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

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7.6.2 Mentoring Another project (sponsored by BECTU, British Society of Cinematographers, PACT, Production Guild, Production Managers Association and the Writers’ Guild) seeks to improve progression in the sector for minority ethnic groups by setting up a film industry mentoring scheme. This follows BECTU’S successful Moving on Up project (see 3.5) which aimed to facilitate one-to-one meetings between minority ethnic professionals and industry executives. The long-term aim of these meetings was for these professionals to be employed or contracted for commissions. Over the two events run in 2006, more than 1,000 new contacts were set up between nearly 300 minority ethnic professionals and 150 executives. Feedback from this initiative was positive with participants suggesting more events such as Move on Up and more mentoring schemes. The new mentoring project will run for 12 months with 25 minority ethnic mentees and 25 mentors (Leadership on Diversity Forum 2007c). Mentoring is about self-empowerment. In the UK, the mentoring of black young people by older, white and black adults began as a community-sourced initiative (Appiah 2001). Lessons from the USA indicated mentoring was successful in building confidence, encouraging a more proactive desire for improvement and job development and was important under the right conditions for tackling internalised racism within organisations. Mentoring as an intervention C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 180
has rarely been evaluated for its long-term effects, but the literature on short-term effects shows that those black people who have been mentored do increase their promotion rates and become more optimistic about their jobs and careers (Bhavnani et al 2003). In the USA where a white mentor mentored a black mentee and the conditions were right, mentors reported gains in the understanding of ‘race’ and diversity through mentoring relationships. This aspect of positive action where there is mutual benefit may be an effective intervention in tackling racism, since both sides participate in change. While mentoring can build confidence, it also can build powerful social networks which many under-represented groups are not tapped into. As a mechanism for change it understands the importance of the persistence of ‘who you know‘ in getting a good job. John Hopkins University looked at the ‘strength of weak ties’ in getting a job or university place - if you shared a connection, or an ‘old school tie’ you were more likely to be appointed because of ‘familiarity’ (Mirza 1992). Similarly graduates from separate African American colleges in the USA were often discriminated against when they went for appointments in influential corporations, as they did not have a connection with the white employer. While networking is problematic as it reproduces inequality through exclusivity, it is also pragmatic in appreciating the mechanisms of disadvantage and can open up new worlds of opportunity for young people. At the same time, networks of under- represented staff may close down opportunities for mixing with C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 181
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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
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The reasons for this under-represen
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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 and 176: minority ethnic women writers or pr
Page 177 and 178: 7.5.7 Decision makers’ attitudes
Page 179: There is also a need for policy int
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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