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

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certain comedy films (Borat). Comedy (The Holiday) and drama films with females in leading roles were high on the list of films with large female audience shares (The Devil Wears Prada, The Queen, The Break up) together with romantic drama (Brokeback Mountain) and animation (Chicken Little and Happy Feet). In 2006, the younger age groups preferred action, animation and comedy films while drama appealed more to the over 35s. These findings were consistent with previous years (UK Film Council Statistical Yearbook 2006/07). The UK Film Council carried out some focus groups on audiences and genre in 2006. They found that admiration for British films was more marked among film enthusiasts than other people. A higher proportion of respondents in Manchester than in London said they enjoyed British films, reflecting the regional nature of Britishness in films. The respondents in this survey classified films along four genres: • War films (different from American war movies it was thought) • Versions of classics such as Pride and Prejudice • Romantic comedies (often starring Hugh Grant, in which archetypal Englishness was crucial to the humour) • Stories of pluck and determination (Kes, Billy Elliott, The Full Monty) set in regional /social situations and often representing the working class. These films were not regarded as formulaic, C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc 98
they were charming and displayed a kind of grittiness in the characters. (UK Film Council ) Another way to group films was demonstrated in Bennett et al (2005), who grouped films into six categories of film genre: mainstream; ‘women’s’ cinema; older popular cinema; ‘respectable’ cinema; younger popular cinema; and finally art house films. 4 According to their survey of over 1500 respondents, summarised in Table 4.8, mainstream cinema accounted for 43% of audience preferences. The genre recruited its support from action, thriller, adventure and comedy. This audience was fairly evenly split between women and men, and included people at all levels of education. However age makes a difference; this genre was popular with younger and middle-aged people, but less popular among the over-55s. Table 4.8 Categories of film genres and audience preferences Category of films identified 99 % of audience Numbers of respondents citing the genre as their preference 4 These categories have been derived through examining survey results of respondents’ first preferences of genre and film directors with their specific social position, based on age, education/class, gender and ethnicity. These relations were then plotted along axes using multivariate correspondence analysis. The vertical axis is of age and the horizontal axis related to levels of education and class positions. They thus identify six sets of genres C:\Documents and Settings\mcorless\Desktop\Intranet\Barriers to Diversity in Film_DS_RB 20 Aug 07.doc
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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
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sectoral and labour market change.
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critical of the failure of equality
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• If the film sector increased th
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3: The film workforce Getting the r
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3.2 Workforce data on under-represe
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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: Science fiction 1.7 7.1 1.8 7 1.1 3
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
Page 137 and 138: However, a study in Sweden analysed
Page 139 and 140: the ways these film types have deve
Page 141 and 142: and ethnicity, and in any case, mon
Page 143 and 144: • A study of on-screen representa
Page 145 and 146: 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
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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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