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I am writing on behalf of five Actress-Filmmakers who are making a short film as part of completion from our Master's Degree from The Royal Central School of Speech and Drama. Unlike some of our peers, none of us have any connections in this field and wondered whether you had any advice as regards funding?

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I am writing on behalf of five Actress-Filmmakers who are making a short film as part of completion from our Master's Degree from The Royal Central School of Speech and Drama. Unlike some of our peers, none of us have any connections in this field and wondered whether you had any advice as regards funding?

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Higher Education Intimacy Coordination & Direction Guidelines

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Higher Education Intimacy Coordination & Direction Guidelines

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New Equity and BECTU guidance for coordinating and directing intimacy in higher education.
https://www.equity.org.uk/advice-and-support/know-your-rights/higher-education-intimacy-coordination-direction-guidelines

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Student Mental Health Study 2023 makes uncomfortable reading, revealing a student and early career cohort facing severe difficulties.

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An independent digital magazine featuring an expansive galaxy of topics that women working in the Film and TV industry care about. https://www.cinegirl.net/

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Cinegirl is an independent digital magazine featuring an expansive galaxy of topics that women working in the Film and TV industry care about. It's a place where Art, Lifestyle, Technology and Fashion are discussed with a squeeze of humour and open-mindedness. We strive to celebrate the work of all

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Diversity in post-production sound roles in UK television production by Emma Butt

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Diversity in post-production sound roles in UK television production by Emma Butt

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Channel 4

https://assets-corporate.channel4.com › 2023-02

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EP#20: Tackling Diversity in Post Production Sound: In conversation with Emma Butt

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Access All Areas: The Diversity Manifesto for TV and Beyond

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Access All Areas: The Diversity Manifesto for TV and Beyond

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https://www.amazon.co.uk/Access-All-Areas-Diversity-Manifesto/dp/0571365124

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Select Your Cookie Preferences

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Access All Areas: The Diversity Manifesto for TV and Beyond

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Buy Access All Areas: The Diversity Manifesto for TV and Beyond Main by Henry, Lenny, Ryder, Marcus (ISBN: 9780571365128) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.

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The WFTV Fearless Leadership Programme, led by Tracy Forsyth, is now open for applications from women who are currently leading teams in the film and television industry.

The purpose of the programme is to empower women to thrive in senior leadership positions by providing training and coaching in leadership skills, tools and techniques and mindset. The programme will cover topics such as persuading and influencing, landing key messages, motivating and empowering teams and setting work culture as well as profile-raising and thought leadership.

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2023 WFTV Fearless Leadership Programme | WFTV UK

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The Women in Film and Television Elouise Carden Rising Star Award in Post Production. The Awards is in partnership with Radiant Post Production and Rapid Pictures.

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The Hollywood Diversity Report 2023, Part 1: Film is now available.

Streaming Films More Inclusive of Female and POC Directors Than Theatrical. Read the full Study

The Hollywood Diversity Report 2022, Part 2: Television (released October 2022) is also available on the website

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Download the full report HERE

For any media inquiries, please contact Eddie North-Hanger at enhager@stratcomm.ucla.edu

For donor/sponsor inquiries, please contact Peter Evans at pevans@support.ucla.edu

To download any of the previous reports in the Hollywood Diversity Report series, click HERE.

To learn more about the new UCLA Entertainment and Media Research Initiative, click HERE.
The Hollywood Diversity Report 2022, Part 2: Television (released October 2022) is also available. Download the full report HERE

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Hollywood Diversity Report 2023 | Social Sciences

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Download the full report HERE For any media inquiries, please contact Eddie North-Hanger at enhager@stratcomm.ucla.edu For donor/sponsor inquiries, please contact Peter Evans at pevans@support.ucla.edu To download any of the previous reports in the Hollywood Diversity Report series, click HERE. To learn more about the new UCLA Entertainment and Media Research Initiative, click HERE.

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SOCIAL MEDIA HASHTAGS IN 2023 for Diversity

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SOCIAL MEDIA HASHTAGS IN 2023 for Diversity

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Most popular hashtags relating to #diversity in 2023

#diversity- 100.00%

#inclusion- 14.70%

#love- 7.98%

#equality- 4.84%

#blacklivesmatter- 2.34%

#diversitymatters- 0.49%

#blm- 1.08%

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Film and TV Charity Mental Wellbeing Report

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Film and TV Charity Mental Wellbeing Report

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providing an industry-wide review of the state of mental health and wellbeing of the industry.
https://filmtvcharity.org.uk/?utm_term=film%20and%20tv%20charity&utm_campaign=Brand&utm_source=adwords&utm_medium=ppc&hsa_acc=5936857727&hsa_cam=19196371583&hsa_grp=145719648153&hsa_ad=640313896471&hsa_src=g&hsa_tgt=kwd-1465721024119&hsa_kw=film%20and%20tv%20charity&hsa_mt=e&hsa_net=adwords&hsa_ver=3&gclid=CjwKCAjw_YShBhAiEiwAMomsELkbAbT-Pl4XAYkt70yQHNs2CjsAt7FI_SflBLmoqUqw6FBLmBpRXhoCMZMQAvD_BwE

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The Film and TV Charity is here to support you. Whether you're in pre- or post-production, distribution, or cinema, we're here to help you.

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Representology, the Journal of Diversity and Media

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Representology, the Journal of Diversity and Media

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Issue 4

chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://bcuassets.blob.core.windows.net/docs/representologyissue04winter2022-133173960803351811.pdf

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Full programme announced for 37th BFI Flare: London LGBTQIA+ Film Festival 2023

The programme includes a BFI Flare first: a selection of immersive art and virtual reality works from boundary-pushing LGBTQIA+ artists.

https://www.bfi.org.uk/news/full-programme-37th-bfi-flare-london-lgbtqia-film-festival-2023

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Full programme announced for 37th BFI Flare: London LGBTQIA+ Film Festival 2023

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The programme includes a BFI Flare first: a selection of immersive art and virtual reality works from boundary-pushing LGBTQIA+ artists.

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Wednesday, 26 April, 2023

6.30pm for a 7pm start

Location

Cavendish Conference Centre
London
W1G 9DTUnited Kingdom

https://rts.org.uk/event/legacy-black-square

After the murder of George Floyd in 2020, many companies worldwide issued statements of solidarity and support and posted black squares on their websites and socials

‘Legacy of the Black Square’ is a live event where we will look at the impact of that tumultuous time; on programming and commissioning, promises made, what has been delivered so far and what may be to come.

Panellists include Joanna Abeyie, Head of Creative Diversity at the BBC and Marcus Ryder, Head of External Consultancies at The Lenny Henry Centre for Media Diversity.

The host is K Biswas; a critic who has written about politics and culture for the New Statesman, New York Times, The Nation, and the Times Literary Supplement and is Editor of Representology, The Journal of Media and Diversity.

Booking Details:

Tickets for RTS members are free but must be booked in advance (please input your membership number when booking). If you do not know your membership number, please email membership@rts.org.uk.

Tickets for non-members are £15.

Tickets are non-refundable.

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After the murder of George Floyd in 2020, many companies worldwide issued statements of solidarity and support and posted black squares on their websites and socials

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Channel 4 and Prime Video lead deep dive into provision for Disabled Talent in TV

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Channel 4 and Prime Video lead deep dive into provision for Disabled Talent in TV

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Survey Link: Deadline 23 November

https://start.yougov.com/refer/vRHsd4Qfv0hnkX

Channel 4 and Prime Video have joined forces to launch the most extensive examination of access and inclusion provision for disabled talent ever undertaken in the British TV industry.

The Industry Access survey will be conducted on behalf of The TV Access Project (TAP), which was launched at the Edinburgh TV Festival to drive improvements in access and inclusion for disabled talent working in TV.

The survey will be carried out by You.Gov and will be sent to all broadcasters and streamers including Channel 4, Prime Video, BBC, Disney, ITV, Netflix, Paramount, and Sky, and is open to every independent production company in the UK. The survey is for organisations to complete, not individuals.

The purpose of this survey is to provide an overview of how the TV industry is currently performing when it comes to access and inclusion for disabled talent behind the camera. The insights provided will be used to shape future support, training, tools, and resources to enable the industry to progress even further in this area.

It is also hoped that completing the 10-minute survey will prompt organisations to think about ways in which they can be as welcoming and inclusive to disabled talent as possible.

The questions will ask what support and facilities organisations have for disabled talent, covering everything from accessible toilets and parking spaces to recruitments processes and disability inclusion policies

Ian Katz, Chief Content Officer at Channel 4, said: "It's vital that we ensure our industry is accessible to everyone. The TV Access Project is focused on achieving real, lasting change so the TV industry is genuinely inclusive. And we can only determine what needs to change by finding out how accessible we as broadcasters and programme makers are now. This survey will highlight the areas where work is needed to help us as an industry implement change and establish best practice. I urge broadcasters, streamers and indies to furnish the TV Access Project with the information it needs to make our industry truly accessible."

Channel 4's Consultant Disability Lead Ally Castle, who is co-ordinating the survey with Prime Video Europe's DEI Head Miranda Wayland, emphasises the survey is essentially a fact-finding mission: "We are not here to criticise or highlight failings, the survey is an opportunity to 'take the temperature' of the industry. We hope that the very process of completing the survey will give companies and their leadership teams ideas for how to improve their provision.

She adds: "The survey will need to be completed in one sitting and answers will be final, so it is recommended that relevant information about physical access, communication methods, inclusive culture and talent management processes are collected from across organisations before beginning the responses."

Chris Bird, MD Prime Video UK said: "The UK production community has a strong history of fighting for inclusivity and being at the forefront of industry change; TAP will continue to drive this through examining, assessing and recommending how we as an industry can push further to ensure all those with disability have an equal opportunity to contribute, nurture, and grow within the UK TV space".

The findings of the Industry Access Survey will be published in due course. The survey can be filled in here https://start.yougov.com/refer/vRHsd4Qfv0hnkX - the deadline is Wednesday 23 November.
Ends
Channel 4 Press Contact: HHamilton@Channel4.co.uk or SMackean@Channel4.co.uk

Prime Video Press Contact: annahath@amazon.co.uk
Notes to Editors
TAP was formed in response to the campaign by Underlying Health Condition (UHC), which was set up by disabled creatives Genevieve Barr, Katie Player and Holly Lubran along with screenwriter Jack Thorne, following his impassioned MacTaggart Lecture at Edinburgh TV Festival in 2021. TAP is supported by TripleC DANC (Disabled Artists Networking Community) and DDPTV (Deaf & Disabled People in TV).

Together all these organisations want to ensure an inclusive television production sector for disabled talent. TAP aims to improve access provision substantively and permanently across the UK TV industry, looking at solutions that are pan-genre, considering both scripted and unscripted.

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Channel 4 and Prime Video lead deep dive into provision for Disabled Talent in TV

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Survey Link: Deadline 23 November https://start.yougov.com/refer/vRHsd4Qfv0hnkX Channel 4 and Prime Video have joined forces to launch the most extensive examination of access and inclusion provision for disabled talent ever undertaken in the British TV industry.

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https://www.bfi.org.uk/submissions-bfi-flare-2023

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Submissions are now open for the 2023 edition of BFI Flare: London LGBTQIA+ Film Festival

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BFI Flare is the UK's largest queer film event, screening the best in contemporary LGBTQIA+ cinema from across the globe, in addition to a rich selection of events and archive titles.

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https://www.youtube.com/watch?v=god5jtNICYs

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Female Editors – A New Frontier: A Trailblazing Women On and Off Screen Event

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Equity, Diversity, and Inclusion in Teaching Media is a faculty-driven initiative dedicated to researching, developing, and educating about best practices in inclusive teaching in college-level media production.

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Anti-Racism Hub | WFTV Women in Film & TV UK

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WFTV Women in Film & TV UK's Anti-racism Hub

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https://www.bcu.ac.uk/media/research/sir-lenny-henry-centre-for-media-diversity/representology-journal

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A starting point for effective representation are the "protected characteristics" defined by the Equality Act 2010 including, but not limited to, race, gender, sexuality, and disability, as well as their intersections. We recognise that definitions of diversity and representation are dynamic and constantly evolving and our content will aim to reflect this.

Representology is a forum where academic researchers and media industry professionals can come together to pool expertise and experience. We seek to create a better understanding of the current barriers to media participation as well as examine and promote the most effective ways to overcome such barriers. We hope the journal will influence policy and practice in the media industry through a rigorous, evidence-based approach.

Our belief is that a more representative media workforce will enrich and improve media output, enabling media organisations to better serve their audiences, and encourage a more pluralistic and inclusive public discourse. This is vital for a healthy society and well-functioning democracy. We look forward to working with everyone who shares this vision.

A collaboration by:

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A starting point for effective representation are the "protected characteristics" defined by the Equality Act 2010 including, but not limited to, race, gender, sexuality, and disability, as well as their intersections. We recognise that definitions of diversity and representation are dynamic and constantly evolving and our content will aim to reflect this.

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Dr Clive Nwonka – the Question of Race and Casting in the UK Film Industry

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Dr Clive Nwonka – the Question of Race and Casting in the UK Film Industry

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The question of diversity and inclusion within the UK film sector over the last 20 years has survived as a constantly evolving and shifting concept framed around a number of motivations, diagnoses and agendas, including the economic case for diversity, unconscious bias and more recently, the questions of 'colour-blind' film casting within a policy discourse that has been accompanied by the availability of workforce data on the gendered and racial composition of UK film industry.

Drawing on recent data-led research focusing on the on-screen representation of Black and ethnic minority identities and the prolonged crisis of racial inequality within British cinema, this seminar will consider the number of ways through which the presence of social, cultural and industrial factors nuance hegemonic ideas of racial diversity as a universal principle, how film genre must be understood as a key variable of diversity policy approaches and ambitions within the UK film industry and beyond, and that its interactions with questions of regional settings, locations and budgets produce particular implications on the casting logics that determine the presence of racial difference on-screen. Using several case studies, Nwonka will describe how a much broader interpretive use of aggregated racial and ethnic inclusion data allows us to explore the textual dimensions of race and representation.

Dr Clive Nwonka is a Lecturer in Film, Culture and Society at UCL's Institute of Advanced Studies. Nwonka's research centres on the study of Black British and African American film, with a particular focus on the images of Black urbanity and the modes through which Black identities are shaped by the hegemony of neoliberalism within forms of popular culture. In addition, he has published extensively on racial inequality in the creative industries and 'diversity' policy frameworks that are equally born from broader political discourses on race, racism and cultural difference. Nwonka is the co-editor of the book Black Film/British Cinema II and is the author of the forthcoming book Black Boys: The Aesthetics of British Urban Film. Nwonka is the Principal Investigator on the Arts and Humanities Research Council funded project The Colour of Diversity: A Longitudinal Analysis of the BFI Diversity Standards Data and Racial Inequality in the UK Film Industry (2021-2024), a major study of the continued crisis of race and racism in the UK film sector and the efficacy of cultural diversity policy.

This event is online and free but booking is required.

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Dr Clive Nwonka - the Question of Race and Casting in the UK Film Industry

# data[].attributes.attachment_link.description
The question of diversity and inclusion within the UK film sector over the last 20 years has survived as a constantly evolving and shifting concept framed around a number of motivations, diagnoses and agendas, including the economic case for diversity, unconscious bias and more recently, the questions of 'colour-blind' film casting within a policy discourse that has been accompanied by the availability of workforce data on the gendered and racial composition of UK film industry.

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Bectu’s campaign to end racism and underreporting in the film & TV industry

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Equality and diversity are union issues. At Bectu we are committed to tackling racism and discrimination in the workplace and wider society.

We are delivering allyship training to Bectu reps and branches to help members better support and advocate for colleagues from minority backgrounds. Get in touch with your Bectu organiser if you are interested in taking part.

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Equality and diversity are union issues. At Bectu we are committed to tackling racism and discrimination in the workplace and wider society. We are delivering allyship training to Bectu reps and branches to help members better support and advocate for colleagues from minority backgrounds.

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Racism and underreporting still prevalent in UK broadcasting industry: Bectu survey

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Racism and underreporting still prevalent in UK broadcasting industry: Bectu survey

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https://bectu.org.uk/news/racism-and-underreporting-still-prevalent-in-uk-broadcasting-industry-bectu-survey

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Bectu has released the findings of its recent 'Race to be heard' survey.

The survey, which asked a series of questions about whether respondents had experienced or witnessed racism, experiences reporting racism to either a broadcaster or a trade union, and whether complaints were dealt with effectively, garnered hundreds of responses from UK film and TV workers.

The survey responses indicate that current racism reporting mechanisms are, for the people surveyed, largely ineffective, and revealed an overwhelming lack of confidence with the way in which broadcasters and trade unions handle reports of racism. Many respondents expressed that their complaints were either not taken seriously or completely ignored.

The findings also demonstrate how racism is embedded into some workplace cultures and hierarchal systems, as well as its negative impact on people's careers and progression.
Key findings:

61% of global majority* respondents reported experiencing racism at work

59% of global majority respondents reported witnessing racism at work

Just 12% of those who reported racism to a trade union felt their complaint had been dealt with effectively

Just 4% of those who reported racism to a broadcaster felt their complaint had been dealt with effectively

The survey follows publication of Bectu's 'Race to be heard' report in late 2020, researched and written by producer and academic Marcus Ryder. The report pointed to racism within the UK broadcasting industry as a widespread and common experience and recommended the establishment of an industry-wide racism reporting body. This body would initiate investigations into systematic racism, offer advice and assistance on resources available to pursue a complaint, collect and record racial incidents, and publish an annual report on racism in the industry to measure progress and overcome obstacles.

Since Bectu first called on entertainment unions, industry stakeholders and broadcasters to establish an independent racism reporting body in the broadcasting industry, little progress has been made. The recent survey findings indicate that workplace racism and underreporting remain persistent problems, and that mechanisms for dealing with complaints continue to be ineffective.

Bectu has penned an open letter to Ofcom, seeking support in securing a commitment from UK broadcasters to create an independent racism reporting body. Signatories include:

Marcus Ryder MBE

Sir Lenny Henry CBE

Reporter Jasmine Dotiwala

Broadcaster Samira Ahmed

John Nicolson MP, SNP Shadow Secretary of State for Digital, Culture, Media and Sport, member of the Digital, Culture, Media and Sport Committee

Chair of Campaign for Broadcasting Equality Simon Albury MBE

Kim Johnson MP

CEO of the Film and TV Charity Alex Pumfrey

Jake Wiafe from award-winning YouTube documentary channel Real Stories

President of the Ethical Journalism Network Aidan White

Bectu invites creatives, those working in film and TV and industry leaders to show their support and sign the open letter to help put pressure on industry bodies to properly monitor and act on racism in the broadcasting industry.

Read the second edition of the Race to be heard report here.

Read the summary of findings from the recent survey here.

To find out more about the proposed independent racism reporting body, read more here.

Head of Bectu Philippa Childs said: "Our findings confirm that reporting of racism in the broadcasting sector, and the handling of reports, remains inadequate and it's clear that reform is desperately needed. Our survey particularly demonstrates that more work is needed to educate people about subtle forms of racism, including micro aggressions, that remain rife in the sector.

"This latest survey indicates that little has changed since we last called for an independent racism reporting body and highlights the pressing need for such a body. Everyone, unions included, need to do better in helping to stamp out racism in the industry and this can only be done through collaboration and partnership between UK broadcasters and entertainment unions.

"It is now the job of industry leaders to listen to our demands and formulate a racism reporting body. It is not too late to tackle racism in broadcasting, and we will maintain pressure until we see real progress."

Marcus Ryder MBE, Lenny Henry Centre for Media Diversity, said: "All the evidence suggests that there is serious underreporting of racism in British broadcasting. If we want to maintain and grow a world class film television industry, we must create an environment in which everyone can thrive. An independent racism reporting body would be an important step in achieving that."

*We use the term 'Global Majority' to refer to people who are Black, Asian, Brown, dual-heritage, indigenous to the global south, and or have been racialised as 'ethnic minorities'. This is a collective term that first and foremost speaks to and encourages those so-called to think of themselves as belonging to the global majority. In using this term we recognise that these ethnicities are often defined in the UK as 'minority', but that globally, they make up the majority.

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Racism and underreporting still prevalent in UK broadcasting industry: Bectu survey

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Bectu has released the findings of its recent 'Race to be heard' survey. The survey, which asked a series of questions about whether respondents had experienced or witnessed racism, experiences reporting racism to either a broadcaster or a trade union, and whether complaints were dealt with effectively, garnered hundreds of responses from UK film and TV workers.

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Highlighting the role of women in the UK film industry

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"The film world is not the meritocracy it professes to be, and it is time to hugely expand and diversify the pool of people who get to make films," she explains.

Communicating the research to the wider community - through impact events that aim to open up public discussion - is an important part of this project. Shelley and Natalie, along with Co-Investigator Professor Linda Ruth Williams from the University of Exeter, have spoken at the Institute of Contemporary Arts, the British Film Institute (BFI), on BBC Radio 4 Woman's Hour and at various UK universities. In May 2018 they presented their latest data at the 71st Cannes Film Festival as well as organising the Women's Film and Television History Network fourth biennial conference, which they hosted in Southampton.

Since the team shared their findings, the BFI has committed to 50:50 gender targets for all the films they fund. Shelley hopes the impacts of this research will be even more widespread: "Sharing our data, which is also supported by other findings from organisations such as Directors UK, means that institutions are at least having to respond. So my hope is that in the near future we will start to see a long-overdue shift towards better gender equality in our film industry."

'Calling the Shots: Women and Contemporary Film Culture in the UK' is funded by the Arts and Humanities Research Council. Project partners include the British Film Institute; the media and entertainment union, BECTU; Women in Film and Television UK; and the Shetland Film Festival.
Key facts

Fourteen per cent of directors and seven per cent of cinematographers were women across 3,452 UK films in production between 2003 and 2015. Just one per cent of all directors and 0.3 per cent of cinematographers were women of colour.1

Overall inclusion of women in UK films is worse than in the top 250 films released in the USA. ¹

Women make up 24 per cent of directors on co-productions with other countries, but just 11 per cent on domestic UK films. ¹

A quarter of the 203 British films in production in 2015 had no women in any of the six key production roles (director, writer, producer, executive producer, cinematographer, and editor). ¹

More than half of British films in production in 2015 have just one or no women in any of the key roles, compared to less than a third on the top grossing films in the US.²

¹ Findings from Calling the Shots: Women and Contemporary Film Culture in the UK

² Annual Celluloid Ceiling report from San Diego State University
Find out more information Calling the Shots: Women and Contemporary UK Film Culture website
Follow us on Twitter: @WomenCallShots
Dr Natalie Wreyford's profile page
You may be interested in:

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Highlighting The Role Of Women In The UK Film Industry | University of Southampton

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"The film world is not the meritocracy it professes to be, and it is time to hugely expand and diversify the pool of people who get to make films," she explains. Communicating the research to the wider community - through impact events that aim to open up public discussion - is an important part of this project.

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While the spotlight tends to fall on the leading actors in a film, most films will contain many more actors who appear as unnamed characters. In a film's credits these unnamed characters are typically described by their occupation, such as 'nurse' or 'driver', or by their relation to a main character, such as 'aunt' or 'neighbour'.

The chart below shows the most common unnamed characters, and how often these roles have been played by women. Gender specific character names, such as uncle and headmistress, have been removed. Named (or main) characters are also excluded.

The unnamed characters that were most likely to have been played by female, rather than male, actors are prostitute, housekeeper, nurse, secretary and receptionist. That result continues to hold if we only consider films released from 1985 onwards. Other characters which are more likely to have been portrayed by women include dancer, neighbour, singer and shop assistant. At the other extreme, the group of roles that have been played almost exclusively by male actors include several positions in the police and armed forces. This group also includes drunk, prisoner and occupations such as security guard and driver.

Many of these results are not particularly surprising. Of greater interest are those high-skilled occupations such as doctors, solicitors and managers that fall between these two extremes. In UK films these occupations have mostly been portrayed by male actors. There have been some small changes over time. For example, up to 1985 only 3% of doctors were played by women, but that has risen to 15% for films released from 1985 onwards (or 16% from 2005 onwards). For comparison women currently make up 52.2% of doctors on the UK's General Practitioners Register (July 2017). It is important to remember that many films depict historic events and so the gender mix of their characters could reflect past imbalances in the workforce. Even for films set in the present day the gender mix may reflect imbalances that still persist in certain occupations. Despite these limitations the results still shine a light on how UK films have portrayed these occupations over the last 100 years.

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While the spotlight tends to fall on the leading actors in a film, most films will contain many more actors who appear as unnamed characters. In a film's credits these unnamed characters are typically described by their occupation, such as 'nurse' or 'driver', or by their relation to a main character, such as 'aunt' or 'neighbour'.

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The gender gap issue in the UK film industry

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The gender gap issue in the UK film industry

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The gender gap issue in the UK film industry

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An investigation into how stereotypes forced on women in film continue to perpetrate gender inequality in the UK film industry.

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Screen Ireland Gender and Diversity Statistics

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Screen Ireland Gender and Diversity Statistics

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In 2015 Screen Ireland announced our Six Point Plan to encourage more women to apply for funding. We also incentivised producers to work with female writers and directors by announcing enhanced funding measures for female talent and introduced a female driven development/production scheme called POV.

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LGBT+ films available to watch on the IFI Archive Player

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F-Rated: Short Films by Irish Women - IFI Archive Player

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F-Rated: Short Films by Irish Women presents a varied series of stories told through the prism of the female gaze. The films are drawn from collections preserved in the IFI Irish Film Archive.

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Women in Film and Television Ireland is a voluntary body run by film and TV professionals of international standing, representing the creative, business and technical divisions of the Irish audiovisual sector. We promote greater representation of women on screen and behind the camera. Our aim is to ensure that the Irish film and television industry functions as a meritocratic, sustainable and successful force into the future.

Why Do We Need WFT?
As a creative industry, leadership appointments in film and television are - through necessity - made using subjective judgments of creative ability, leadership quality and natural authority. But the international media industry has become increasingly atomized and decentralized over the past twenty years. With little industrial regulation or governance in place, these personal judgments are at increasing risk of unconscious bias.

As a consequence, we find fewer women are working as film and television directors and screenwriters today than there were two decades ago. Our closest neighbours in Directors UK report that only 8% of all working drama directors are female. This represents a significant year on year decline. In the US, of the top 250 grossing American feature films, only 7% were directed by women, marking a drop of two percentage points in twenty years. We are at an all time low. Without active engagement with this problem, traditional gender misconceptions and unconscious bias will increasingly hamper our industry.

Film and television play a profound and formative role in the cultural and economic life of our citizens, our communities and our country. Yet there are scant figures available to quantify women's participation in the Irish film and television industry. What we do know is that in the twenty year period, 1993-2013, only 13% of Irish-produced screenplays were penned by female writers (Liddy, 2015). Comparable figures across Europe suggest that the percentage of women in directing remains in single figures.

There is a growing body of evidence across the business sector demonstrating that gender parity in creative and business leadership is directly correlated with economic success. If the Irish audiovisual sector is successfully to compete in the newly globalized marketplace, we must address the gender disparity in our industry. The aim of Women in Film and Television Ireland is to achieve gender parity in the Irish film and television industry, thereby strengthening our creative and business landscape and creating the conditions by which Ireland can succeed in the international film and media market.
Our Strategy
Women in Film and Television seeks to achieve gender balance in our industry by:

Ensuring unconscious bias is eliminated in hiring practice

Working towards equal employment opportunities for women

Researching and maintaining quantitative data on women working in the audiovisual sector

Providing a forum and networking opportunities for female industry professionals

Supporting women's continued professional development

Spotlighting media women's professional achievements

Supporting diverse and positive representations of women in industry

Supporting female professionals working in the audiovisual sector

Action Plan
Women in Film and Television is a voluntary organization. Our intention is to ensure that the film and television industry functions as a meritocratic, sustainable and successful force into the future.

In order to achieve our aims, we offer a solutions-led approach and will undertake the following:

commission a detailed statistical analysis of the Irish film and television industry

offer support to companies, public bodies and institutions currently lacking female participation in leadership

administer a professional membership register

host masterclass events

host networking events

Non-members' mailing list
If you are not a professional, or just want to keep in touch, you're very welcome to sign up to our general (non-member) mailing list here:

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Women in Film and Television Ireland is a voluntary body run by film and TV professionals of international standing, representing the creative, business and technical divisions of the Irish audiovisual sector. We promote greater representation of women on screen and behind the camera.

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On Audio Description. Elaine Lillian Joseph and Sarah Hayden in Conversation

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On Audio Description. Elaine Lillian Joseph and Sarah Hayden in Conversation

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On Audio Description. Elaine Lillian Joseph and Sarah Hayden

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Sarah Hayden and Elaine Lillian Joseph discuss questions about audio descriptions and Elaine's practice as audio describer.

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Slow emergency siren, ongoing -Accessing Handsworth Songs

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Slow emergency siren, ongoing -Accessing Handsworth Songs

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Accessing Handsworth Songs

About this Project

235 words

This website (also available as a book) documents a project to make Black Audio Film Collective's 'Handsworth Songs' more, and differently, accessible. It developed as a year-long collaboration, co-led by LUX and Sarah Hayden, as part of a research project called Voices in the Gallery. Together, we commissioned Elaine Lillian Joseph to write and perform augmented audio description for the film, and invited the Care-fuffle Working Group to develop creative captions. Audio-description and caption-users advised on the translations of sounds and images as they evolved.

The book and website make the captions and audio description available as texts that can be read or heard. We hope that they will permit a new kind of engagement with these creative forms of cross-modal translation.

The site can be navigated by screenreader, keyboard or mouse and has custom accessibility functions accessed via the settings icon or by pressing ctrl + y.

Graphic design is by Daly & Lyon, and web development is by An Endless Supply. Both formats have been designed with access to the fore, and both print and digital forms of this publication developed through consultation with UKAAF: the UK Association for Accessible Formats. We are keen to receive feedback on all aspects of the design via our contact form at:
voicesinthegallery.com/contact

An audio-documentary about the process is being made by Hannah Kemp-Welch. This will be available (with text transcript) via the LUX website in late 2022.

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235 words This website (also available as a book) documents a project to make Black Audio Film Collective's 'Handsworth Songs' more, and differently, accessible. It developed as a year-long collaboration, co-led by LUX and Sarah Hayden, as part of a research project called Voices in the Gallery.

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Collective Wisdom is a first-of-its-kind field study of the media industry, that maps works that live outside the limits of singular authorship

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Collective Wisdom is a first-of-its-kind field study of the media industry, that maps works that live outside the limits of singular authorship

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Why co-create and why now? Collective Wisdom is a first-of-its-kind field study of the media industry, that maps works that live outside the limits of singular authorship. While the concept of co-creation is entering the zeitgeist, it is an ancient and under-reported dynamic. Media co-creation has particular relevance in the face of today's myriad of challenges, such as the climate crisis and threats to democracy. But it is not without risks and complications. In this study we look at how people co-create within communities; across disciplines; and increasingly, with living systems and artificial intelligence (AI). We also synthesize the risks, as well as the practical lessons from the field on how to co-create with an ethos grounded in principles of equity and justice. This qualitative study reframes how culture is produced, and is a first step in articulating contemporary co-creative practices and ethics. In doing so, it connects unusual dots.
By Katerina Cizek and William Uricchio, with co-authors Juanita Anderson, Maria Aqui Carter, Detroit Narrative Agency, Thomas Allen Harris, Maori Holmes, Richard Lachman, Louis Massiah, Cara Mertes, Sara Rafsky, Michèle Stephenson, Amelia Winger-Bearskin, and Sarah Wolozin.
DOI: 10.21428/ba67f642.f7c1b7e5

Welcome to this living, online version of Collective Wisdom, open for community review and discussion. We thank you for your generosity and time. Please do respect the code of conduct for commenting, and reach out to us privately if you'd prefer. Please also see our on-going series about Collective Wisdom at , where we will publish bonus content and original responses throughout 2019.

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Why co-create and why now? Collective Wisdom is a first-of-its-kind field study of the media industry, that maps works that live outside the limits of singular authorship. While the concept of co-creation is entering the zeitgeist, it is an ancient and under-reported dynamic.

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Last week, a row erupted over a film review in Variety of Carey Mulligan's new movie Promising Young Woman. In an interview for The New York Times, Mulligan discussed her frustration of reading character descriptions along the lines of "Beautiful but doesn't know it", and with the way movies present women as sexual objects for [...]

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A Toolkit for Inclusion & Accessibility: Changing the Narrative of Disability in Documentary Film 

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A Toolkit for Inclusion & Accessibility: Changing the Narrative of Disability in Documentary Film 

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FWD-Doc in association with Doc Society supported by Netflix presents:
A Toolkit for Inclusion & Accessibility: Changing the Narrative of Disability in Documentary Film
We find ourselves in an unprecedented moment of creative and financial opportunity for the documentary film industry, if we engage with authentic disabled storytelling and talent, make our media genuinely accessible, and better understand and cater to the world's 1 billion D/deaf and disabled people - currently a seriously underserved audience for film.

This Toolkit for Inclusion & Accessibility has been created by FWD-Doc in association with Doc Society and supported by Netflix, featuring a case study about Crip Camp (2020) and with a view to best practice, not just compliance.

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FWD-Doc documentary disability toolkit - FWD-DOC: Documentary Filmmakers With Disabilities

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FWD-Doc in association with Doc Society supported by Netflix presents: A Toolkit for Inclusion & Accessibility: Changing the Narrative of Disability in Documentary Film We find ourselves in an unprecedented moment of creative and financial opportunity for the documentary film industry, if we engage with authentic disabled storytelling and talent, make our media genuinely accessible, and better understand and cater to the world's 1 billion D/deaf and disabled people - currently a seriously underserved audience for film.

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"No, Mexico isn't actually that orange. Hollywood is just racist."

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illuminatrix is a collective of female cinematographers based in the UK and working internationally. Each of us has over five years of professional industry experience working as a Director of Photography.

We are an eclectic group of unique talents whose work stretches across narrative, documentary and commercial genres.

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Promoting female Cinematographers in the UK

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IN FOCUS: Cripping Cinema and Media Studies

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IN FOCUS: Cripping Cinema and Media Studies

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SCMS Journal JCMS 58 | No. 4 | Summer 2019

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National film Board of Canada Indigenous Films collection

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National film Board of Canada Indigenous Films collection

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Discover our collection of films by Indigenous filmmakers, from Alanis Obomsawin to Gil Cardinal.

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Useful toolkit for inclusive media futures

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Useful toolkit for inclusive media futures

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Feminist film journal
https://www.anothergaze.com/about/

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A useful list of African and Diaspora Cinema films and where to find them compiled by Culture Art Society (CAS)

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The Digital Lives & Research of Black Women in Britain Reading List

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The Digital Lives & Research of Black Women in Britain Reading List

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(complied by Sobande, Walcott, Bruce)

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About the Panelists: Dr. Francesca Sobande is a lecturer in digital media studies at the School of Journalism, Media and Culture at Cardiff University. She is Course Director of the BA Media, Journalism and Culture programme and is an affiliate of the Data Justice Lab. Francesca's work focuses on digital culture, Black diaspora, feminism, creative work, and the experiences of Black women. She is author of The Digital Lives of Black Women in Britain (Palgrave Macmillan, 2020) and is co-editor with Professor Akwugo Emejulu of To Exist is To Resist: Black Feminism(Pluto Press, 2019). Francesca tweets at @chess_ess and more about her work can be found at francescasobande.com.

Rianna Walcott (she/her) is an LAHP-funded PhD candidate at Kings College London researching Black women's identity formation in digital spaces, and a graduate twiceover from the University of Edinburgh. She co-founded projectmyopia.com, a website that promotes inclusivity in academia and a decolonised curriculum. She frequently writes about feminism, mental health, race and literature for publications including gal-dem, The Skinny, The Wellcome Collection, The Metro, The Guardian, The BBC, Vice, and Dazed. Rianna is co-editor of an anthology about BAME mental health-- The Colour of Madness--and in the time left over she moonlights as a professional jazz singer. Rianna tweets at @rianna_walcott and more about her work can be found at riannawalcott.com .

Keisha Bruce (she/her) is a Midlands4Cities-funded PhD researcher in Black Studies at the University of Nottingham. Her research interests include Black popular culture, diasporic visual cultures, and digital media representations. Her PhD thesis explores Black women's digital visual cultures on social media with a particular focus on how identity is mediated, and diasporic community is fostered online through processes of visuality and affect. Outside of her thesis she is currently undergoing an archiving project on Black girlhood in Britain. You can find her on Twitter at @keishastweets.

The Digital Lives & Research of Black Women in Britain Reading List
Forthcoming events related to Digital Lives & Research of Black Women in Britain

Groups/Resources List for The Digital Lives & Research of Black Women in Britain
*Some of these groups/resources focus on the digital experiences of Black women in Britain. However, aligned with the broader discussions that we had during the Black Women Radicals session on "The Digital Lives & Research of Black Women in Britain", many of these groups/resources focus on other aspects of the lives and research of Black people in Britain.
Blogs, Digital Platforms, and Websites
Instagram Pages and Creative and Curatorial Projects:

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The Digital Lives & Research of Black Women in Britain: A Reading List - Black Women Radicals

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About the Panelists: Dr. Francesca Sobande is a lecturer in digital media studies at the School of Journalism, Media and Culture at Cardiff University. She is Course Director of the BA Media, Journalism and Culture programme and is an affiliate of the Data Justice Lab.

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A book list to support #BlackLivesMatter #BLM 

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A book list to support #BlackLivesMatter #BLM 

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A list of recommended books in the areas of anti-racism and #BlackLivesMatter. Please feel free to add to this list.

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'Every voice raised against racism chips away at its power. We can't afford to stay silent. This book is an attempt to speak'

*Updated edition featuring a new afterword*
The book that sparked a national conversation. Exploring everything from eradicated black history to the inextricable link between class and race, Why I'm No Longer Talking to White People About Race is the essential handbook for anyone who wants to understand race relations in Britain today.

THE NO.1 SUNDAY TIMES BESTSELLER
WINNER OF THE BRITISH BOOK AWARDS NON-FICTION NARRATIVE BOOK OF THE YEAR 2018
FOYLES NON-FICTION BOOK OF THE YEAR
BLACKWELL'S NON-FICTION BOOK OF THE YEAR
WINNER OF THE JHALAK PRIZE
LONGLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION
LONGLISTED FOR THE ORWELL PRIZE
SHORTLISTED FOR A BOOKS ARE MY BAG READERS AWARD

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Why I'm No Longer Talking to White People About Race

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'Every voice raised against racism chips away at its power. We can't afford to stay silent. This book is an attempt to speak' *Updated edition featuring a new afterword* The book that sparked a national conversation.

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Available in hardback, paperback, eBook (including Kindle) and audiobook
The Sunday Times bestseller that reveals the uncomfortable truth about race and identity in Britain today
Afua Hirsch is British. Her parents are British. She was raised, educated and socialised in Britain. Her partner, daughter, sister and the vast majority of her friends are British. So why is her identity and sense of belonging a subject of debate? The reason is simply because of the colour of her skin.

Blending history, memoir and individual experiences, Afua Hirsch reveals the identity crisis at the heart of Britain today. Far from affecting only minority people, Britain is a nation in denial about its past and its present. We believe we are the nation of abolition, but forget we are the nation of slavery. We sit proudly at the apex of the Commonwealth, but we flinch from the legacy of the Empire. We are convinced that fairness is one of our values, but that immigration is one of our problems.

Brit(ish) is the story of how and why this came to be, and an urgent call for change.

'The book for our divided and dangerous times'
David Olusoga

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Brit(ish): On Race, Identity and Belonging - Afua Hirsch

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Available in hardback, paperback, eBook (including Kindle) and audiobook The Sunday Times bestseller that reveals the uncomfortable truth about race and identity in Britain today Afua Hirsch is British. Her parents are British. She was raised, educated and socialised in Britain. Her partner, daughter, sister and the vast majority of her friends are British.

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Why and how do those from black and minority ethnic communities continue to be marginalised? Despite claims that we now live in a post-racial society, race continues to disadvantage those from black and minority ethnic backgrounds.

Kalwant Bhopal explores how neoliberal policy making has increased rather than decreased discrimination faced by those from non-white backgrounds. She also shows how certain types of whiteness are not privileged; Gypsies and Travellers, for example, remain marginalised and disadvantaged in society.

Drawing on topical debates and supported by empirical data, this important book examines the impact of race on wider issues of inequality and difference in society.

"An excellent investigation into whiteness and white privilege in contemporary society." American Sociological Association

"In this book Bhopal effectively explodes the myth of 'a post-racial society' - that racism is no longer a problem - and robustly establishes the importance and urgency of addressing race and racism." British Journal of Sociology of Education

"... offers a captivating rebuttal to the logics of post-racialism in public discourse that shore up whiteness as a hegemonic force on both sides of the Atlantic... an accessible contemporary primer on whiteness and white privilege that should be read by students and scholars of education, institutional racism and critical race studies." Sociology

"...those from black and minority ethnic backgrounds are consistently disadvantaged... Bhopal connects this inequality to neoliberalism in ways I hadn't considered before." Make Wealth History

"White Privilege brilliantly dismantles the myth of a post-racial society. It is a 'must-read' for all those concerned about inequalities of race in society." Diane Reay, University of Cambridge

"Many of the critical analyses of neoliberalism in education have neglected the ways in which neoliberalism as a theory and as a set of policies and practices is deeply connected to racialisation. In White Privilege, Kalwant Bhopal provides us with a clear and powerful analysis of these connections and of why they are so crucial to understand." Michael W. Apple, John Bascom Professor of Curriculum and Instruction and Educational Policy Studies, University of Wisconsin, Madison

"A lucid straightforward illumination of whiteness and white privilege, as it is currently acted-out in school and society, despite social justice policies. It puts before readers the pervasiveness and meanness of white privilege in education/schooling and society in this neoliberal, non-post-racial era. Timely and deserving of urgent attention." Carl A. Grant, Hoefs Bascom Professor University Wisconsin-Madison and author of Du Bois and Education.

"More than ever, the study of whiteness proves indispensable. Kalwant Bhopal is a voice of reason in a cacophony of fervor. She takes to task the presumptions of post-raciality and defies its pretenders. We will be post-racial in a condition of post-racism. Until then, evidence and ethics are on her side." Zeus Leonardo, University of California, Berkeley, Author of Race Frameworks: A Multidimensional Theory of Racism and Education

"A valuable insight into the complexities and subtleties of modern day racism, the intersection of race and class and the unfinished battle to transcend white hegemony." Peter Tatchell, human rights campaigner

"In this wide-ranging book Bhopal addresses racial inequality in Britain and the United States. She demonstrates how racial inequality is pervasive in British society across sectors, especially education and the labor market, an important perspective for scholars. A great introduction to issues of racial inequality." Natasha Kumar Warikoo, Harvard University, Graduate School of Education.

"Offers a crucial and timely focus on the perpetuation of white privilege in a society that claims to be post-racial, and the continuing disadvantages experienced by black and minority ethnic groups... provides a wealth of data on social, educational and economic inequalities in both the UK and USA where white supremacist hate is increasing. It should be read by policy makers, practitioners and the public to help them realise how white privilege works and disadvantage is perpetuated" Sally Tomlinson, University of Oxford

Kalwant Bhopal is Professor of Education and Social Justice and Director of the Centre for Research on Race and Education at the University of Birmingham. From 2019-20 she was visiting Professor at Harvard University at the Graduate School of Education and is currently visiting Professor at King's College London. Her areas of interest and expertise focus on the educational experiences of black and minority ethnic groups as well as Gypsies and Travellers. Her research specifically explores how processes of racism, exclusion and marginalisation operate in predominantly white spaces with a focus on social justice and inclusion.

Foreword by Yasmin Alibhai-Brown

Introduction: race as disadvantage;

White privilege;

Not white enough;

Intersectionality: gender, race and class;

Race, schooling and exclusion;

Higher education and representation;

Racism and bullying in the UK;

Racial inequalities in the labour market;

Wealth, poverty and inequality;

Conclusions: race, social justice and equality.

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white privilege - the myth of a post-racial society

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White Privilege - The Myth of a Post-Racial Society; Why and how do those from black and minority ethnic communities continue to be marginalised? Bhopal explores how neoliberal policy-making has increased discrimination faced by those from non-white backgrounds. This important book examines the impact of race on wider issues of inequality and difference in society.

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DISFIGUREMENT AND ME: THE WITCHES - As cult classic film The Witches is remade, Jen Campbell asks what it means for those who are vilified because of their disfigurements

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DISFIGUREMENT AND ME: THE WITCHES - As cult classic film The Witches is remade, Jen Campbell asks what it means for those who are vilified because of their disfigurements

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When my first poem was published, the local paper came into my school to take my photograph. 'Don't you think you should be wearing gloves in this picture?' my teacher said. 'I've got some in my bag you could use.' I was a confident child, but moments like that made me freeze. I was born with a condition called EEC Syndrome, which means many different things but the most noticeable being that I have ectrodactyly (missing fingers) and alopecia (hair loss). I spent my childhood in and out of hospital, having various operations, and I lost myself in books. I inhaled Roald Dahl's novels and saw myself reflected in the witches (no toes, claw-like hands, no hair) of his work of the same name. In both the book and the 1990 film, the witches hide their 'claw-like' hands by wearing gloves. They hide their disfigurements away - the things that would tell the world they are bad people. And, as my English teacher dangled those gloves in front of me, I was reminded that many people would prefer it if I hid myself away, too. I refused to wear the gloves, but it hurt all the same.

As well as The Witches, I also grew up with Scar in The Lion King, Captain Hook, every James Bond villain; comic book villains, horror films - again and again seeing disfigurement and disability used as a lazy marker for evil. It's an outdated trope that goes back centuries and ties in with religious messages: if you're good, you can be healed; but if you're bad, you'll be forever disfigured. I remember a woman praying over me one day, saying she would ask Jesus to grow my fingers back, if only I'd behave like a good little girl. For the record: I was a good little girl.

Of course, this has been going on for millennia. Back in the 1500s, a man called Petrus Gonsalvus was put on show in the French courts as an oddity, as he was born with hypertrichosis, which is where hair grows all over your body. He was then sold to Catherine de Medici, who married him off to her friend Lady Catherine as an experiment to see what would happen when 'beauty and beast' came together - one of the main inspirations for the fairy tale Beauty and the Beast. Though of course, in that version Beast becomes a 'beast' because he acts in a way that is deemed heartless, but he's turned back into a 'handsome' prince when he wins the love of Belle. Again this suggests that disfigurements are associated with bad behaviour, and if you change your personality you will somehow change your body.

We've come far since then, of course, but not far enough. Whilst we've mostly dispensed with freak shows and blatant exploitation, let me ask you to think about the romanticisation of PT Barnum in The Greatest Showman. Let me also highlight TV shows such as Too Ugly For Love?, a company that emailed me a few years ago, asking me to be a participant, because of course I must be single if I have a disfigurement. I'm married, but that's beside the point. TV shows like that, who hunt down disabled people online, claiming to have their best interests at heart, are both manipulative and patronising. Which is why it's disheartening that the literary and cinematic trope of 'disfigurement = evil' is still used all the time. Changing Faces launched a campaign a couple of years ago called I Am Not Your Villain urging film companies to think more critically about the messages they send out into the world, and the real-life consequences of their actions. Alas, it keeps happening.

Last week, the new adaptation of The Witches was released, and more disfigurements have been added. This time the witches actually have ectrodactyly - the condition I have- rather than simply 'claw-like' hands. Anne Hathaway and Warner Bros. posted an Instagram video reminding people of the signs of witches, telling children to look out for them in the world because #WitchesAreReal. They wear long gloves, because they're missing fingers; they wear wigs because they have no hair.

I'm not going to lie to you: fighting these stereotypes is emotionally exhausting. I am sad, and I am tired. You may have a knee-jerk reaction of: 'but these are just films!' So, I say to you, calmly: they are not just films. They do not exist in a vacuum. They feed into our society, they fuel people's assumptions, and I've witnessed the results of that all through my life. Disabled people and people with disfigurements everywhere have witnessed this, too. Please listen to us. We can and should do better.

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The Witches Remake and Disfigurement | BURO.

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When my first poem was published, the local paper came into my school to take my photograph. 'Don't you think you should be wearing gloves in this picture?' my teacher said. 'I've got some in my bag you could use.' I was a confident child, but moments like that made me freeze.

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INSTAGRAM ACCOUNT - ONLINE COMMUNITY

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Diversity and Managing in the Arts _ Report 2020 by A Inc Arts 

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Diversity and Managing in the Arts _ Report 2020 by A Inc Arts 

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Hold On. Diversity and Managing in the Ar-0002

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BFI Diversity Standards - Extended Guide

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BFI Diversity Standards - Extended Guide

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BFI Diversity and Inclusion Standards (PDF DOCUMENTS) 

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BFI Diversity and Inclusion Standards (PDF DOCUMENTS) 

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30 Titles That Amplify Black Voices on Screen

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30 Titles That Amplify Black Voices on Screen

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If you want to discover new Black actors, characters, or stories about the Black experience, we’re delighted to introduce somes titles on Topic that you may not have seen before. Spanning all genres, and including both documentary and narrative films, as well as some binge-worthy TV shows, here are 30 titles that amplify Black voices on screen.

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If you want to discover new Black actors, characters, or stories about the Black experience, we're delighted to introduce somes titles on Topic that you may not have seen before. Spanning all genres, and including both documentary and narrative films, as well as some binge-worthy TV shows, here are 30 titles that amplify Black voices on screen.

New Orleans lore collides with dark magic in this horror anthology series. Created by Coodie & Chike and starring Chad Coleman, PJ Morton and Omar Dorsey, these "Twilight Zone"-style tales expose chilling corners of the Big Easy.

It's no secret that Brooklyn has been changing. Now, the rapidly gentrifying borough is getting the vigilante it needs - and deserves. Created by and starring Wyatt Cenac.

If you want to discover new Black actors, characters, or stories about the Black experience, we're delighted to introduce somes titles on Topic that you may not have seen before. Spanning all genres, and including both documentary and narrative films, as well as some binge-worthy TV shows, here are 30 titles that amplify Black voices on screen.

An activist, a filmmaker, a farmer, and a politician fight to bring their town back from the brink.

Starting a business with your best friend in London - what could go wrong? Enterprice follows entrepreneurs Kazim and Jeremiah as they try to get their delivery service, Speedi-Kazz, off the ground. They know hustle, but do they know business?

Celebrated photojournalists explore images of the people and events that helped shape the American experience, and discuss how working with photographs impacts them personally.

Painting a compelling picture of modern-day life, Run is an original drama that weaves together the stories of four seemingly unconnected people facing life-changing decisions in a world where every choice is a luxury.

Like a modern Lethal Weapon set in Dakar, this series puts a fresh spin on the buddy-cop dynamic. Old-school Commander Sakho must partner with brash, young Lieutenant Mangane to solve supernatural murders perpetrated by a mysterious evil force.

In this documentary, director Khalik Allah invites you on a spiritual journey through Jamaica, from red light districts to lush rain-forests; a poetic, elliptical, spiritual love letter to the country and its people; a chronicle of birth and life.
The Drew: No Excuse Just Produce
Featuring basketball stars Kobe Bryant, LeBron James, James Harden and Baron Davis, this film chronicles the nation's foremost Pro-Am basketball league and its impact on South Central Los Angeles.

The story behind Nas's groundbreaking debut album "Illmatic," and a look at the early life of one of the most talented rappers of all time. Featuring Pharrell Williams, Alicia Keys, Q-Tip, and Busta Rhymes.

During an intensive therapy session at a California prison, convicts and civilians come face-to-face with the men they were - and the men they want to become.

Jason Ward has been an avid birdwatcher since he was a kid growing up in the Bronx. In Topic's new series, the avian advocate and father of two travels around the Northeast, delighting audiences with his contagious curiosity about the natural world.

The discovery of a mutilated body, rumored to be the result of witchcraft, sparks violence in London's Ugandan exile community. DI Moses Jones is given the case by Scotland Yard and, assisted by hopeful DS Dan Twentyman, sets out to find the truth.

Tells the story of how an oppressed and orphaned young man came to earn the unmitigated praise of the music industry only to later carry the title: "King of the Blues." Narrated by Morgan Freeman. With Barack Obama, Eric Clapton and Mick Jagger.

An investigation into the still unsolved murders of two of the biggest superstars rap has ever produced: Christopher Wallace, aka Biggie Smalls and Tupac Shakur. Director Nick Broomfield puts his own life at risk as he uncovers shocking new evidence.
Jamel Shabazz: Street Photographer
Before hip-hop culture took over the world it was brilliantly captured by New York photographer Jamel Shabazz, whose impactful images of that early music scene defined not only the generation it captured, but all those that followed.

Based on real students, this uber-realistic portrait of a modern American high school examines the pressing issues that teens must face in today's increasingly divided society: lockdown drills, disinformation campaigns, and racial inequality.

Eleven-year-old tomboy Toni is bewitched by the dance team she sees practicing in the same Cincinnati gym where she boxes. But when a mysterious outbreak of fainting spells plagues the team, Toni's desire for acceptance becomes more complicated.

A gorgeously photographed, music infused cinematic portrait of world famous Senegalese pop sensation Youssou N'Dour. Best known in the West for his collaborations with Bono and Peter Gabriel, his legendary career has spanned decades.

The 12 O'CLOCK BOYS are a notorious urban dirt bike pack in Baltimore. In this dynamic documentary, their antics are envisioned through the eyes of Pug, a bright adolescent from the Westside who is willing to do anything to join their ranks.

In this documentary, filmmakers investigate how Curacao has managed to send a scrappy team of Caribbean boys to the Little League World Series for seven consecutive years.

An electrifying portrait of writer and performer Okwui Okpokwasili and the creative process for her acclaimed one-woman show "Bronx Gothic," a mesmerizing coming-of-age story, which fuses dance, song, drama and comedy with childhood memories.

Ronald McNair became one of NASA's first African-American astronauts, though he died tragically in 1986 on the Challenger space shuttle. In this animated short, part of the StoryCorps interview series, Carl McNair remembers his younger brother.

In the South Sudanese community of Sunshine, a young basketball player sees his dreams of playing for the NBA thrown into jeopardy when he and his friends are accused of stealing a Porsche from an affluent suburb.

This is Yarra follows the story of Riyadh Aden and Deng Dut from the Yarra Wild Beasts as they prepare for a basketball tournament, with the hope of taking home their first trophy for the junior team.

A daughter, a father and a wrestling competition.

A teenager named Xavier leaves baseball practice, and his life is immediately put at risk. By the people charged with protecting it.

Age is just a number. A revealing docuseries about three older individuals who hold onto the hobbies of their younger years, boldly defying societal expectations. They don't let age dictate what makes them who they are.

A beautiful portrait of a charismatic young New Yorker, Sam Diaz, who sings in the subway for money.
Swimming in Your Skin Again
In this dreamlike short, the boundaries between humans and the natural world grow thin. Just don't call it a religious experience.

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30 Titles That Amplify Black Voices on Screen

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If you want to discover new Black actors, characters, or stories about the Black experience, we're delighted to introduce somes titles on Topic that you may not have seen before. Spanning all genres, and including both documentary and narrative films, as well as some binge-worthy TV shows, here are 30 titles that amplify Black voices on screen.

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“America’s Racial Contract Is Killing Us” by Adam Serwer – read here.

Ella Baker and the Black Freedom Movement (Mentoring a New Generation of Activists – read here.

“My Life as an Undocumented Immigrant” by Jose Antonio Vargas | NYT Mag – read here.

The 1619 Project (all the articles) | The New York Times Magazine – read here.

The Combahee River Collective Statement – read more

“The Intersectionality Wars” by Jane Coaston | Vox – read more

Tips for Creating Effective White Caucus Groups developed by Craig Elliott PhD – read here.

“White Privilege: Unpacking the Invisible Knapsack” by Knapsack Peggy McIntosh – read here.

“Who Gets to Be Afraid in America?” by Dr. Ibram X. Kendi | Atlantic – read here.

WFTV Member Christiana Ebohon-Green meets Wunmi Mosaku: ‘It’s exhausting being the non-threatening black woman’ by Ellen E Jones – read here.

RunRepeat worked with The Professional Footballers’ Association to examine commentary in football matches. Read the study here.

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SOCIAL MEDIA HASHTAGS in 2020 for Diversity

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SOCIAL MEDIA HASHTAGS in 2020 for Diversity

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Hashtags for #diversity in 2020 to be popular and trending in Instagram, use with #diversity are #socialimpact #equalitycantwait #representation #socialchange #diversityandinclusion

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https://wftv.org.uk/about/

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This website is intended as a showcase for the many women working behind the camera in the UK feature film and TV drama sectors of the industry. We hope that it will be a database that producers and Directors of Photography can use to crew up in a diverse manner. It could also be a tool for networking - a way of passing on work to other women, or information about events.

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Cinegirl is an online magazine featuring an expansive galaxy of topics that women working within the Film & TV Industry care about. It’s a place where Art, Lifestyle, Technology and Fashion are discussed with a squeeze of humour and open-mindedness. We strive to celebrate the work of all women - of any race, colour, age, nationality, religion, gender expression, sexual orientation, health condition or disability - and consciously uplift voices that are often marginalised.

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Cinegirl is an online magazine featuring an expansive galaxy of topics that women working within the Film & TV Industry care about. It's a place where Art, Lifestyle, Technology and Fashion are discussed with a squeeze of humour and open-mindedness.

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Three new short films from cross-cultural collaborations exploring LGBTQ+ stories will be commissioned by partners BFI Flare: London LGBTQ+ Film Festival, the British Council, and BFI NETWORK.

Applications are open for the pilot programme #MOREFilms4Freedom, which will facilitate urgent, creative collaborations reflecting LGBTQ+ intersectionality, global human rights, and diaspora identity.

It builds on the #FiveFilms4Freedom digital campaign, which originated in 2015 as a partnership between BFI Flare: London LGBTQ+ Film Festival and the British Council, and which has generated views from nearly 14 million people in 202 countries and principalities. In previous editions of the campaign, a gap was found in projects and stories originating in countries within the African continent and the Middle East. In response, #MOREFilms4Freedom will support stories that have at their heart an element of collaboration between UK-based LGBTQ+ identified filmmakers and filmmakers or storytellers from countries in those regions.

To secure a commission, filmmaking teams will need to demonstrate their collaborative international approach, and include an experienced, UK-based producer capable of delivering projects with an international component. In addition, the core members of the team will need to have realised two or more short films that have had industry recognition.

Three films will be selected and awarded a grant of up to £10,500 each, to cover all stages of production, delivery of materials, and team travel. In addition, each team will work with Executive Producer, Loran Dunn (former Screen Star of Tomorrow, BFI Vision awardee, and producer, A Deal With The Universe) whose support will be provided alongside their funding, to mentor both team and project from script through to edit.

The three selected films will be commissioned by September 2019 and are due for delivery in February 2020. They may be eligible to screen at next year's BFI Flare: London LGBTQ+ Film Festival in March, as well as to participate in the 2020 #FiveFilms4Freedom campaign, upon completion.
Briony Hanson, Director of Film, British Council said:
"Our #FiveFilms4Freedom campaign has been eye-opening in the way people from across the globe have embraced the films in their millions. The programme is deliberately international and designed to show that LGBTQ+ lives are universal wherever you are in the world, but throughout the programme's life we have searched to find stories from the Middle East and African continent to include, without success. This new commissioning pilot allows us to broker connections between talented UK-based filmmakers and filmmakers from those regions interested in exploring LGBTQ+ stories. We hope that we will both unearth some fascinating universal stories and kickstart some lasting cross-cultural creative relationships."
Tricia Tuttle, Director of Festivals, BFI said:
"We're so excited to be building on the incredible successes of both #FiveFilms4Freedom and BFI NETWORK @ FLARE MENTORSHIPS in partnership with BAFTA, to offer this unique opportunity for the UK's LGBTQ+ filmmaking community to collaborate with international peers. We can't wait for audiences to see the results of these collaborations early next year."

Deadline for applications is midnight BST Monday 12 August 2019.

Further details on the call for submissions can be found here: https://www.bfi.org.uk/flare/morefilms4freedom

For further information, please contact:

The British Council is the UK's international organisation for cultural relations and educational opportunities. We work with over 100 countries in the fields of arts and culture, English language, education and civil society. Each year we directly reach over 65 million people and more than 660 million people via broadcasts and publications. We make a positive contribution to the countries we work with - changing lives by creating opportunities, building connections and engendering trust. Founded in 1934 we are a UK charity governed by Royal Charter and a UK public body. We receive 15 per cent core funding grant from the UK government.

Ekene Oboko, Press Officer, British Council - ekene.oboko@britishcouncil.org | +44 (0)203 285 3635

Mia Farrell, PR Manager, BFI Festivals - mia.farrell@bfi.org.uk | +44 (0)20 7957 8970
About #FiveFilms4Freedom
#FiveFilms4Freedom is the world's widest-reaching LGBTQ+ online film campaign. The campaign is run by the British Council in partnership with BFI Flare: London LGBTQ+ Film Festival, and has been running since 2015: www.britishcouncil.org/fivefilms4freedom
About BFI Flare: London LGBTQ+ Film Festival
BFI Flare: London LGBTQ+ Film Festival is the UK's longest running LGBTQ+ film event. It began in 1986 as Gay's Own Pictures. By its 3rd edition it was tagged the London Lesbian and Gay Film Festival and since then has grown to become the largest LGBTQ+ film event in the UK, and its most anticipated. The Festival changed its name to BFI Flare in 2014 to reflect the increasing diversity of its films, filmmakers and audience. The festival is programmed by Jay Bernard, Michael Blyth, Zorian Clayton, Brian Robinson and Emma Smart, led by Festivals Director, Tricia Tuttle. The full programme of BFI Flare: London LGBTQ+ Film Festival includes feature films, an industry programme, selected films on BFI Player VOD service, a series of special events and archive screenings.
About BFI NETWORK:
BFI NETWORK is the BFI's UK-wide talent development programme, supporting new filmmakers to make short films, develop first features and advance in their careers.
About the BFI
The BFI is the UK's lead organisation for film, television and the moving image. It is a cultural charity that:

Curates and presents the greatest international public programme of World Cinema for audiences; in cinemas, at festivals and online

Cares for the BFI National Archive - the most significant film and television archive in the world

Actively seeks out and supports the next generation of filmmakers

Works with Government and Industry to make the UK the most creatively exciting and prosperous place to make film internationally

Founded in 1933, the BFI is a registered charity governed by Royal Charter. The BFI Board of Governors is chaired by Josh Berger CBE www.bfi.org.uk/

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British Council / BFI announce LGBTQ+ short film commissions under banner #MOREFilms4Freedom

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Three new short films from cross-cultural collaborations exploring LGBTQ+ stories will be commissioned by partners BFI Flare: London LGBTQ+ Film Festival, the British Council, and BFI NETWORK. Applications are open for the pilot programme #MOREFilms4Freedom, which will facilitate urgent, creative collaborations reflecting LGBTQ+ intersectionality, global human rights, and diaspora identity.

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Back in January, we opened submissions for the second edition of the BFI Flare LGBT Filmmakers' Mentorship, delivered in 2016 with BAFTA and supported by Creative Skillset. After a very successful pilot last year, where mentor relationships flourished and our filmmakers developed their careers further, the programme will again provide the selected emerging LGBT filmmakers the opportunity to be mentored by a senior figure from the film industry, to develop industry knowledge, professional connections, their passion for cinema and an overview of LGBT features entering the marketplace.

We were overwhelmed by the number of qualified applicants and by the quality of the applications we received, which demonstrated, for a second year in a row, the diversity and great talent of LGBT identified filmmakers in the UK. It was a true challenge to narrow this field - as we wanted to work with so many more of the talents who applied - but we are very pleased to announce that this year we've selected six extremely gifted filmmakers.

This year's mentees - one producer, one writer, one documentary director-producer, and three writer-directors - represent a diverse group with cinematic interests across a wide spectrum.

Our excitement is enhanced by a great mentor group, which includes Iain Canning (Oscar-winning producer, The King's Speech, 2010), Abi Morgan (BAFTA and Emmy-winning writer, Suffragette, 2015, The Iron Lady, 2011), Ben Roberts (Director, BFI Lottery Film Fund, who has supported films such as Pride, 2014, Under the Skin, 2013, High Rise, 2015, and The Duke of Burgundy, 2014), Desiree Akhavan (director, Appropriate Behaviour, 2014), Andrew Macdonald (BAFTA-winning producer, Ex Machina, 2015, 28 Days Later, 2002, Trainspotting, 1996) and Beadie Finzi (Foundation Director of BRITDOCS, documentary producer of Unknown White Male, 2005, and The Possibilities Are Endless, 2014, and director of Only When I Dance), who will provide invaluable guidance to our filmmakers.

Without further ado, meet the filmmakers who have been selected for this year's BFI Flare LGBT Filmmakers' Mentorship scheme.

Dionne Edwards, writer-director

Dionne Edwards is a screenwriter and director. After studying film and TV production at the University of Westminster, she spent a year at Working Title Films on their esteemed Action Internship. She went on to assist agents at Linda Seifert Management, working with some of the UK's best writers and directors. Dionne left in 2011 and formed Teng Teng Films with producer Georgia Goggin. They have made four shorts together, including 'Got Got', which was a finalist in Shooting People's Film of the Month competition. Dionne's 2014 short 'Hi, Miss!' has been invited to festivals worldwide, including BAFTA-qualifiers LSFF and Aesthetica, and it won the Audience Award at the East End Film Festival 2015. Her next short 'We Love Moses' is in pre-production and has been awarded funding by Film London, as part of their London Calling Plus scheme 2016.
Dionne on challenges for LGBT film and filmmakers
In my opinion, the biggest challenge an LGBT filmmaker can face is the pressure of depicting a community that is frequently misrepresented in the media. I face these challenges as a black queer woman and as a critical thinker. I sometimes worry about misrepresenting a character of colour, or a female character, or an LGBT character. You could argue that many straight white male storytellers, for example, have the freedom to depict a whole spectrum of characters, even the most despicable anti-heroes and make them three dimensional and memorable without the same kind of baggage. Queer filmmakers and minority filmmakers do not necessarily have that same freedom without worrying about how the characters will be received. Telling an honest, distinct and engaging story is difficult enough, and whilst it's crucial for LGBT and minority filmmakers to move beyond stereotypes, we should aim to write engaging characters and narratives honestly and freely.
Dionne on an admired filmmaker
I personally think Martin Scorsese is a master storyteller and the greatest living director. As a filmmaker, I am interested in exploring the cinematic form and telling bold, vivid stories with visual excitement. Scorsese's films do this masterfully, combining realistic characters and plotlines with expressionistic techniques. He is a second-generation Italian-American catholic male and his films revolve around themes of guilt, greed, machismo and the Madonna-whore complex. As a black queer woman, my experience couldn't be more different and yet his films have still imprinted on me deeply. Although my experience is very different from the straight white experience that is so dominant in the mainstream, I still look to inform, delight and challenge the audience and tell stories that are personal. In doing so, I hope my films will have some longevity.

Dionne's mentor: Desiree Akhavan

Joy Gharoro-Akpojotor, producer

Joy Gharoro-Akpojotor is an award-winning producer, with experience in producing, production co-ordinating and line producing. Joy's work reflects her cultural background, having grown up in Nigeria, Brunei and the UK. She seeks to tell socially conscious stories that allow people to think, exploring other alternatives where possible. She has produced a series of short films, including 'In My Eyes', with over 10 million YouTube views, and 'Beyond Plain Sight', which last year was nominated for the Best Short Film award at Raindajnce, and two indie feature films, 'M.L.E' and 'White Colour Black'. Aside from producing, Joy holds an MA in creative writing in film, TV and plays, and has been awarded two grants for the arts from the Arts Council in order to develop plays in partnership with theatres such as Theatre Royal Stratford East. She closed Africa Writes Festival at The British Library in 2014 with her play 'Sunday', and will be closing it again in 2016 with her play 'The Immigrant'.
Joy on challenges for LGBT film and filmmakers
Telling a compelling human story that doesn't stereotype or pigeonhole what it means to be LGBT. I think that people get so caught up in sexuality that they forget to look at the story happening, and at times, as LGBT filmmakers, we don't help the cause. We sometimes cater to the stereotypes as opposed to showcasing a story first, in which two people happen to be gay. I think this is one of the reasons why 'Carol' is so beautiful - it's a film about two people who unexpectedly fall in love, and they just happen to be women. As an LGBT filmmaker, I was once told that I shouldn't focus on LGBT stories - to be accepted I need to expand and tell other stories. For me, I tell stories that I love and have experienced regardless of my sexuality, but what I find is that as LGBT filmmakers we must leave our identity at the door in order to be accepted. If I say I'm gay there is an expectation of the type of work I make or should make; as a black woman who is gay, that expectation is doubled. There needs to be more diversity in LGBT films. As a young black Nigerian woman, I have spent most of my life watching lesbian films that have nothing to do with me. By that I mean films that do not understand my culture, nor my blackness, and therefore do not portray what it means to be a black lesbian woman living in London.
Joy on an admired filmmaker
I admire Christine Vachon because she has been able to produce accessible films that matter to a broad audience, such as Go Fish (1994), Boys Don't Cry (1999), Carol (2015) - while staying semi-independent as well. I remember when I first wanted to get into producing but had no idea what I was doing, I read a bunch of books on how to become a producer but none of them really told me about the day-to-day life in terms of expectations. Then I read 'A Killer Life', and that was the first time I understood what I was getting into - to constantly have an open mind, to know that nothing will ever go according to plan, to have about five different options because you'll constantly need them, my approach to people, and understanding the business side of things.

Joy's mentor: Ben Roberts

Kayleigh Llewellyn, writer

Kayleigh is currently writing for Casualty (BBC1), having previously written for Stella (Sky1). She and her writing partner, Matthew Barry, are developing several comedy series with Bad Wolf. They've also been commissioned to write a comedy pilot for BBC Comedy Production. She recently wrote and starred in her first short, Oh-Be-Joyful, winner of Best Comedy at LSFF. She is now developing a feature film, Something Changed. Additionally, she is writing and performing in comedy sketches for PYPO, developed by Stephanie Laing (producer and director of Veep). For radio, they have an original series in development with Radio 4. Kayleigh also writes on the award-winning sketch show, Here Be Dragons (BBC Radio Wales). Kayleigh and Matthew were the recipients of the BAFTA Rocliffe New Comedy Writing Forum 2012 with their script, Grey, which was optioned by Company Pictures and developed for BBC1. Alongside her writing, Kayleigh also performs improvised comedy.
Kayleigh on challenges for LGBT film and filmmakers
People assume that LGBT stories will just be about sex. And sometimes they are. I've seen a tonne of LGBT shorts lately that just focus on gay sex instead of character and story, the person beyond the act of sex. I'm excited by the films that go further ( The Kids Are Alright, 2010, My Summer of Love, 2004, Carol (2015), Appropriate Behaviour, 2015). What about stories about the LGBT people who just work and have families and doubt themselves and struggle to convince people to have sex with them? I remember being so thrilled by an episode of Last Tango in Halifax when it opened on a lesbian couple kissing on the sofa, watching University Challenge and then one of them proposed. It was so moving and relatable. I'm not suggesting LGBT cinema should depict us all as basic bitches, but I like it when it explores all the universal themes that any human connects to: friendship, love, heartbreak, longing for acceptance. Also, the belief that LGBT cinema is arthouse, not multiplex. Or that being gay in general is something that takes place in Soho, not the suburbs. We need to prove that LGBT people are everyone, not other; that if a mass audience can relate to a story about a Jedi, or a man being attacked by a bear, they can relate to a story about a lesbian.
Kayleigh on an admired filmmaker
Jill Soloway. I became aware of her work in 2002 when I was 16 and obsessed with Six Feet Under. I loved her unorthodox route in to the industry. Early on, Jill says the intention of her work was, "inciting feminist revolution" and I believe she has, through her ability to marry drama and comedy together so perfectly and use it to push the boundaries of acceptable storytelling topics. She directs, writes, produces, show runs, she's an activist, an author, and even occasionally cameos on screen. She is both an auteur and a collaborator. Jill also pays it forward, nurturing new talent. I think it's so wonderful when people who have climbed the ladder, turn around and help the next generation up behind them. Not to mention the way she runs the Transparent writers room and crew - it's unique and fantastic, and is producing one of the most meaningful shows of the last decade. But mostly, she is someone with a finely tuned ability to observe the ugly and the beautiful facets of humanity, and recreate them on screen. I often find myself wet-cheeked whilst watching her work. Not because I'm incredibly sad, or laughing so hard I've cried, but because I'm witnessing something that simply speaks to me. That is her skill.

Kayleigh's mentor: Abi Morgan

Dean Loxton, writer-director

Dean studied acting at the Bristol Old Vic Theatre School. In 2011 he directed four 'devised on the day' improvised films, including 'Metro 7 Bis', which was shot in Paris. 'Metro 7 Bis' travelled to many festivals including Palm Springs Shortfest, Austin Film Festival and was shown on US TV. 'White', which he made in Los Angeles while attending Palm Springs Shortest, was seen by Paul Greengrass ( Captain Philips, 2013) who said, "White featured great improvisation and really transported the viewer into the LA street world. Great authenticity and bite, and in a good way left me wanting more." In 2012 he wrote and directed 'Under' with Keeley Forsyth (JK Rowling's 'The Casual Vacancy') in the lead role and a cameo from Daisy Ridley ( Star Wars Episode VII: The Force Awakens, 2015). 'Under' also went to Austin Film Festival, as well as Tehran International Short Film Festival, Odense Film Festival, Bristol Encounters and London Short Film Festival. His latest film 'Dániel' has a cast including Hilda Peter (Peter Strickland's Katalin Varga, 2008) has shown at 18 festivals, was nominated for an Iris Prize and was one of the BFI's '10 to try' at the London Short Film Festival 2016. Dean recently attended the Berlinale Talent Campus 2016.
Dean on challenges for LGBT film and filmmakers
Being honest in your work, and not being afraid of the truth, of going there. It may be uncomfortable, painful, but the audience will appreciate it. With LGBT issues you may be inclined to tone down to make it palatable, but we need strong unapologetic voices. The stories we tell should be about characters that are real. Stereotypes are reinforced when we tell stories involving flat characters reacting in a predictable manner. Make LGBT characters specific, detailed, real and rounded. We have a responsibility.
Dean on an admired filmmaker
I have written his name so many times - Sean Baker is the man! He is brave and raw, brings a class to his subjects in whatever world he enters. His characters are rounded and honest in their formation though they may be literally liars and cheats. I love his work, I am totally inspired by Starlet and Tangerine (2015) especially, and am keen to make a film on the iPhone.

Dean's mentor: Iain Canning

Eimhear O'Neill, documentary filmmaker

Eimhear O'Neill is an Irish filmmaker who won the Best Short Documentary award at the 2014 Galway Film Fleadh for co-directing and co-producing 'Inez: A Challenging Woman', a film exploring the life of civil rights and trade union activist Inez McCormack. She was associate producer on the Oscar-shortlisted and Emmy-winning Alex Gibney documentary, Mea Maxima Culpa: Silence in the House of God (2012) for HBO and she also directed 'The Joy of Sets' for BBC One Northern Ireland, which was selected for Sheffield Doc/Fest's 2014 Videotheque. She is currently co-producing a feature documentary directed by Alex Gibney and produced by Trevor Birney, and is also directing her first feature documentary for Trevor Birney's Fine Point Films and Abigail Disney's Fork Films, telling the story of the world's first all-female elected political party: the Northern Ireland Women's Coalition.
Eimhear on challenges for LGBT film and filmmakers
First, it's important to reference that the landscape does not exist to make the films we want to tell. In my opinion, that statement is as true for all filmmakers as it is for LGBT filmmakers. The market and broadcasters create the benchmarks - and we try to create ideas within them. As a result, our expressions in film are less meaningful than they could be from the point of conception and development. Why do we want to be filmmakers? To tell stories that reflects our lives. Often our ideas are exactly about our lives - and very often we are told they are not universal enough. Or too niche. It's a challenge for LGBT films and filmmakers to convince the 'money people' that our stories are indeed universal to get financing.

It's also a challenge for LGBT films and filmmakers to make stories that are largely about woman. "I like it but where are the men?" The indifference to gender is a hot topic, of course, but if we are ignoring almost half of the population, we need to ask: what impact is this having on our films on screen and off screen? It's extremely important that we, as a younger generation of filmmakers, see older filmmakers achieving their vision. Personally, there is no greater inspiration than older women, especially LGBT-identified female filmmakers, being respected and visible in their craft. I know there can be a crippling effect when it comes to taking a risk on a younger, female director but when we see others doing it, we believe we can too. Mentorship and visibility is key and we don't have enough of it.
Eimhear on an admired filmmaker
Sheila Nevins, television producer and president of HBO Documentary Films. Not only is she a self-confessed "great believer in the anonymity of the documentary subject", but she also finances sensitive and 'niche' documentary subjects when others do not. Within the LGBT genre, she is behind The Case against 8, one of the best-edited and most powerful documentaries I've ever watched exploring the fight for equal marriage in California. In the last year alone, she helped finance Kurt Cobain: Montage of Heck (2015) and The Jinx - both genre-defining documentaries that immerse an audience in cinema. I admire her most because she has enabled a generation of filmmakers to tell stories that, in part, reflect my life. And, in part, help me as a filmmaker and a lesbian, feel prouder to keep fighting to tell our stories.

Eimhear's mentor: Beadie Finzi

Siri Rødnes, writer-director

Siri Rødnes (b. Edinburgh, 1983) is a director and writer with proclivities towards genre. Her recent short films include 'Take Your Partners' (Berlinale, TIFF Kids, BFI Flare: London LGBT Film Festival), and the Creative Scotland-commissioned 'Grimm Street'. Also completed in 2015 was 'Asking For It', released online in co-ordination with the International Day for the Elimination of Violence against Women. She is currently developing her debut feature, Nine Lives, with Gavin Humphries at Quark Films, co-written by Tom Basden and adapted from the science-fiction short story by Ursula K. Le Guin. She is also writing an original feature screenplay based on 'Take Your Partners', with support from Creative Scotland and the Scottish Filmmakers Talent Network. She has an MA in directing fiction from the National Film and Television School, and has participated in the Berlinale Talent Campus, Edinburgh International Film Festival and Reykjavik International Film Festival Talent Labs.
Siri on challenges for LGBT film and filmmakers
Recognising that on a mass scale young people do not identify with, or necessarily share, our narrow gender definitions. When making 'Take Your Partners' I realised that, although the film holds a powerful message for an audience of children, it is perhaps a more useful perspective for adults to experience as it is they who are rooted in the past. The next generation are already spinning their own gender narratives out in the open in the mainstream, as opposed to how I grew up in the closet. Many young people in the UK identify as non-binary sexually... Imagine a world where more and more of us are openly queer! That world is already emerging and I think it is our responsibility as artists to explore and encourage it. Which leads to another challenge: moving queer cinema beyond the coming out story. Although undeniably important to continue to tell all of our stories, coming out will be less of a concern among future peer groups, so the traditional lonely coming out narrative will hopefully diminish in frequency and relevance. I think this will open up an exciting space for different kinds of queer-inclusive narrative to evolve and integrate. Personally I love sci-fi and believe queer needs to be visible in more than just 'queer cinema'. This is also relevant when we consider our future audience. Traditionally, queer cinema is a niche genre with a niche audience, but if more and more people identify as queer in some way, then they are going to want stories and characters that reflect them and their desires. That's a pretty big market share!
Siri on an admired filmmaker
Being a big genre fan, I could name many legendary directors whose work has influenced me over the years, but none completely consistently throughout their careers. But with a box office saturated in formulaic blockbusters, superhero reboots and arbitrary horror movies, I really appreciate it when films like Robert Egger's The Witch (2015) and Duncan Jones' Moon (2008) land on the big screen, giving depth and meaning to genre again. That said, I still draw a lot of inspiration from the likes of Alien (1979), Jurassic Park (1993) and Terminator 2: Judgment Day (1991), with Pan's Labyrinth (2006) and Children of Men (2006) also featuring highly.

Siri's mentor: Andrew Macdonald

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BFI Flare LGBT Filmmakers' Mentorship: meet the filmmakers

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Back in January, we opened submissions for the second edition of the BFI Flare LGBT Filmmakers' Mentorship, delivered in 2016 with BAFTA and supported by Creative Skillset.

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These are very useful videos about diversity in the industry made through SIGN - Screen Industries Growth Network in York

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These are very useful videos about diversity in the industry made through SIGN - Screen Industries Growth Network in York

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SIGN has produce a number of videos in conjunction with local, national and international organisations. Our series, Coming Up Next, can be found below, along with our lockdown launch video and other video content.

SIGN's lockdown launch video

Coming Up Next

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Videos - Screen Industries Growth Network

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SIGN has produce a number of videos in conjunction with local, national and international organisations. Our series, Coming Up Next, can be found below, along with our lockdown launch video and other video content.