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

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The chapter is in three parts. Section 3.2 describes the representation of diverse groups in the film sector, including occupational profiles, pay levels and access to funding streams. Section 3.3 explores access to employment in the film sector and reviews diverse groups’ experiences of the barriers. Part 3.4 considers the barriers to progression and describes existing interventions to tackle under- representation of certain groups. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 42
3.2 Workforce data on under-represented groups 3.2 1 Key workforce data sources Skillset, the sector skills council for the audio-visual industries, undertakes biennial surveys of those working in the audio-visual sector 1 , in feature film production 2 and a census of employers (see below) who manage the audio-visual industry workforce on a specific day. All three surveys cover skills development issues. Performers in the audio-visual industries were added to Skillset’s data in 2004, and a survey of employees and freelancers in the performing arts was undertaken in partnership with Equity in 2005 (Skillset and Equity 2005). Some of the data are broken down by gender and ‘race’, but information about disability is poor; there is nothing on religion or sexual orientation. There are some data on the intersection of ethnicity and age, gender and age, and ethnicity and gender but none on socio-economic status or class. This chapter will concentrate primarily on film sector data, and include other information as necessary. 3.2.2 Representation of groups in the film sector There were 42,230 workers in film and video production, exhibition and distribution in 2006 (UK Film Council Statistical Yearbook 2000- 1 The audio visual industries are divided into ten sectors: animation, commercials, computer games, corporate production, facilities, film, interactive media, photo imaging, radio and television. www.skillset.org/skillset/article_2643_1.asp 2 The film production sector survey surveys individuals working on productions which run for over 80 minutes in duration, have a minimum budget of £500,000, involve UK crew and are produced for theatrical release. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 43
Page 1 and 2: Barriers to Diversity in Film A Res
Page 3 and 4: CONTENTS Executive summary 7 1 Intr
Page 5 and 6: 3.4 Barriers to progression through
Page 7 and 8: 6.2 The business context 106 6.3 Th
Page 9 and 10: Executive Summary The review has in
Page 11 and 12: • Young people need advice on the
Page 13 and 14: • Disabled people are under-repre
Page 15 and 16: • Monitor sexual orientation, but
Page 17 and 18: 1.1 Aims 1 Introduction: aims and s
Page 19 and 20: This review brings together researc
Page 21 and 22: The Select Committee on Culture, Me
Page 23 and 24: 2.2 Cinema audiences and film relea
Page 25 and 26: including tackling social exclusion
Page 27 and 28: 2.4 The changing population The UK
Page 29 and 30: 2.5 Diversity and equality of oppor
Page 31 and 32: The Act also has implications for c
Page 33 and 34: A new inclusive equalities agenda t
Page 35 and 36: sectoral and labour market change.
Page 37 and 38: critical of the failure of equality
Page 39 and 40: • If the film sector increased th
Page 41: 3: The film workforce Getting the r
Page 45 and 46: Table 3.1 Film and video industry w
Page 47 and 48: data in these statistics on gender
Page 49 and 50: London 2006 s 2006 London 2002 e (L
Page 51 and 52: Other 65 35 All 61 39 Source : 2006
Page 53 and 54: ecause film professionals from mino
Page 55 and 56: male respondents earned £50,000 or
Page 57 and 58: Of 106 applications to the New Cine
Page 59 and 60: South West 6 23 Source: Skillset an
Page 61 and 62: Most employees are recruited inform
Page 63 and 64: and minority ethnic people tending
Page 65 and 66: 3.3.7 Qualifications The 2005 Featu
Page 67 and 68: very small numbers reported going o
Page 69 and 70: over their future finances. They al
Page 71 and 72: women experience ageing differently
Page 73 and 74: stereotyped as working class, even
Page 75 and 76: 3.4.9 Commissioning and ‘ghettois
Page 77 and 78: older than the rest of the workforc
Page 79 and 80: Social benefits from the projects w
Page 81 and 82: for women who have caring responsib
Page 83 and 84: involved in a regular dialogue abou
Page 85 and 86: population, though the regional dis
Page 87 and 88: Table 4.1 Cinema audience by gender
Page 89 and 90: Table 4.3 Cinema audience by gender
Page 91 and 92: Cinema goers 13.1 86.9 PPV buyers 1
Page 93 and 94:
general population (perhaps excludi
Page 95 and 96:
4.4 Audiences for film on televisio
Page 97 and 98:
Science fiction 1.7 7.1 1.8 7 1.1 3
Page 99 and 100:
they were charming and displayed a
Page 101 and 102:
‘Respectable cinema’ including
Page 103 and 104:
4.6 Barriers to cinema attendance B
Page 105 and 106:
launched an online Diversity Toolki
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• Half of people over 55 never go
Page 109 and 110:
o initiatives to improve the distri
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All these debates are considered be
Page 113 and 114:
5.3 Employment and portrayal Does e
Page 115 and 116:
5.5 Stereotypes The stereotypical p
Page 117 and 118:
Russo analysed representation of ga
Page 119 and 120:
than homosexual (Cover op.cit.). Ho
Page 121 and 122:
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
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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
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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
Page 147 and 148:
Our society has changed dramaticall
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6.3 The business case - an overview
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2007). The Commission for Racial Eq
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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
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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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