BERLIN: Ahead of this year Oscars, male-female representation at the awards remains a divisive topic, especially after recent scandals that have blighted the standing of the cinema industry.

In cinema’s 120-year history, women, like men, were pioneers, but as is the case in many industries, they continue to be under-represented.

Director Greta Gerwig has been nominated for best director for the comedy-drama “Lady Bird,” which is competing for best picture against eight other films directed by men.

Gerwig’s fellow directing nominees include Christopher Nolan (“Dunkirk“), Jordan Peele (“Get Out“), Paul Thomas Anderson (“Phantom Thread“), and Guillermo del Toro (“The Shape of Water“).

Contrary to popular belief and some media reports, Gerwig is not the only creative woman who has earned a nomination for something other than acting. Cinematographer Rachel Morrison has been also nominated for the first time, for best director of photography on “Mudbound,” directed by Dee Rees, who was also nominated for the best adapted screenplay category.

Tatiana Riegel, has been nominated for this year’s best editing Oscar for her work on “I, Tonya.” Jacqueline Durran was nominated twice in best costume design for “Beauty and the Beast” and “The Darkest Hour.

This shows that women’s cinematic efforts are appreciated and recognized by the Academy Awards. Why, then, does it seem that women are victims, less fortunate or unlucky when the industry is viewed as a whole?

The answer reveals the biggest flaw in the Hollywood film industry. Since its inception 120 years ago, cinema has been dominated by men. Research shows that in the first 20 years of the 20th century, women had had a strong presence in the cinema industry. Back then, French-born director and producer Alice Guy moved to Hollywood and began directing and producing movies.

In 1907, Jean Gontier began working as a producer, first, then became director in 1912. Her first film was “From the Manger to the Cross,” shot mostly in Jerusalem. Other pioneers, such as Jeanie Macpherson and Dorothy Arzner, made their names as screen writers.

In 1912, when Anita Loos was only 6 years old, she sent her story “New York City Hat” to the Biograph Company. The company offered her $25 for the story. A few years later, Loos, now an established writer, was selling her screenplays for $300, only to discover that men were paid twice that amount or even more.

From the early days of movie-making, jobs went to men in this industry, just as in aviation, car-making and mining. Male cinematographers (mainly white) were the majority and white female actresses, producers, directors and technicians were in a minority.

Another reason for the absence or exclusion of women is that most successful movies cemented and increased men’s dominance. Women, in general, were not nominated for Oscars in large numbers and neither were they able to clinch any awards.

Kathryn Bigelow won a best director Oscar for “The Hurt Locker” 10 years ago, but that does not mean that the male-dominated industry has changed. Mary Harron made two successful films, “American Psycho” and “I Shot Andy Warhol,” yet was not nominated for either. Julie Taymor’s 2002 film “Frida” was nominated for six Oscars, yet the director herself failed to gain recognition for her work.

But at the Oscars there is a first time for everything.

This year, Dee Rees, director of “Mudbound,” will be the first Afro-American woman nominated for a best adapted screenplay Oscar.