Barriers to Diversity in Film – A Research Review – Aug 07
Barriers to Diversity in Film – A Research Review – Aug 07
Barriers to Diversity in Film – A Research Review – Aug 07
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5.3 Employment and portrayal<br />
Does employment of under-represented groups <strong>in</strong> the film <strong>in</strong>dustry<br />
<strong>in</strong>crease their numbers and the quality of on-screen portrayal?<br />
<strong>Research</strong> <strong>in</strong> the USA shows that if women are employed <strong>in</strong><br />
screenwrit<strong>in</strong>g, they are more likely <strong>to</strong> recruit women for film<br />
production/perform<strong>in</strong>g roles. Lauzen highlighted that when women<br />
work beh<strong>in</strong>d the camera <strong>in</strong> the US, whether <strong>in</strong> writ<strong>in</strong>g, edit<strong>in</strong>g,<br />
produc<strong>in</strong>g or direct<strong>in</strong>g roles, the number and importance of female<br />
characters is significantly greater than when men hold these roles<br />
(2002, quoted <strong>in</strong> IES 2006). In the UK, black-owned companies are<br />
more likely <strong>to</strong> <strong>in</strong>vest <strong>in</strong> their own communities and <strong>to</strong> provide valuable<br />
work experience and employment <strong>to</strong> ethnic m<strong>in</strong>ority professionals<br />
(Watson 2001). There is no <strong>in</strong>formation on the l<strong>in</strong>k between portrayal<br />
and employment <strong>in</strong> the areas of disability, class, sexual orientation or<br />
religion.<br />
5.4 Genre of films<br />
Genre categories have been def<strong>in</strong>ed by past usage, sometimes mak<strong>in</strong>g<br />
it difficult for under-represented groups <strong>to</strong> beg<strong>in</strong> <strong>to</strong> redef<strong>in</strong>e these<br />
categories or attempt <strong>to</strong> fit exist<strong>in</strong>g ones.<br />
Genre and portrayal are l<strong>in</strong>ked, allow<strong>in</strong>g myths <strong>to</strong> develop about what<br />
the public wants <strong>to</strong> see. For example, commissioners‘ perceptions of<br />
the types of s<strong>to</strong>ries women write and audience preferences for certa<strong>in</strong><br />
films, may lead them <strong>to</strong> believe that women’s s<strong>to</strong>ries will not sell,<br />
C:\Documents and Sett<strong>in</strong>gs\mcorless\Desk<strong>to</strong>p\Intranet\<strong>Barriers</strong> <strong>to</strong> <strong>Diversity</strong> <strong>in</strong> <strong>Film</strong>_DS_RB 20 <strong>Aug</strong><br />
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