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

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impairments are now going to the cinema. However, a number of users cite the lack of screenings at particular times or lack of local provision as main barriers to attendance, as well as staff awareness to some extent. The low levels of cinema-going among the over 55s are striking since these are the people with most time on their hands and, increasingly, money to spend. We do not know what the barriers are – the films available, the cinema experience, the challenge of getting to a cinema or the idea that cinema-going is not ‘age-appropriate’? This sector of the population is so enormous that we need to know the answers. 4.7 Developing audiences: good practice examples A study into audience development for the Arts Council about all branches of the arts, indicated that Black and Asian work need not equate with a Black and Asian audience. Research in Yorkshire showed that at high-profile Black and Asian events, half of the audience was white and this also applied to theatre. Artists do not wish their work to be labelled as ‘ethnic’ and, as audiences’ responses indicate, they do not want to be defined in this way (J Wilson Associates 2003). Certainly there are under-represented groups who are potential cinema audiences, such as women with small children, disabled and older people, plus some minority ethnic groups, and who can be encouraged to attend the cinema more often . The UK Film Council has C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 104
launched an online Diversity Toolkit, (http://www.diversitytoolkit.org.uk/) which contains tips and good practice in diversity in the workforce, attracting audiences and on- screen representation. Some of these good practice examples are well worth quoting since they indicate how the industry can develop audiences. However it has been argued that extending social access to a wider range of films will not of its own deliver a wider audience. This will depend more on extending ‘cultural competences’ to the public, including children at school, to develop understanding and appreciation of diverse films (Hill 2004). Vue Vue, one of the largest cinema chains, with 191 venues, set out to embed diversity culture and introduced several key changes. They enhanced their interiors to offer wheelchair users choices on best seating; improved access by installing automatic doors to the entrance area; and installed lower box office counters. They also increased screenings with audio description and acquired subtitling equipment. The installation of assisted hearing technology helps people with hearing aids. Derby Metro Metro Cinema in Derby offers screenings for particular groups such as deaf people, families with autistic children, South Asian women and C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 105
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Barriers to Diversity in Film A Res
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CONTENTS Executive summary 7 1 Intr
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3.4 Barriers to progression through
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6.2 The business context 106 6.3 Th
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Executive Summary The review has in
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• Young people need advice on the
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• Disabled people are under-repre
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• Monitor sexual orientation, but
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1.1 Aims 1 Introduction: aims and s
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This review brings together researc
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The Select Committee on Culture, Me
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2.2 Cinema audiences and film relea
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including tackling social exclusion
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2.4 The changing population The UK
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2.5 Diversity and equality of oppor
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The Act also has implications for c
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A new inclusive equalities agenda t
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sectoral and labour market change.
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critical of the failure of equality
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• If the film sector increased th
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3: The film workforce Getting the r
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3.2 Workforce data on under-represe
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Table 3.1 Film and video industry w
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data in these statistics on gender
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London 2006 s 2006 London 2002 e (L
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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: 4.6 Barriers to cinema attendance B
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
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in Western style holidays, but UK t
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this specific audience and making a
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Positive actions on race equality i
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For example, women’s presence in
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6.3.7 Legal compliance Companies ha
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• Studies on the business case in
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Access to employment in the sector
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cinema tickets and rental films, an
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have children. Women scientists are
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teams encourage creativity. Recruit
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minority ethnic women writers or pr
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7.5.7 Decision makers’ attitudes
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There is also a need for policy int
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has rarely been evaluated for its l
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The Leadership on Diversity Forum,
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as the key intervention in diversit
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housing management. Trainees felt c
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voice to otherwise marginalised and
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targeted funding for black and mino
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Bhavnani R (1994) Black Women in th
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Cowan K and Valentine G (2006) “T
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European Commission (2005) “The B
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199 Institute for Employment Studie
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Murphy R (ed.) (2000) British Cinem
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Skillset and Equity (2006) “Analy
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UN (2000) “Gender and Racial Disc
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Barriers to Diversity in Film – A Research Review – Aug 07

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