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

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influential people. Mentoring as an intervention needs to be experimented with, though the aims have to be clear and evaluation needs to be built into projects from the beginning. 7.6.3 Performers A project from some of the partners in the Leadership on Diversity Forum concerns on-screen portrayal of black and minority ethnic actors. Partners involved with the UK Film Council include BAFTA, Equity and Skillset. Their aims are to engage the film industry and wider community in a debate about on-screen representation of black British talent by initiating discussions at particular events, such as the Cannes Film Festival, Cheltenham Writers’ Festival, London Film Festival and such events. The team want to lay the foundations for policy changes and highlight the gaps in monitoring. The UK Film Council commissioned photographer Don McCullin to produce a series of portraits of black British actors, and these were unveiled at Cannes in 2007. The team are also planning ‘power lunches’, and a focused weekend of events showcasing the world of black talent (Leadership on Diversity Forum (2007a). 7.7 Recommendations on implementing diversity 7.7.1 Industry standards and supporting diversity C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 182
The Leadership on Diversity Forum, set up with 21 organisations, has begun to design action plans to improve diversity. Three of these projects are described above, and will need to be evaluated. The UK Film Council and the range of partnership organisations, such as professional guilds and trade associations, should consider mainstreaming diversity in all publicly-funded film organisations and projects by setting up industry standards on diversity. All publicly- funded organisations and projects in film should be required as part of a voluntary code of conduct to: • provide an annual or end-of-project audit of employment across diverse groups at all levels of their organisations; • ensure that all development projects and productions in receipt of public monies provide statistics in the employment of diverse groups wherever possible; • make compliance with diversity targets a requirement for projects receiving such funding. All organisations should make access, training and career development for diverse groups criteria for the allocation of funds to subsidiary organisations and client bodies. The Norwegian Ministry of Culture has recently proposed a target of at least 40% of both genders in key positions in shorts, documentaries and feature films in Norway C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 183
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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
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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 and 180: There is also a need for policy int
Page 181: has rarely been evaluated for its l
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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