Barriers to Diversity in Film – A Research Review – Aug 07

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• Women and minority ethnic groups are bunched into certain lower level occupations in production and exhibition, and likely to be lower paid. • Women are under-represented in screenwriting, in camera work and other ‘technical’ jobs. • Actors are more equitably represented in film by under- represented group; however, there is no statistical information about leading roles or types of roles allocated. • The film workforce has more people over 50 than the wider audio-visual sector, but younger people are increasing their representation in the sector. • There is no information about lesbian and gay men in the workforce. • Regional fund allocation is more equitable for under- represented groups than national allocations. • The majority of film workers are recruited by word of mouth to film production, with half being approached by a producer or director. • Minority ethnic led (MEL) companies feel the commissioning process lacks clarity and openness in decision making. • Women and minority ethnic groups feel indirectly discriminated against in the film sector. Breaking out into the mainstream has been defined as a barrier for ethnic minority owned businesses and potential employees. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 10
• Young people need advice on the kinds of courses they should take to gain practical experience to enter the film industry. Audiences for film • People from minority ethnic backgrounds are over-represented in the cinema, DVD rental and the pay-per-view audience, but under-represented in the DVD retail audience. • On average, minority ethnic people go to the cinema more often than the UK population average, which may reflect their younger age profile. • Disabled people are under-represented in all film audiences except DVD retail. • Overall audiences for film are equally balanced between women and men. Women aged 35 plus form a larger section of the audience than males aged 15-24. • Initiatives to support disabled access to cinemas have been successful, but experience shows that interventions have to be carefully designed to meet disabled persons’ needs. • The audience for film on television is much larger (x20) than the cinema audience. • The audience for film on television is skewed towards older age groups and people engaged in manual occupations. • On a UK national/regional basis, the cinema audience is skewed towards London. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 11
Page 1 and 2: Barriers to Diversity in Film A Res
Page 3 and 4: CONTENTS Executive summary 7 1 Intr
Page 5 and 6: 3.4 Barriers to progression through
Page 7 and 8: 6.2 The business context 106 6.3 Th
Page 9: Executive Summary The review has in
Page 13 and 14: • Disabled people are under-repre
Page 15 and 16: • Monitor sexual orientation, but
Page 17 and 18: 1.1 Aims 1 Introduction: aims and s
Page 19 and 20: This review brings together researc
Page 21 and 22: The Select Committee on Culture, Me
Page 23 and 24: 2.2 Cinema audiences and film relea
Page 25 and 26: including tackling social exclusion
Page 27 and 28: 2.4 The changing population The UK
Page 29 and 30: 2.5 Diversity and equality of oppor
Page 31 and 32: The Act also has implications for c
Page 33 and 34: A new inclusive equalities agenda t
Page 35 and 36: sectoral and labour market change.
Page 37 and 38: critical of the failure of equality
Page 39 and 40: • If the film sector increased th
Page 41 and 42: 3: The film workforce Getting the r
Page 43 and 44: 3.2 Workforce data on under-represe
Page 45 and 46: Table 3.1 Film and video industry w
Page 47 and 48: data in these statistics on gender
Page 49 and 50: London 2006 s 2006 London 2002 e (L
Page 51 and 52: Other 65 35 All 61 39 Source : 2006
Page 53 and 54: ecause film professionals from mino
Page 55 and 56: male respondents earned £50,000 or
Page 57 and 58: Of 106 applications to the New Cine
Page 59 and 60: South West 6 23 Source: Skillset an
Page 61 and 62:
Most employees are recruited inform
Page 63 and 64:
and minority ethnic people tending
Page 65 and 66:
3.3.7 Qualifications The 2005 Featu
Page 67 and 68:
very small numbers reported going o
Page 69 and 70:
over their future finances. They al
Page 71 and 72:
women experience ageing differently
Page 73 and 74:
stereotyped as working class, even
Page 75 and 76:
3.4.9 Commissioning and ‘ghettois
Page 77 and 78:
older than the rest of the workforc
Page 79 and 80:
Social benefits from the projects w
Page 81 and 82:
for women who have caring responsib
Page 83 and 84:
involved in a regular dialogue abou
Page 85 and 86:
population, though the regional dis
Page 87 and 88:
Table 4.1 Cinema audience by gender
Page 89 and 90:
Table 4.3 Cinema audience by gender
Page 91 and 92:
Cinema goers 13.1 86.9 PPV buyers 1
Page 93 and 94:
general population (perhaps excludi
Page 95 and 96:
4.4 Audiences for film on televisio
Page 97 and 98:
Science fiction 1.7 7.1 1.8 7 1.1 3
Page 99 and 100:
they were charming and displayed a
Page 101 and 102:
‘Respectable cinema’ including
Page 103 and 104:
4.6 Barriers to cinema attendance B
Page 105 and 106:
launched an online Diversity Toolki
Page 107 and 108:
• Half of people over 55 never go
Page 109 and 110:
o initiatives to improve the distri
Page 111 and 112:
All these debates are considered be
Page 113 and 114:
5.3 Employment and portrayal Does e
Page 115 and 116:
5.5 Stereotypes The stereotypical p
Page 117 and 118:
Russo analysed representation of ga
Page 119 and 120:
than homosexual (Cover op.cit.). Ho
Page 121 and 122:
ecause she is lesbian specifically
Page 123 and 124:
analyses 150 films and concludes th
Page 125 and 126:
The reasons for this under-represen
Page 127 and 128:
Reasons behind the illnesses and th
Page 129 and 130:
In a major report on the black and
Page 131 and 132:
national stereotyping such as funny
Page 133 and 134:
indiscriminate killing implies that
Page 135 and 136:
people who live abroad like to hang
Page 137 and 138:
However, a study in Sweden analysed
Page 139 and 140:
the ways these film types have deve
Page 141 and 142:
and ethnicity, and in any case, mon
Page 143 and 144:
• A study of on-screen representa
Page 145 and 146:
occupational groups, people from di
Page 147 and 148:
Our society has changed dramaticall
Page 149 and 150:
6.3 The business case - an overview
Page 151 and 152:
2007). The Commission for Racial Eq
Page 153 and 154:
eing disabled. The importance of th
Page 155 and 156:
in Western style holidays, but UK t
Page 157 and 158:
this specific audience and making a
Page 159 and 160:
Positive actions on race equality i
Page 161 and 162:
For example, women’s presence in
Page 163 and 164:
6.3.7 Legal compliance Companies ha
Page 165 and 166:
• Studies on the business case in
Page 167 and 168:
Access to employment in the sector
Page 169 and 170:
cinema tickets and rental films, an
Page 171 and 172:
have children. Women scientists are
Page 173 and 174:
teams encourage creativity. Recruit
Page 175 and 176:
minority ethnic women writers or pr
Page 177 and 178:
7.5.7 Decision makers’ attitudes
Page 179 and 180:
There is also a need for policy int
Page 181 and 182:
has rarely been evaluated for its l
Page 183 and 184:
The Leadership on Diversity Forum,
Page 185 and 186:
as the key intervention in diversit
Page 187 and 188:
housing management. Trainees felt c
Page 189 and 190:
voice to otherwise marginalised and
Page 191 and 192:
targeted funding for black and mino
Page 193 and 194:
Bhavnani R (1994) Black Women in th
Page 195 and 196:
Cowan K and Valentine G (2006) “T
Page 197 and 198:
European Commission (2005) “The B
Page 199 and 200:
199 Institute for Employment Studie
Page 201 and 202:
Murphy R (ed.) (2000) British Cinem
Page 203 and 204:
Skillset and Equity (2006) “Analy
Page 205:
UN (2000) “Gender and Racial Disc
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Barriers to Diversity in Film – A Research Review – Aug 07

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