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

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emerging filmmakers. The Sundance initiative for funding independent film also funds and supports Native American film. Films made by Native Americans are shown at the Sundance festival and the Producers’ Guild of America recently honoured the initiative at its annual celebration of diversity. The third project is the Tribeca All Access Programme which selects ten documentaries and ten narratives produced by minority ethnic people. The filmmaking team from each selected project is given meetings with representatives and development executives from production companies, agents and equity financiers. At the end of the programme, one documentary and one narrative project is selected to win an award. The fourth project, entitled Los Angeles Project Involve, is designed to promote cultural diversity in the industry through one-to-one mentoring and film workshops. The author of this article concludes that positive action programmes started by those respected in the film industry have a good chance of success and are steps in the right direction, whether it is about giving of funds or career development and support (Tucker 2004). Where positive action has been introduced in the UK, such as targeting groups for a training course, studies found raised confidence among the attendees though organisational cultures remained untouched (Bhavnani and Coyle 2000). Similarly research examining positive action in training in the housing sector found that, of 1,000 trainees over the last 15 years, 80% obtained jobs they were trained for in C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 186
housing management. Trainees felt confident about personal and career development. But the report argued that racial stereotyping and direct racism in the organisational cultures in which they worked had not changed and the recruits felt isolated, with promotion blocked by a ‘glass ceiling’ (Julienne 2001). 7.7.3 Sensitising decision makers Changing the culture of the sector will involve sensitising industry decision makers to the narrowness in which talent for the industry is recruited. They need to be involved in a regular dialogue about next steps to recruiting talent that are right for them. 7.7.4 Lesbians and gay men There is a lack of information about lesbians and gay men in the workforce and it is not easy to address this. There is a need to engage in dialogue with homosexuals who work in film, perhaps as a starter, before introducing monitoring. Stonewall (2006a) counsels against monitoring as a first step if organisations have not previously engaged with lesbian and gay staff or developed initiatives to eradicate homophobia in the workplace. Over half of gay men and lesbians conceal their sexual orientation at work. If an atmosphere is created where it is acceptable for lesbians and gay staff to ‘come out’ at work, there would be a better insight into their needs, such as barrriers to the sector or bullying in the workplace. One initiative might be the setting up of a lesbians and gay group in the film sector. In the C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 187
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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
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national stereotyping such as funny
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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 and 182: has rarely been evaluated for its l
Page 183 and 184: The Leadership on Diversity Forum,
Page 185: as the key intervention in diversit
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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