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

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well as types of roles allocated. A qualitative and quantitative study of recent British films (for example, the top 40, or the top 100) and an exploration of the casting of under-represented groups would be a good starting point to analyse types of roles, whether incidental or not, and whether they contribute to the cumulative effects of stereotyping. 7.5.2 Career pathways There is no information on career pathways of under-represented groups, when compared to white, able-bodied, middle-class men’s pathways. However, there are some indications of how people access the film sector and some evidence of moving up through the sector, but this is based on small-scale case studies. There is no research on how and why certain directors, producers and writers from under- represented groups have been successful. 7.5.3 Occupational data on disabled people, lesbians and gay men More information is needed about disabled professionals and gay men and lesbians in the film sector, particularly their career pathways and the types of jobs they occupy.. 7.5.4 Multiple identities People have multiple identities based on the intersections of, for example, gender and age, class and race, gender and ethnicity, age and disability. We do not, for example, have information about C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 174
minority ethnic women writers or producers, and whether their career pathways have subjected them to double jeopardy. Monitoring needs to take account of such intersectionality. 7.5.5 Agents There is a lack of information about who has agents in the film sector and whether certain groups are under represented in agents’ books. 7.5.6 Monitoring Groups in the film sector are not consistently monitored across the country and within regions. Equality legislation stresses that organisations should positively promote racial and gender equality. Thus ethnic monitoring as part of benchmarking and impact assessments has become integral to delivery of equality in public sector organisations. However ‘monitoring’ is not new. For example, it has been suggested as a basis for tackling ‘race’ and gender inequality for at least the last 20 years yet many organisations have failed to take monitoring on board. It may be because it stresses measuring outcomes and fails to aid thinking about the means. An Audit Commission report found black and ethnic minority staff in the public sector felt ‘ethnic monitoring’ was a tick-box exercise and were suspicious of it (Audit Commission, 2003). This is singularly depressing when the very people whom policies are designed to help do not wholly accept this idea as a key tactic in change. Given many decision makers’ C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 175
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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
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o initiatives to improve the distri
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All these debates are considered be
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5.3 Employment and portrayal Does e
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5.5 Stereotypes The stereotypical p
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Russo analysed representation of ga
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than homosexual (Cover op.cit.). Ho
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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 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: teams encourage creativity. Recruit
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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