Diversity and Inclusion in Film, Television and Media Sector: Policy Alternatives for an Inclusive Film Industry and Training

Authors

DOI:

https://doi.org/10.5195/cinej.2021.414

Keywords:

white privilege, equality, diversity, inclusion, COVID, pandemic, film industry, gender, racism

Abstract

This issue of CINEJ Cinema Journal observed the slow recovery from the destructive effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. One development that is on the agenda is diversity and inclusion in film industry, film education and film studies/criticism as institution. The diversity of film sets has been voiced and is gaining momentum at creative top of the line levels of director, producer and screenwriters Still obstacles remain for those who want to move from entry to mid-level both in film industry as creatives and for academics who want to enter white dominated academia.

Author Biography

Murat Akser, University of Ulster

Murat Akser is lecturer in cinematic arts, in the School of Creative Arts, University of Ulster, UK. Between 2006-2013 he has been an associate professor of cinema and media studies, chair of new media department and the founding director of the Cinema and Television MA program at Kadir Has University Istanbul, Turkey. He has his MA in Film and PhD in communication and culture from York University, Canada. He works extensively on political economy of film festivals, film genres and has recently published a book length study of Turkish cinema from Lambert: Green Pine Resurrected: Film Genre, Parody, and Intertextuality in Turkish Cinema. Also an independent filmmaker Dr. Akser has directed short films, music videos and is a member of International Cinematographers Guild and Academy of Canadian Film and Television.

References

Akser, M. (2020). Cinema, life and other viruses: the future of filmmaking, film education and film studies in the age of covid-19 pandemic. CINEJ Cinema Journal, 8(2), 1-13.

Animbom Ngong, P. (2021). The reception of cameroon films and home videos in student residential areas: the case of bambili – cameroon. CINEJ Cinema Journal, 9(1), 371-392.

Barman Deka, B. (2021). The world of Assamese celluloid: ‘yesterday and today’. CINEJ Cinema Journal, 9(1), 393-423.

Brook, O., O’Brien, D., & Taylor, M. (2021). Inequality talk: How discourses by senior men reinforce exclusions from creative occupations. European Journal of Cultural Studies, 24(2), 498-513.

Brown, M. (2021). Baftas 2021: Michaela Coel dedicates win to intimacy coordinator. Guardian 6 June. https://www.theguardian.com/culture/2021/jun/06/baftas-2021-michaela-coel-dedicates-win-to-intimacy-coordinator

Buteanu, I. (2021). Review of A Christian Approach to Cinema: Tarkovsky. Film as Prayer. CINEJ Cinema Journal, 9(1), 526-530.

Cobb, S., Newsinger, J., & Nwonka, C. J. (2020). Introduction: Diversity in British Film and Television: Policy, Industry and Representation. Journal of British Cinema and Television, 17(1), 1-5.

Davis, C. H., Shtern, J., Coutanche, M., & Godo, E. (2018). Screenwriters in Toronto: Centre, Periphery, and Exclusionary Networks in Canadian Screen Storytelling. In J. Grant (Ed.) Seeking Talent for Creative Cities (pp. 77-98). University of Toronto Press.

Eikhof, D. R. (2020). COVID-19, inclusion and workforce diversity in the cultural economy: what now, what next?. Cultural Trends, 29(3), 234-250.

Farahbakhsh, A. and R. Ebrahimi (2021).The social implications of metaphor in bong joon-ho’s parasite. CINEJ Cinema Journal, 9(1), 87-116.

Gökçem Akyıldız, S. (2021). disgraced of the west, deserted of the east: men in the films shame and issız adam. CINEJ Cinema Journal, 9(1), 424-455.

Grugulis, I., & Stoyanova, D. (2012). Social capital and networks in film and TV: Jobs for the boys?. Organization studies, 33(10), 1311-1331.

Gwynne, J.L. (2021). “not conducive for sobriety”: sex addiction and neoliberal masculinity in don jon and thanks for sharing. CINEJ Cinema Journal, 9(1), 181-199.

Hennekam, S., & Syed, J. (2018). Institutional racism in the film industry: a multilevel perspective. Equality, Diversity and Inclusion. 37(6): 551-565.

Hovind, J. (2021). About Miracles”: Seeing the “real thing” in Hong Sang-soo’s Woman on the Beach and Éric Rohmer’s Le Rayon vert. CINEJ Cinema Journal, 9(1), 246-291.

Jones, D., & Pringle, J. K. (2015). Unmanageable inequalities: sexism in the film industry. The Sociological Review, 63, 37-49.

Lourenço, J. (2021). O Ano em que o Cinema que conhecíamos parou: um retrato em três actos. Observatorio (OBS*) Journal, (2021, Special issue), 045-055.

http://obs.obercom.pt/index.php/obs/article/view/1904/pdf

Machlev, M. (2021). I’ll be back? the deconstruction of the 1980’s and 1990’s hard body movies. CINEJ Cinema Journal, 9(1), 456-491.

Malekpour, M. and S. Motamedi. (2021). The Liminal and the Surreal: The Space of Limbo and Dreams in Luis Bunuel’s The Discreet Charm of the Bourgeoisie. CINEJ Cinema Journal, 9(1), 320-345.

Meadows, M. (1994). Re‐claiming a cultural identity: Indigenous media production in Australia and Canada. Continuum, 8(2), 270-292.

McGuire, J.T. (2021). Formation of the ambiguous heroic archetype: three jewish-american film actors and the united states’ film system, 1929-1948. CINEJ Cinema Journal, 9(1), 200-245.

Molina Barea, M. d. C. (2021). Cinema: not frames but veils. CINEJ Cinema Journal, 9(1), 146-180.

Nwonka, C. J., & Malik, S. (2018). Cultural discourses and practices of institutionalised diversity in the UK film sector:‘Just get something black made’. The Sociological Review, 66(6), 1111-1127.

Omoera, O. S. and C. C. Okwuowulu (2021). Female representation in select films of frank rajah arase: evidence of male chauvinist tendencies in the ghanaian film culture. CINEJ Cinema Journal, 9(1), 14-41.

Osakpolar, E. (2021). Portrayal of women in contemporary nollywood films: isoken and king of boys in focus. CINEJ Cinema Journal, 9(1), 117-145.

Poloni, M. (2021). Review of towards a political aesthetics of cinema. the outside of film. CINEJ Cinema Journal, 9(1), 531-537.

Pulver, A. (2021, June 18). Golden Globes: two members resign from ‘toxic’ Hollywood Foreign Press Association. The Guardian. https://www.theguardian.com/film/2021/jun/18/golden-globes-two-members-resign-from-toxic-hollywood-foreign-press-association

Redden, E. (2020, June 15). A Long Time Coming. Inside Higher Ed. https://www.insidehighered.com/news/2020/06/15/ontario-design-college-embarks-black-faculty-hiring-initiative

Sweeney, M. (2021, July 10). Lights, camera, studio space? Lack of production capacity hits UK film industry. The Guardian. https://www.theguardian.com/film/2021/jul/10/lights-camera-studio-space-lack-of-production-capacity-hits-uk-film-industry

Torkamaneh, P., F. Poordakan, and P.Lalbakhsh (2021). Baudrillard, Hyperreality, and the Evil in Othello and The Hateful Eight. CINEJ Cinema Journal, 9(1), 346-370.

Ulusoy, N. (2021). Review of Shoe Reels: The History and Philosophy of Footwear in Film. CINEJ Cinema Journal, 9(1), 538-547.

Upadhyay, P. (2021) Waking (Dreaming): A Vedantic Reflection on Richard Linklater’s film, Waking Life. CINEJ Cinema Journal, 9(1), 292-319.

Vaso, J. (2021). The millennial antinostalgic: yoav in nadav lapid’s synonymes. CINEJ Cinema Journal, 9(1), 42-86.

Wilmink, M. (2021). Review of Theorizing Film Through Contemporary Art: Expanding Cinema. CINEJ Cinema Journal, 9(1), 548-556.

Wischert-Zielke, M. (2021). The Impulse-Image of Vampiric Capital and the Politics of Vision and Disability - Evil and Horror in Don’t Breathe. CINEJ Cinema Journal, 9(1), 456-491.

Downloads

Published

2021-07-14

How to Cite

Akser, M. (2021). Diversity and Inclusion in Film, Television and Media Sector: Policy Alternatives for an Inclusive Film Industry and Training. CINEJ Cinema Journal, 9(1), 1–13. https://doi.org/10.5195/cinej.2021.414

Issue

Vol. 9 No. 1 (2021): Spring 2021

Section

Articles

License

Authors who publish with this journal agree to the following terms:

  1. The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
  2. Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
  3. The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 International License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
    1. Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;
    with the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
  4. The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
  5. Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.
  6. Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.
  7. The Author represents and warrants that:
    1. the Work is the Author’s original work;
    2. the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
    3. the Work is not pending review or under consideration by another publisher;
    4. the Work has not previously been published;
    5. the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
    6. the Work contains no libel, invasion of privacy, or other unlawful matter.
  8. The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.

Revised 7/16/2018. Revision Description: Removed outdated link.