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

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Recruitment practices are a deeply entrenched part of the film industry’s culture and changing them is key to moving the diversity agenda forward. 3.3.2 Freelancing The film industry is dominated by independent production companies, mostly micro businesses and many are set up to make a single feature film. Almost half of the film and video production workforce was freelance in 2006 (ONS, Labour Force Survey). Nearly half of all freelancers in the audio-visual sector had only ever worked on a freelance basis (Skillset 2005). Freelancing is more common among older men, being high in commercials, corporate production and animation. Freelancing may legitimate informal methods of recruitment. The problem of an increase in freelancers and a rapid advance in technology means there is less take-up of training, since freelance workers find it difficult to take time out of work and lose income (Holgate 2006). 3.3.3 Later entry into the sector Two-fifths of respondents from a black or minority ethnic origin began working in the industry after 1999, compared with just over a quarter (28%) of white respondents. This is probably related to black C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 62
and minority ethnic people tending to be younger than white respondents (Skillset 2005). 3.3.4 Job insecurity and confidence levels The film sector is also risk-averse and there is much job insecurity. Rates of unemployment are high. The film production survey indicated that 71% of the workforce had been unemployed in the previous year and more than a third had spent 10 or more weeks of the year unemployed (Skillset and UK Film Council 2005). More than half of the respondents had spent fewer than 30 weeks in feature film productions in 2006 (61%) (Skillset and UK Film Council Project Update 2007). Women screenwriters feel that intrinsic features of the job are barriers, namely that the sector is unstable, involves erratic working patterns, and they cannot afford to take time off or lose money to work in this area. It is argued that women screenwriters may also be less confident and tenacious about redrafting their work and having it criticised (IES 2006). 3.3.5 Working hours Working hours are long, with 70% of employees working 11 hours or more a day, six days a week (Skillset and UK Film Council 2005). This greatly disadvantages people with caring responsibilities and those with certain disabilities. C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 63
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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 and 60: South West 6 23 Source: Skillset an
Page 61: Most employees are recruited inform
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
Page 111 and 112: 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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