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

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different perceptions of inequality and discrimination, the chances of wide-ranging acceptance of monitoring by white professionals and managers charged with carrying this out must remain highly questionable. Furthermore the conceptual basis of monitoring is flawed. As I have argued elsewhere (Bhavnani 2001) critics suggest that the concept of ethnic monitoring does not allow for comparisons across class and ‘race’ or across ‘race’ and gender, to allow for an understanding of comparative performance of outcomes. This leads to poor conceptual clarity underlying the efforts to change outcomes, particularly since ‘race’ is seen to be an independent variable separated from other structural inequalities in society. Monitoring is used within organisations as record keeping, without taking action on what these statistics might mean for action. Why should we decide that ethnicity or disability, for example, is a singular identity, which is important in all situations? Most importantly we should not carry out monitoring as a matter of habit, without understanding why we are doing it. What is the issue we are trying to tackle? Should we count? How? Who should we count and why? The purpose of monitoring should be thought through carefully. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 176
7.5.7 Decision makers’ attitudes There is a lack of information about the range of decision makers’ attitudes to and implementation of diversity strategies. The obvious solution for organisations is to introduce training programmes. However training for managers in diversity and equality, separated from interventions which embed organisational change, have not proved to be successful or otherwise (Bhavnani 2001). It may be more useful to run some workshops/or individual interviews at a range of existing events, with results from this research to assess attitudes, with a view to persuading decision makers to implement diversity strategies. Skillset’s approach on portrayal of black and minority ethnic groups, which is part of the UK Film Council’s Leadership on Diversity Forum’s projects on diversity, will be illuminating in this context. One of three projects supported by the Forum is on portrayal (see 7.6.3 below) and seeks to engage decision makers in debates about on-screen content. Discussion groups with key people will be arranged at existing events, such as the Cannes Film Festival. 7.5.8 Audiences’ views We know little about whether the current design, programming and other characteristics of cinemas best meet diverse audience needs at the present time. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 177
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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
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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 and 174: teams encourage creativity. Recruit
Page 175: minority ethnic women writers or pr
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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