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

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eing ill and dependent. Films are also often sentimentalised. Disabled people are often seen as asexual or excessively sexual and impairment is often portrayed as a result of previous moral deviance. Disabled people, it is argued, suffer principally from their objectification, not their impairment (BFI 2003). Another author argues that disabled people are portrayed as asexual, due to weakness, and are often seen as children. He cites several films such as Duet for One (1987), The Elephant Man (1980) and Coming Home (1978) which portray disabled people’s sexuality as non- existent, pre-sexual or deviant. Disabled people are never portrayed as parents (Darke 1994b). In 1994, the Arts Council for England set up a national film and video project, with an annual budget of £60,000, to fund innovative shorts by disabled people. The BFI argue that if disabled people were to receive their share of lottery film funding, from the UK Film Council alone, based on the fact that 10% of the population is disabled, then there would be over £10 million (sic) available every year for disabled people’s involvement not just in film but in wider British film culture, for production, distribution, exhibition, education, research and preservation. As they rightly point out, there are no national disability- specific initiatives (BFI 2003). 5.5 4 Minority ethnic groups C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 128
In a major report on the black and Asian experience, many minority ethnic groups said that they felt under-represented in British films and wanted to see films more closely related to the day-to-day lives of ordinary African Caribbeans and South Asians in Britain (BFI 2000). The same report criticises East is East (1999), as does another author (Aftab 2004). The move of this story from theatre saw white characters added to the film, and a bad guy was built up to vilify (Aftab 2004). The Asian father is represented as a brutal hypocrite, who insists his children must respect his cultural beliefs (compare the ‘cricket test’ by Norman Tebbit 5 ). This film was clearly an attempt at gaining a white audience, but Monsoon Wedding (2001) did not add white characters in this way and still attracted a large audience (Aftab 2004). Even in the USA, where there are strong black and other actors from minority groups, the number of films on racial and ethnic issues is limited (Robson 2002). In Britain it is even more restricted, notwithstanding the growth of the UK-born minority ethnic group population (for example, 90% of under 14s from minority ethnic groups have been born in the UK.) A study on minority-led companies found that minority ethnic groups argued negative stereotypes were often discernible in film (IES 2004). 5 Norman Tebbitt asked South Asian and Caribbean-origin people to seriously consider who they supported in national cricket teams. He argued that the ‘cricket test’ could be applied to determine allegiance to England. By this he meant that people could not support England and the West Indies. People had to support England to be truly English (Brah 1992). C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 129
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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
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ecause film professionals from mino
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male respondents earned £50,000 or
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Of 106 applications to the New Cine
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South West 6 23 Source: Skillset an
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Most employees are recruited inform
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and minority ethnic people tending
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3.3.7 Qualifications The 2005 Featu
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very small numbers reported going o
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over their future finances. They al
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women experience ageing differently
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stereotyped as working class, even
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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: Reasons behind the illnesses and th
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
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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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