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

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to enter the industry. Not only is it essential to get careers advice right, but also build stronger relationships between the industry and education providers. Nurturing and developing talent is also related to attracting more people to consider the possibility of working in the industry. Large numbers of those working part time would like to work full time; many of those who are voluntarily working part time say it is heavily determined by child care responsibilities (Punch and Pearce 2000; Women and Work Commission 2006). Helping with childcare costs may encourage more women to stay in the sector and contribute to the film workforce. Reduced costs – Employee turnover may be reduced by successful diversity initiatives and this will lead to cost savings in time taken to fill posts. The Hay Group says employee turnover could cost companies up to 40% of their annual profits (Hay Group 2001). Investing in programmes which develop people (making training and mentoring more specific, for example) and encourage networking by under-represented groups with senior executives will allow decision makers to recognise the talent out there. Improved creativity, innovation and problem solving – Under- represented groups can contribute a wide range of perspectives in companies and provide ‘different’ voices. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 160
For example, women’s presence in the boardroom is said to lead to more civilised behaviour and sensitivity to other perspectives, as well as a more interactive management style (Singh 2002). Companies can also increase morale, commitment and motivation if an inclusive working environment is created where all people feel valued and rewarded. Team working with diverse employees will aid creative solutions to problems. A lack of female directors, producers and writers leads to different portrayals of women on screen, and provides fewer role models for women to aspire to than men (IES 2006). Films may lack the female perspective, just as fewer minority ethnic or disabled staff may lead to a lack of those particular perspectives, thus not reflecting the heterogeneity of voices for film. If under-represented groups’ perspectives are not shown on screen, groups will not feel attracted to working in film (IES 2006). Global marketplace - Film increasingly depends on partnerships and co-productions with those overseas. Employing a wider range of people with differing perspectives presents a creative and progressive image to those outside the UK. Organisations and their clients are increasingly global players drawing their workforce from all corners of the world. The industry needs skills such as trading goods and services across borders and in multiple languages. A diverse workforce will aid negotiation and communication. Organisations which C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 161
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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
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involved in a regular dialogue abou
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population, though the regional dis
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Table 4.1 Cinema audience by gender
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Table 4.3 Cinema audience by gender
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Cinema goers 13.1 86.9 PPV buyers 1
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general population (perhaps excludi
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4.4 Audiences for film on televisio
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Science fiction 1.7 7.1 1.8 7 1.1 3
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they were charming and displayed a
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‘Respectable cinema’ including
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4.6 Barriers to cinema attendance B
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launched an online Diversity Toolki
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• 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: Positive actions on race equality i
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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