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

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4 Audiences Who goes to the cinema? What is the case for widening access? And can new audiences be encouraged? How important is film genre in attracting particular kinds of audiences? And who are the leaders in the industry who are bringing new audiences to the cinema? 4.1 Background Audiences are critical to the film industry for obvious commercial reasons and because engaging with them stimulates UK filmmakers. For example, one author argues that speaking of and representing the ‘other’ ensures community cohesion at a national level; and that it is important to have a ‘national conversation’ about these areas since this involves everyone (Campion 2005). Other authors argue that talking about film, as they did with their focus groups, is a vital component of everyday discourse across a range of social and cultural issues. This gives film and media an important and distinctive place in contemporary debates (Bennett et al 2005). Engagement with potential cinema audiences is important since they do have income to spend on leisure (for details of spending power of diverse groups see 6.3.2). On the face of it, audiences have a wide choice of cinemas and programmes. The UK had 3,440 screens in 2006 in 697 cinemas. There were 5.8 screens per 100,000 of the C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 84
population, though the regional distribution is skewed towards London and urban dwellers have greater access than the rural population. Films in 30 different languages were released in the UK in 2006 with Hindi being the dominant foreign language in terms of numbers of releases (UK Film Council 2006-07 Yearbook). The distribution of foreign films, including Bollywood films, may be very important for those audiences that are under-served at a local level. For example, foreign language films averaged 17 sites at their widest point of release, compared to 162 for English language films. It may be worth exploring interventions which make these films accessible for local audiences at certain times. 4.2 Historical context Up to the 1950s, cinema was the main audio-visual medium, audiences were huge (1.6 billion in 1946) and the demographic profile was different from today. In 1943, for example, women went to the cinema more than men and manual workers and the lower middles classes went more frequently than the professional /managerial classes (Hill op.cit.) After the arrival of TV, cinema audiences declined but television itself provided a new means of watching film and in the 1980s video made its appearance. With the multiplex revolution, cinema audiences increased again, from 53 million in 1984 to 171 million in 2002 (BFI Film and Television Handbook 1994; UK Film Council Statistical Yearbook 2006-07) C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 85
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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
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 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: involved in a regular dialogue abou
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
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
Page 123 and 124: analyses 150 films and concludes th
Page 125 and 126: The reasons for this under-represen
Page 127 and 128: 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
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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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