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

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paid. Women are under-represented in screenwriting, but we have no information about other under-represented groups in producing, writing or directing. Actors are more equitably represented in film; however, there is no information about leading roles or types of roles allocated. Two of the UK Film Council’s national funds allocated for film production and writing show under-representation by minority ethnic groups, women and people with disabilities. Regional fund allocation is more equitable. The erratic hours and the fact that the sector is primarily based in London and the South East suggest travel barriers for women in the regions who have caring responsibilities and for disabled people. 3.3 Barriers to accessing jobs in the sector How do potential employees then access employment in the sector? A brief summary of barriers within workplace cultures and structures is useful to understand the experiences of under-represented groups. These include structural and cultural barriers: freelancing, word of mouth recruitment, recruiters operating through known networks and high periods of unemployment for film sector employees. 3.3.1 Recruitment C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 60
Most employees are recruited informally, notably by word of mouth, or contacting known individuals to write, produce or direct. In film production 81% of employees were recruited by word of mouth, with half being approached by a producer or director (Skillset and UK Film Council 2005, IES 2006). The sector is also risk-averse, producing films that are similar to the last ones which were successful at the box office, so known people are recruited and newcomers find it hard to break in. Good contacts, the ‘old boy network’, thus remain an important way to secure a job (Holgate 2006). Many people take on internships or unpaid work to develop their contacts and secure work. In the 1980s, only 5% of the total workforce had done unpaid work in the industry, compared to almost half in 2000. A report on ethnicity indicates that 47% of minority ethnic people had undertaken voluntary work to secure a job. Clearly people from lower income backgrounds are disadvantaged as a result of this practice. During qualification courses, over half of white students had work experience in the sector, compared to 28% of minority ethnic students. In research into minority ethnic groups’ independent production companies, one third of the organisations had used unpaid workers, this being more common among minority ethnic employees (IES 2004). C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 61
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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
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 and 42: 3: The film workforce Getting the r
Page 43 and 44: 3.2 Workforce data on under-represe
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: South West 6 23 Source: Skillset an
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
Page 107 and 108: • 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
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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
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2007). The Commission for Racial Eq
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eing disabled. The importance of th
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in Western style holidays, but UK t
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this specific audience and making a
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Positive actions on race equality i
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For example, women’s presence in
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6.3.7 Legal compliance Companies ha
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• Studies on the business case in
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Access to employment in the sector
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cinema tickets and rental films, an
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have children. Women scientists are
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teams encourage creativity. Recruit
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minority ethnic women writers or pr
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7.5.7 Decision makers’ attitudes
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There is also a need for policy int
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has rarely been evaluated for its l
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The Leadership on Diversity Forum,
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as the key intervention in diversit
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housing management. Trainees felt c
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voice to otherwise marginalised and
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targeted funding for black and mino
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Bhavnani R (1994) Black Women in th
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Cowan K and Valentine G (2006) “T
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European Commission (2005) “The B
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199 Institute for Employment Studie
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Murphy R (ed.) (2000) British Cinem
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Skillset and Equity (2006) “Analy
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UN (2000) “Gender and Racial Disc
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Barriers to Diversity in Film – A Research Review – Aug 07

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