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

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4.3 Who goes to the cinema? 4.3.1 Frequency of cinema visits In 2006, 60% of the population said they went to the cinema at least once a year and 18% said they went at least once a month (UK Film Council Statistical Year book 2006-07). A recent survey (Bennett et al 2005) found a strong relationship between cinema audiences and social class, with 41% in manual occupations saying they never went, compared to 7% of the managerial and professional class. 50% of over 55s never went to the cinema, compared to 7% of the younger groups. 4.3.2 Gender and cinema attendances Overall audiences for film are equally balanced between women and men, as Table 4.1 shows, and there was an even split in the cinema audience of the top 20 films in 2006 (UK Film Council 2006-07 Yearbook). C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 86
Table 4.1 Cinema audience by gender Male % Female % See at least one film per year 60 60 Go to the cinema at least once a month 20 16 (proportion of the population) Top 20 films (proportion of audience) 50 50 Top UK films 55 45 Total survey population 7+ 49 51 Source : UK Film Council Statistical Year book 2006-7 4.3.3 The age and social class of cinema-goers The cinema audience for the top 20 films is relatively youthful (65% are under the age of 35 though they make up only 40% of the population) and skewed towards the AB and C1 social groups (UK Film Council Yearbook 2006-7). The older part of the cinema audience has grown substantially over the last decade - from 19 million to 38 million and from 14% to 24% of the total cinema audience (UK Film Council Statistical Yearbook 2006-07:2) Looking at age and gender together, it is interesting to note that, contrary to myth, women aged over 35 now form a larger part of the cinema audience than males aged 15-24 (Tables 4.2 and 4.3): Table 4.2 Cinema audience by gender and age 2005 7-14 15-24 25-34 35 and over C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 87
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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
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 and 84: involved in a regular dialogue abou
Page 85: population, though the regional dis
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
Page 135 and 136: 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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