interviews, the research followed the steps of 27 Israeli women activists who participated in editing workshops. Findings The findings show that having the will to edit and the knowledge of how to edit are necessary but insufficient conditions for women to participate in Wikipedia. The finding reveals two categories: pre-editing barriers of negative reputation, lack of recognition, anonymity and fear of being erased; and post-editing barriers of experiences of rejection, alienation, lack of time and profit and ownership of knowledge. The research suggests a “Vicious Circle” model, displaying how the five layers of negative reputation, anonymity, fear, alienation and rejection – enhance each other, in a manner that deters women from contributing to the website. Practical implications In order for more women to join Wikipedia, the research offers the implantation of a “Virtuous Circle” that consists of nonymity, connection to social media, inclusionist policy, soft deletion and red-flagging harassments. Originality/value Throughout the years, many answers were given to the question regarding the gender bias in Wikipedia. However, research literature seldom explores how different barriers are interconnected and rarely focuses on what prevents women who initially declared their interest and who attended editing workshops from eventually participating in the website. The current research has taken upon itself to deal with this lacuna and explores the power-relations in Wikipedia through three questions: first, why an educational intervention did not increase participation? Second, how the different barriers described by research group members are interconnected and enhance each other in a manner that prevents women from editing on the website? and third how can the gap be narrowed?

One of the intriguing issues connected to power relations in the world of cinema that has yet to be adequately explored is what has happened over the years concerning the dominance and privilege of masculinity as signifying preferred social status. This qualitative study explores this subject based on transcribed semi-structured interviews with 13 award-winning Israeli directors over the age of 55. The research examines two questions: How has the film industry changed its relation to leading, award-winning film directors as they grow older? And, what challenges confront the directors, in terms of their own self-perceptions? These questions capture the collisional intersection between hegemonic masculinity and ageism, because they examine the loss of power attributed to men in the film industry as they reach the second half of their lives. The findings led to the formation of a theoretical model of ageism within the cinematic industry, allowing for the dismantling of the different factors that create obstacles for directors as they get older. The four layers of the model are: arbitrary ageism, manifested in the demands of a rapidly changing industry in a changing world; passive ageism, expressed through encounters with negative attitudes; active ageism, reflected in preventing older directors from receiving funding and from screening their films; and self-ageism, manifested in the directors’ attitudes toward themselves.

Research of the world of cinema often deals with the manner in which movies replicate the social balance of power, creating a symbolic order based on an essentially masculine world-view that puts the man at its center. The price women pay for this phallocentric approach – their persistent objectification in cinema, and the very small number of female screenwriters and directors – has become a much-discussed topic in contemporary research. However, the question of the price paid in the male artistic creation process has yet to receive the attention it deserves. This qualitative study addresses the lacuna in contemporary research, with reference to three metafictional films that focus on male directors, as an auteur for whom cinema is the pivotal center of their being: the Israeli film Peaches and Cream (2019, directed by Gur Bentwich), the Spanish film Pain and Glory (in Spanish: Dolor y gloria, 2019, directed by Pedro Almodóvar), and American film All That Jazz (1979, directed by Bob Fosse). They all are viewed as having an affinity with the ancient Greek comparison of male creativity with female procreativity, which is still reflected in contemporary studies. The films paint a picture of the male creative process shadowed by a sense of danger and loss of self. All three expose the feelings of anxiety inherent in film directors’ work, and the possible resultant breakdown, not only in an emotional sense but in a real, potentially fatal physical or medical sense as well. In all three movies, the director conceives of his ability to restore his sense of inner wholeness and male identity in a manner that contradicts the conventional balance of power, while customary power-relations are revealed as another road to loss of identity and sense of self. Each of the films ties the director’s ability to renew his sense of personal wholeness to developing a relationship with his surroundings, facilitated by audience appreciation, critical praise, or empathy from those close to him – all of which reinforce his feeling of belonging and significance. Without these aspects, the “absolute artist”, whose life revolves around his art, is shown to be at death’s door, whether symbolically or in reality.

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Compared with gains, losses have received a substantial amount of research and public attention. The present study aims to shed light on the positive gains associated with older age from the perspective of older women. Five focus groups with 19 Israeli women over the age of 54 were conducted. Trailers of three different films were used to stimulate discussion about old age and aging and allow for reflections on societal norms in light of personal experiences. Focus group interviews were analyzed thematically. Respondents identified four contexts, characterized by reframing their experiences against societal norms. These included gender stereotypes, physical appearance, interpersonal relations, and employment. This study represents an opening to a different discourse around old age, which is characterized by gains and possibilities brought about by changes in reframing one’s experiences, while distancing oneself and exerting free will vis à vis social norms.