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

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about homophobic constructions of male sexuality. Women are represented as being re-domesticated. The USA, it is argued, brings together these qualities of difference to legitimate global primacy and reinforces a particular discourse around nationhood, re-creating a united nation of ‘imagined communities’ (Anderson 1983). Although Three Kings is highly critical of US multi-lateral adventures in the Persian Gulf in 1991, the author argues that even this film depicts the USA as a privileged place for the integration of ethnic differences. Students in a discussion group on the film bemoaned particularly the oppressed Iraqi women against the image of the liberated assertive American women (Davies op.cit.). The second biggest market for Bollywood films is in Britain, with ticket sales of £30 million last year and multiplexes in specific areas showing them alongside Hollywood films. Certainly white Britons are happy to watch certain spoken English films, as the success of Monsoon Wedding (2001) or Bend it like Beckham (2002) showed, whereas South Asian British audiences continue to watch films made in Hindi and set in far off places. The Indians who left India many years ago have also helped to revitalise the Bollywood industry, so that films now include dance numbers, mini skirts, and the cosmetic surgery industry. These films, on the other hand, still serve to legitimate the sanctity of the family. They are also more popular with the non-resident Indian audience than with native Indians, perhaps because Indian-origin C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 134
people who live abroad like to hang on to their roots and cultural identities in a country where they are under-represented or stereotyped in film (Aftab 2002). 5.5.5 Class The analysis discussed below is of class portrayal, but the studies referred to depict class intersecting with gendered, racial, age (see below) and other identities. The focus on heritage in film, very popular in the 1980s, virtually excluded portrayal of working class life as central, and excluded other under-represented groups. Minority groups in this country think this category of film, often based on literary adaptations, represents a nostalgic view and does not reflect British society as it was. (Murphy 2000). The 1980s were dominated by portrayals of educated, middle-class, southern gentlemen. It is argued these were transferred to more contemporary settings in the 1990s in Four Weddings and a Funeral and Notting Hill. The other 1990s representations of masculinity and class were encapsulated in films which explored ‘alternative’ types defined as ‘criminals’, ‘rebels’ or ‘damaged’ men with films such as Riff Raff (1991), Raining Stones (1993), The Full Monty (1997), Trainspotting (1996) and Lock, Stock and Two Smoking Barrels (1998). These 1990s films were concerned about the crisis in working class C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 135
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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
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older than the rest of the workforc
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Social benefits from the projects w
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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: indiscriminate killing implies that
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,
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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
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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