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

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Rees P and Parsons J (2006) Socio-demographic scenarios for children to 2020 Joseph Rowntree Foundation: York Richards C (2005) ‘Translations: Encounters with Popular film and academic discourse’ European Journal of Cultural Studies 8; 23 Sage: London and USA Robson P (2002) ‘Fade to Grey: portraying the ethnic minority experience in British film’ International Journal of the Sociology of Law, 30, 235-257 Rogers S (2007) “Writing British Films – who writes British films and how they are recruited” Report for UK Film Council : University of London: Royal Holloway College The Royal Norwegian Ministry for Cultural and Church Affairs (2007) ‘Parliamentary Report [White Paper] Report to Parliament on future government film policy and programmes’ Report No 22 : The Pathfinder: Norway Russo V (1987) The Celluloid Closet: Homosexuality at the Movies New York: Harper and Row Saner E (2007) “Everything but the Ghoul” The Guardian Film and Music 6.4.07 Simonton D K (2004) ‘The “Best Actress” Paradox: Outstanding Feature films versus Exceptional Women’s Performances’ Sex Roles Vol 50 Nos 11/12 June Sinfield A (2006) “Boys, Class and Gender: from Billy Caspar to Billy Elliott” History Workshop Journal Issue 62 pp 166-171 Singh V (2002) “Managing Diversity for Strategic Advantage” Centre for Developing Women Business Leaders Cranfield School of Management Skillset (2006) “Analysis of Film Performers” Bespoke Report for UK Film Council Skillset (2005) Survey of the Audio Visual Industries’ Workforce London: Skillset Skillset (2004) Employers Census of 2004 Skillset London C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 202
Skillset and Equity (2006) “Analysis of Film Performers” Bespoke report for UK Film Council from Performance Arts Industry Survey Skillset: London Skillset and Equity (2005) Performing Arts Industry Survey Skillset: London Skillset and UK Film Council (2007) “Film Sector Survey 2006- Project Update” March Skillset: London Skillset and UK Film Council (2005) Feature Film Production Workforce Survey 2005 Skillset: London Skillset and UK Film Council (2004) Feature Film Production Workforce Survey 2004 Skillset: London Skillset and UK Film Council (2003) A Bigger Future The UK Film Skills Strategy London: Skillset Small G (2005) “Is this really me?” in Black filmmaker January/February 2005 Vol 7 No28 Smallbone D Bertotti M and Ekanem I (2005) “Diversification in ethnic minority business: the case of Asians in London’s creative industries” Journal of Small Business and Enterprise Development, Vol 12 No 1 pp 41- 56 Smelik A (2003) ‘ ‘For Venus smiles not in a house of tears’ Interethnic Relations in European Cinema’ European Journal of Cultural Studies 6; 55 Sage : London USA Sparrow F (2004) “A Free State?” in Black filmmaker may/June Vol 6 No 24 Spicer A (2005) “Debate: The Cultural Value of UK Film” Report of a seminar held at Senate House, University of London 3 May 2005 in Journal of British Cinema and Television The British Cinema Going Experience edited by Conrich I and Hammerton J Vol 2.2 pp 340-343 Stadtler F (2005) ‘Cultural Connections: Lagaan and its audience responses’ Third World Quarterly Vol 26, No 3, pp 517-524 Stafford R (2004) “Diversity Reports and policies: what’s goin’ on?” in www.itpmag.demon.co.uk June ;media education magazine C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 203
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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
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people who live abroad like to hang
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However, a study in Sweden analysed
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the ways these film types have deve
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and ethnicity, and in any case, mon
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• A study of on-screen representa
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occupational groups, people from di
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Our society has changed dramaticall
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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 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: Murphy R (ed.) (2000) British Cinem
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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