Sir Lenny Henry, Amma Asante, Afua Hirsch, Kurt Barling, Chi Thai and Delphine Lievens, Nina Robinson, David Hevey, Melanie Gray, Debbie Christie, Gary Younge, Adrian Lester, So Mayer, Siobhán McGuirk, Selina Nwulu, Ciaran Thapar

The Journal of Media and Diversity Issue 02 Summer 2021

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REPRESENTOLOGY CONTENTS EDITORIAL The Journal of Media and Diversity 04 Developing Film Welcome to Issue Two of Representology - Sir Lenny Henry and Amma Asante The Journal of Media and Diversity. Since we Editorial Mission Statement interview. launched, many of you have shared 14 Finding My Voice encouraging words and ideas on how to help Welcome to Representology, a journal Afua Hirsch create a media more reflective of modern dedicated to research and best-practice 18 Putting the Black into Britain Britain. perspectives on how to make the media more Professor Kurt Barling representative of all sections of society. On March 30th, we hosted our first public event - an 24 The Exclusion Act: British East and South opportunity for all those involved to spell out their A starting point for effective representation are the East Asians in British Cinema visions for the journal and answer your questions. As “protected characteristics” defined by the Equality Act Chi Thai and Delphine Lievens Editor, I chaired a wide-ranging conversation on ‘Race 2010 including, but not limited to, race, gender, and the British Media’ with Sir Lenny Henry, Leah sexuality, and disability, as well as their intersections. 38 The Problem with ‘Urban’ Cowan, and Marcus Ryder. Our discussions and the We recognise that definitions of diversity and Nina Robinson responses to illuminating audience interventions gave representation are dynamic and constantly evolving 44 Sian Vasey - disability pioneer inside us a theme that runs through this issue - capturing and our content will aim to reflect this. British broadcasting experiences and documenting struggles. As illustrated in a number of the following articles, people have been Representology is a forum where academic David Hevey fighting for decades to push for positive change within researchers and media industry professionals can 48 established institutions in press and broadcasting. Over come together to pool expertise and experience. We Why it’s not ok to call a female director the years, there have been great victories - however, in seek to create a better understanding of the current ‘fluffy’: The impact of negative female many instances, media workers who have raised barriers to media participation as well as examine and stereotypes in the television industry and concerns about poor work and hiring practices have promote the most effective ways to overcome such strategies for change had doors slammed in their faces. barriers. We hope the journal will influence policy and Melanie Gray practice in the media industry through a rigorous, We have found a willingness from people - experienced 54 PROTEST, RESEARCH and CAMPAIGN: The evidence-based approach. equal rights campaigners around disability and race, Equal Opportunities Network at the BBC for gay and women’s liberation - to share their stories Our belief is that a more representative media Debbie Christie in our journal, buttressed by exclusive and robust workforce will enrich and improve media output, academic research. We include these pieces not as enabling media organisations to better serve their 58 A Black journalist at The Guardian mere reminiscences - we hope to play a role in audiences, and encourage a more pluralistic and Gary Younge confronting institutional amnesia and inspire a new inclusive public discourse. This is vital for a healthy 64 The Parent Trap generation of media professionals to diversify their society and well-functioning democracy. We look industry. Meaningful change to the media can only forward to working with everyone who shares Adrian Lester come about if we break down existing barriers and this vision. So Mayer, Raising Films build on the work of those who went before us. 68 Book review Dr Siobhán McGuirk on Jonathan Ned Katz In the previous edition of Representology, we invited book The Daring Life and Dangerous Times applicants to join our editorial board, and I am of Eve Adams delighted to welcome its three newest members - Dr Wanda Wyporska, Lucy Brown and Alison Wilde - 72 The Audacity of Our Skin who between them bring a wealth of experience to this Poem by Selina Nwulu developing project. As ever, if you are interested in 76 Representology recommends contributing, or wish to send your views and Ciaran Thapar suggestions for future issues, please write to us: [email protected] 78 Representology Editorial Board 79 Submission Guidelines

K Biswas Editor

2 3 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021 DE VEL OPING FILM Sir Lenny Henry in conversation Lenny: Representation LENNY: Hi, Amma, thank with award winning filmmaker you so much for agreeing to matters - Amma Asante on successful period chat with me today for our drama has brilliant new journal, dramas, steadfast mentors, and Representology. We believe impact sharing power on the silver screen. that leading artists like Lenny: yourself have invaluable Let’s try and unlock some knowledge about how to of your success, as you are make our industry more one of the most important diverse and inclusive. In my and influential Black British mind, it is all about directors of recent years. I Amma Asante is a BAFTA recording, and then first came across you on award-winning filmmaker. circulating, that knowledge the BBC’s legendary series and experience to as wide Grange Hill, on which you This is a transcript of a an audience as possible, were working as a child conversation which took making sure we don’t actor. I also remember you repeat the mistakes that working as an intern on place over Zoom on 8th June have happened before, and Chef [a 1990s BBC building on our successes. comedy-drama, starring 2021, produced and edited Lenny Henry, written by by Marcus Ryder Peter Tilbury]. So, was there always a plan for you to

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make the leap from appearing on-screen to working behind The storyline also led me, and I thought; “Oh, maybe Fox. And, Lenny, let me tell Mick Pilsworth, at Chrysalis the camera? Tell us a little about your journey from being a and the other Grange Hill that’s a trajectory that I can you, I turned up at Fox Entertainment. And Mick The qualities of drama school kid to being one of our most important Black kids, to go to the White follow.” For me, that just Studios in Los Angeles in cut said to me; “Did you really a good mentor British female directors. House and meet Nancy demonstrates why all these down jeans and a cut down write this?” And I said, “Yes, Lenny: But, again, it could Reagan and to appear on statements and things that t-shirt, because I was on I did write it.” And he said, Amma: There was definitely no master plan. I attended have all come to nothing – news channels in the US and we read, even when we’re holiday at the time. “Okay, well, let’s talk about Barbara Speake [Stage School] because my dad noticed, is that right? UK. 15, 16, 17 years old, really what we can do”. And he when I was at primary school in South London, that I was I was in my very early go on to impact us and then sent it to Channel Amma: I went through three really creative. But I was also quite shy. I was very outgoing twenties, and had no idea make a difference, one way Four’s Commissioning years of development work, at home, and in my mum and dad’s shop, which they had in The importance that I was turning up to a or another, because that’s Editor, Seamus Cassidy. and then a new Shepherds Bush, but I was not outgoing in school. whole professional studio of women and where I thought; “Okay, That’s how I got my first commissioning editor came meeting, because I had no My dad was really good at looking at what each of his maybe there’s a world where seven script deal with in, with a new broom, and diversity in concept of American children was good at, and [at] trying to push us towards that. I can keep a roof over my Channel Four. everything was swept out. studios, or what those kinds For example, my brother’s a biochemist now, and, at an early positions of head, you know, in that of professional meetings That was how it started. I I’d also got a development age, my dad was always buying him chemistry kits. way.” influence were like. But, as I say, I had stopped acting fully at that deal on a sitcom I created, So, he knew of a couple of stage schools, but he wanted me Lenny: But I understand it And so I was trying to get gone to the US on holiday, point. It dawned on me when called Ladies in the House, to go to one that was the most multicultural, that had a could have all ended at that my typing speed up. I would and I only had holiday I got into my twenties, that I at the BBC. And I can’t percentage of Black kids. They didn’t want me to go to a point. do copy typing. And then I clothes with me. So, I go in, was only doing it because actually remember if it was place where I’d be the only Black kid there. And so I went to would just type off the top of and I see these two it’s something that I’d sort of the Beeb or Channel 4, but Amma: After Grange Hill, I Barbara Speake’s. And when I got there, Kwame Kwei-Armah my head, and something I executives and these two been put into as a child, as one of them had given me a effectively stopped acting was there, Naomi Campbell was there and Michelle Gayle typed off the top of my head development executives, opposed to choosing it. My mentor, called Paul Mayhew- when I got to around 19. I was there. But, in the beginning, I was terrified. It was all too was a script called Soul they’re both women! I just Dad understood I needed an Archer, and that was a did a little bit of presenting much. It was like The Kids from “Fame” [cast members from Difference. And, in the back thought, “Wow!!” They were outlet for my creativity, but I beautiful experience. He’s a with Lee MacDonald on the the 1980s American TV drama set in a stage school]. of my mind, I thought I was amazing. They changed my had to figure out exactly great guy. He was so brilliant Children’s Channel. And typing out a half hour life, because they said to what that outlet should be. and clever at just getting me Lenny: Kids dancing on taxis in the street in leg-warmers various other things, like a sitcom, but it came out at me:“ we love what you’ve to express what was locked and leotards, yelling “Let’s do the show right here”? bit in one episode of Lenny: I liken the something like two hours by written, and you can write, inside the characters, and Desmond’s [a 1990s Channel experience to climbing a Amma: Exactly! I mean, literally! I walked in and there were all what I wanted to pull out. 4 comedy set in a Black ladder up the side of a big these kids in leotards in the assembly hall. There were kids And so, the experience was British barber shop], but house - you get to the roof, rehearsing what we used to call an “own show”, which was a so positive, it was so mainly because I didn’t know And I felt listened to, and that look across, and see show that the kids produced for themselves. It was a lunch brilliant. He was such a good how to do anything else. another house. A bigger break, and they were all rehearsing and doing splits in the air, somebody was actually mentor, though neither and better house. Then, you and all of that. And I begged my dad for a full seven months When all my friends had project was made. encouraging me, or telling me; slap yourself on the to take me out of the school. Then, suddenly, one day I gone to university, I hadn’t. forehead and say, “My And so, today, when I speak became one of those kids doing splits in the air, and you’re My mum was terrified that “you are good, and there is a ladder was against the to students, I always say to one of those kids who knows how to be one of The Kids from my dad had sort of led me wrong house! That’s the them, that there is no wasted “Fame”, and you’re talking like everybody else, and suddenly down this road, where I had possibility that you might be house I want over there!” piece of work. There is no I was a bit more out of myself – not as much as everybody not got an education, the better”. point in saying, “Well, this else – but I was one of them. kind of education that she Amma: Precisely, writing didn’t get made, or this wanted me to get. So, she Lenny: So, you were finally fitting in. You’ve said in past made me feel so good. And didn’t get done,” or saying “I begged me to go to the time I finished it. It was and you’re really good. And interviews that you realised the power of drama during this it made me feel like I wasted three years on that.”. hairdressing college, where I about my life at home with they talk to me about the time. Can you explain? imagined good actors feel, Because I couldn’t have was promptly kicked out. my parents. The mother in it characters, and they talk to because when I was writing, made Belle, I couldn’t have Amma: Actually, I didn’t ever want to act. I did Grange Hill. I was my mum. The dad was me about the world I’d built And then she begged me to I could express what I made any of the films I’ve was surrounded by kids who could act, and I could see what my dad. And the girl in it was in the script. And, suddenly, I go to secretarial college, wanted to express. Whereas made without going through good acting looked like. I knew I couldn’t do that. I was too me. was talking about creative which was the big turning when I was acting, I couldn’t. all the processes that I went self-aware. I probably lacked confidence as well. But I was stuff. And I felt listened to, point for me. I’d read an I’d not so long before met a There wasn’t any story I through in those early blown away by Lee MacDonald, who played Zammo at the and that somebody was article somewhere in producer, called Chuck wanted to tell as an actor, stages. I just couldn’t have time, and he had a harrowing storyline in my final year [about actually encouraging me, or Cosmopolitan or Pride, or Sutton, in the States. His but plenty I wanted to tell as done them. I couldn’t have childhood drug addiction]. And I was also blown away by the telling me; “you are good, one of the women’s uncle was Malcolm X’s a writer. simply arrived fully baked. impact of the story on the community. and there is a possibility that magazines, that said that lawyer, and his family owned you might be better”. I’d go back to my own community in South London, and I Black women, at that time, the Apollo Theatre in Harlem. could see the impact, particularly the Heroin storyline, was actually did really well in I gave him the script to read, So, I came back to the UK having with kids I went to school with previously, in my particular areas of and Chuck read it, and said, and pinpointed a producer primary school, and that blew me away. administration and particular “This is really good”. And he that I wanted to send my areas of lower management, set up a meeting for me at script to, who was called

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Lenny: Mentoring is really does an African family gaining a perspective, and was becoming more buried in were once working Nothing was happening at Amma: It is hard, it is very important. I think what you overlap with a white Welsh writing, which meant I was becoming more buried in communities, that made all. I didn’t expect it all to hard, it is also hard for some said about Paul Mayhew- family?” say. You know, and, research, which meant I was becoming more buried in sense, right? And now they sort of fall in my lap. But I white guys, who drop away Archer really resonates with all of those conversations politics, and I was becoming more buried in how societies are don’t make any sense just expected to get my foot before the sophomore me. Often people get the about the ‘specific’ and the built, and how societal symptoms sometimes manifest.… not anymore. in the door, so I could sit and movie. But once you put whole mentor/mentee ‘universal’ and how the to say that racism is only a symptom but, in the context of have conversations, and talk And my producer, Peter Black and female, once you relationship wrong. It ‘detail’ is what makes a story the world I had grown up in, racism was partly a symptom. to people about what I’d like Edwards, and I, would talk put in that intersection, it shouldn’t just be about that resonate. That’s what And, therefore, I wondered what -- could -- be some of the to do next, and that just about whether we’re the was an absolute no-no. And, having someone who can allowed me to create the film causes? And, as human beings, where does the responsibility wasn’t happening. children of immigrants, or where we’re at today, there help you make things A Way of Life. of the individual stop and the responsibility of the state and is at least some recognition not, in communities like the Lenny: So why? Why do better. You also need to be society begin, and vice versa. of that, that tragedy and one in A Way of Life, we are you think that had able to allow your mentee horror, and there is some Do not A Way of Life was actually dealing more with poverty and talking about parents and happened? to make mistakes. And then acceptance by the exclusion, and specifically the underclass, than anything else. children who are now living let them figure it out for pigeonhole Amma: gatekeepers that that’s what Everyone in it is trying to survive. That popular saying; “Stop in non-functioning I think that there was themselves. A mentor’s job they did. And nobody cared, Black talent and smell the roses”, when I was researching the film, I was, communities. just a sense that I was a one isn’t to come in to save you, hit wonder. I was an nobody gave a damn that Lenny: A Way of Life like, “Man, how is a person who doesn’t even know where or to move you out of the anomaly. I didn’t look like there were large elements of (written and directed by the next bottle of milk is coming from to feed her baby, way and say: “Let me The difficulty of directors were supposed to British talent that were falling Amma Asante, 2004) went supposed to be expected to stop and smell the roses?” In rewrite that for you,” or, look, I was both female and by the wayside. on to win a BAFTA. And it certain situations, that’s like a privilege, beyond anything you building on ”Let me redesign that piece black. You have to was extraordinary, because could possibly imagine. So [after my first film], I did of complex machinery for success as a remember there was no I’m pretty sure it wasn’t get some work from you.” A mentor should be You know, when I was growing up, people who had roses in Black woman Steve McQueen directing what people were expecting America. Universal actually saying: “Okay, what do their gardens were rich. To this day, my mother-in-law has movies when I won my first from you - something so Lenny: What you are developed something with ‘you’ think you should do?” roses in her garden. And she’s not rich at all. But I still think of BAFTA, there was wonderful dark and complex. describing is a hybrid it as such a kind of decadent luxury. I’ve got roses in my Ngozi [Onwurah], the first Amma: Absolutely. between class and Amma: I really wanted to house right now, and I always think of them as a luxury, Black British woman to have Absolutely! The same is true systemic racism. A Way of . . . I was, like, “Man, how is a escape the prescription of they’re a big deal for me. And so, I started to read up and I a feature film made. There for all the best producers Life won multiple awards. what people thought you learned that if you have an [coin or key fed] electricity meter were the two of us, and I person who doesn’t even know I’ve had over the years. For You won the Alfred Dunhill should make, as a Black in your home, you pay more per unit of electricity than if you didn’t know of anyone else my first film, for instance, my UK Film Talent award, the where the next bottle of milk is just pay a quarterly bill – at least that was the case when I at that particular point. person. Carl Foreman Award, The producer, Peter Edwards, was making the film. coming from to feed her baby, the Head of ITV Wales, Lenny: But it seems to me Times Breakthrough Artist Lenny: In America, in the wasn’t officially my mentor, that the projects you Lenny: So, you wanted to write about systemic poverty. The of the Year. It was 90s, it seemed as though supposed to be expected to stop but he sort of was, because undertake are always things that keep people poor. The inability of some people extraordinary, the amount the film industry was and smell the roses?” he would do it. He would ask stories from a unique to escape a life like that. It’s a generational issue as much of attention your first film overrun by all these questions. All his notes were perspective. And I’m as anything else. brought you. And, I independent films by black questions. fascinated by that. When I first met you, you were quite young, and my initial presume, all these filmmakers. Like Julie Dash me, and Robert Jones who’d impression was that you were so serious. I was like, “That accolades gave you a and Matty Rich and Darnell left the UK Film Council, who I would get on the train back Amma: With A Way of Life, I Amma, man, she’s carrying the world on her shoulders, platform that would lead to Martin and Leslie Harris. was a British producer, he from Wales. And I’d spend wanted to go down the road she’s got to get these ideas out there, otherwise she would your second film,Belle . But you’re right, I think what developed something with two hours with maybe one where I could express an explode!” happened with those me. And then, around 2008, question spinning around in Amma: Well, you know what, experience that I recognise, filmmakers - apart from we hit a financial crash in the my head. Like, one of these Amma: I did feel like that, because society keeps certain Lenny, in many ways it did, but I wanted to tell it from Spike Lee, of course - is UK. And lots and lots of questions would spin worlds that once functioned marginalised, right? You take but in other ways it was very, the point of view of the that a lot of them made one production companies went around, spin around, spin away everything that allowed them to function. You take away very tough. All the fuss went people who put me through film that managed to make down the drain, both in around, and I’d wake up the work, you take away the libraries, you take away once decent away, after the Southbank that experience – to be the some money. And then, America and the UK. And, at next morning, and schools - because everybody who supported them has Show awards, and the observer and, yes, even the once the initial fanfare that particular point, I sort of something would just click, moved out. You cut them off, and then, when immigrants, like BAFTA Awards and the commentator, if you like. about ‘new and exciting thought: “O.K., that’s the and then I’d go back and I my parents and yours, move in, and children of immigrants FIPRESCI Awards around So, growing up in South Black filmmakers’ was over, end.” All three of my projects would do a whole new draft. like us – we get the blame for what society’s, structures and the world - there was all of London, where we were it was very difficult for them just crashed. And one of And it would just get better governments have taken from those communities. that for about a year. And to carve out any kind of them had been announced and better, based on these harangued as one of only then, after that settled down, And then, because you’ve got no education, you’ve got career, or even get a at Cannes; we were going to conversations that we’d two black families on the and I went and started multi-generational poverty, you’re talking about worlds where second film financed.1 make Where Hands Touch have about life. They’d be street. You know, my Virgo writing what became my kids don’t even remember their parents working, sometimes, - loads of noise, some of the about his family, they’d be brain was like; “What makes fourth film, and I started if unemployment is also multi-generational. Then you’ve got trades ran it. And that about my family, they’d be people do that, what is the banging on those doors, and grandparents who lived next door, who remember a time crashed, and it was tough, about, you know, “where reasoning behind it?” And they were like concrete, they when these environments were functioning and where these you know, because I hadn’t my brain was growing up, didn’t move.

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sort of been through that Lenny: Was it already Black How you find identity and After Belle, the BBC could Amma: I mean, I think in they’ve not necessarily and called Barry Jenkins [the process before. Now, I’ve written? Did you have to self in a world where you are no longer make their terms of the executives, the watched a single one of my Black director of The been through it a million write it solo? characters in wealthy, and in a world that quintessential period films producers, I feel like I’m films. Underground Railroad] and times. But, at that time, I keeps you away from other and TV dramas and not treated in the same way as said: “Barry, tell me what Amma: I had to write the film period dramas Lenny: For the US, this is an hadn’t been through it people that look like you. include a Black person the white guys are treated in was great about the we made – 18 drafts. But interesting moment, isn’t it? before. And I just thought, Lenny: I’m so glad you How to find a sense of self somewhere. It was the US to be really honest experience. Tell me what what happened was that the Because the streamers it’s time to go now. I’ve really mentioned Belle - I got so without community, because embarrassing for them to with you. But I think, in terms was horrendous about the person who had worked with have taken prominence. tried hard. I’ve really done much from that movie. And we are not all lucky enough think that they could do that, of crews in America and in experience, and tell me what the producer to try to get a Amazon’s recent my best. There’s nothing I I have to ask, and I ask with to grow up in one where our and ITV now has stuff in the UK, they are very similar, you would do differently.” version off the ground with announcement that it’s can do. And so, I was all great respect and a little race is reflected. But Belle development all over the and there is still a sense of, And, I got massive HBO was able to take me to about to buy MGM studios ready to bow out and go trepidation: Did you enjoy does find and embrace her place. Period pieces now “Oh, my God, we’ve never goosebumps, because I her guild in America, and got is a massive play - a back to secretarial school Bridgerton? Ahhhh man! I’m identity – and that is her have Black people all over quite been led by someone realised 15 years ago [that] I the full writing credit for massive move on its part. I again. And then Damian telling you, I’m betting the triumph. I’m doing them. And everybody wants who looks like this before”. couldn’t do that. Who could I everything I did. I did talk wanted to ask you about Jones came to me with a producers of that show something at the moment to do the movie, or the TV So, I still think that there’s a pick up the phone to? Who about it in the press, and for the differences between TV picture postcard, in 2009, of must have watched Belle with Tiffany Haddish, which show, about Queen Victoria’s lot of work to be done, in was the Black artist that I a long time, the experience and film. Do you think the the painting that became nine hundred times and I’m loving, set in an earlier adopted daughter, you terms of crews. The director could pick up the phone to, was extremely painful. It rise of the streamers, and what I adapted into Belle. said, “We should do sump’n period, the 16th century, a know, from Nigeria. All these has to know what they’re and say, “what was your stopped me from being able their inevitable dominance, like what Amma did! But Tudor world. In terms of the stories existed prior to Belle, doing, and the crew has to specific experience of doing Damian had tried to make it to write for a period, will affect diversity in terms there’s gotta be more black character whose story I’m but now they have a chance know that you know what this very specific thing?” elsewhere, as a TV film, and because every time I put pen of how programmes get folks in it!” What I really telling, she’s a real-life to be made. you’re doing - you have to And ask exactly what I it hadn’t worked. And the to paper, the stress of it was funded and produced now? want to know is, if you were character, and her story has really quickly show that you should watch out for, and Film Council said, you know, terrible. I lost my hair. It was Lenny: Belle opened the There just seems to be so doing Belle now, would you a number of Black people in have a vision. ask, “how can you help me door for other projects to many options for creative cast more black performers it. navigate some of the be considered. But if you’re Black and talent out there – many in it? potholes that you found?” I have got to a place where I Lenny: When you make you’re female, you don’t more interested buyers for Amma: Precisely, it opened Amma: Oh, well, first of all, decisions about your have the option of being able a variety of not-so- And he was so open and he understand that unless I the door, both in the US and Shonda Rhimes [the projects, do you see these to go on set and try the mainstream products. Just was so brilliant. in the UK. Belle did better in acknowledge certain of my executive producer of as bold moves in advancing camera here, or try the look at The Underground the US, actually. It helped Bridgerton] is brilliant. When diversity and camera there. I’m not a Railroad [miniseries created achievements . . . then perhaps change the conversation. Don’t just give Belle came out, she put a representation? Because it director who can be thinking and directed by Barry no one else will. tweet out saying, “Run, don’t takes a brave person to on my feet, I’ve got to have Jenkins]. This is an example us a chance, walk to the movie theatre to take on all these right-wing The struggle for everything planned out. And of a very auteurist approach give us the really awful. But I got to a see Belle.” Which was really historians who have done Black women’s I’ve got to know everything. to longform broadcasting chance to fail “Go to Amma and see what place, I would say in the last lovely. such a good job of erasing And any thinking I’m doing that would never have been she makes of it. She’s Black people from the leadership to has to be done so privately, produced if it had been Lenny: It is amazing that we 24 months, where I realised Lenny: You obviously obsessed with the period all now have fellow Black it really doesn’t matter. planted a seed in her head. historical narrative. Where be accepted and so quietly, between me pitched as a movie. and she’s obsessed with Because all of the body of do you see your place in all and my DP, because, Streamers don’t just want a peers, who we can call on Lenny: Talking about the gender.” I’d previously tried work that I’m creating, when Amma: And, I’m proud of of this? otherwise, it takes a long sure thing - they’re for support and advice, but US, people often talk about to make something set I’m gone, anybody who that. And we [Asante and time to earn that trust, and investing across a spectrum it is still tough. And for me, Amma: Black people have Black actors escaping to around the same period, and looks at the work will know Rhimes] did something a few you lose it very fast. of subject matter from dark one of the things we are lived and thrived and America to further their the BFI had rejected it. It what is Amma, and what weeks ago with Gloria to light. And they, at the fighting for is the ability to struggled in Britain for careers. I wanted to ask you Lenny: Yeah, they smell was around gender, it was a that means. Everybody that Steinem’s Women’s Media moment anyway, seem very fail, and to learn from our centuries. Read David about your experiences as blood. They smell blood in very feminist piece. And so needs to, knows what my Centre, which is an keen on investing in diverse mistakes. You know, artists Olusoga, read Peter Fry’s a Black person behind the the water, and you’re done they said, you know, “if voice sounds like, what it organisation based in New talent. Is that the direction such as Steve Martin made Staying Power. Y’know camera over there. Is it for. Amma says yes, we might feels like, what it makes York, and sort of does a in which you’re heading a few clunkers before he Lenny, I have got to a place different for a person of make this,” and they did - them feel like, or not.. similar thing to what you Amma: Oh, my God. Yeah, now? Will that be the next found his feet in film and where I understand that colour working in the US they stuck to their promise. guys are doing, but its focus absolutely. That is a reality. thing? television, as did Robin unless I acknowledge certain versus working in the UK? And so the process of is specifically on women. It’s Whereas, with the sorts of Williams. Nobody ever said of my achievements, even And what lessons can each Amma: So, it was making and developing it a brilliant organisation, and producers and managers, to Robin Williams, “Oh, though I’ve had lots of side of the Atlantic learn announced a few months was not difficult. she [Shonda Rhimes] was there is an understanding of you’re only allowed one try awards, and some critical from the other? What’s your ago that I’d be doing very complimentary, and your vision, they picked you and that’s it. If it’s a dog’s acclaim, as well as negative experience? something similar - a very really lovely. for you. They thought about breakfast, you don’t get to criticism too, then perhaps different kind of show, but it long and hard before they make any more films.” But Belle’s story was quite no one else will. sort of directing all eight brought you on board, different to Bridgerton - Belle episodes. And, you know, whereas crews don’t was clearly isolated in her what was the first thing I necessarily know that, and world, and it was a story of did? I picked up the phone isolation that I wanted to tell.

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Amma: I completely agree. One of the reasons why I BAFTA, and I was introduced specifically for Black talent, We want a power share – not a – being deemed to be a safe go and see both. And that’s As a Black person you go to decided to do high to him, and I thought, “Oh, they are saying, I’m investing pair of hands - to walk fine. For me, that’s creative prison if you ever production value television in God, I had better say in the talent, not just the power grab audiences in the shoes of a absolutely fine. But don’t tell the US, was that it meant something clever”. And I project. Black woman, in The Colour my story, and not allow me make a bad movie. And I Lenny: OK, here’s my final question. If there was one thing sort of noticed that. I was that while I was getting my thought, “What can I say?” Purple, white audiences to tell it too. Lenny: When Marcus Ryder you could get broadcasters, streamers and studios to do to getting a lot of really terrible films financed, I was able to And I said to him, “you realised that they’d actually and I were talking about increase diversity, what would that be? reviews for one of my stay behind the camera and know, Wales has some of be fine by the end of it. You ring-fencing money, in References movies, I think it only got like continue to work with great the oldest black Amma: I think it’s more a psychological thing, more than know, if you walk two hours many ways, we saw this 42% on Rotten Tomatoes, talent, continue to work with communities in Europe? anything. I want them to recognise that, in order to truly make in the shoes of a Black 1. ‘They Set Us Up to Fail’: current correlation between when my average is about great DPs, and continue to What are you doing on ITV a difference, they must understand that power has to be woman - of Whoopi Black Directors of the the nations and the regions, 80 or so. And, I sort of felt hone my skills. Because, Wales to reflect that?” And shared. I think the fear of sharing power means that there’s a Goldberg – you’ll be okay, ’90s Speak Out - New and promoting under- York Times, July 3rd very isolated, and very alone, otherwise, when my movies he sort of looked at me, and lot of lip service. And, they still struggle for the changes that just fine. You can actually represented groups and 2019. and I started looking at my come out nobody says; “Oh, said, “Yeah, I’ll see you are being made in order to be really meaningful, because come out quite elated and comparing them, saying; https://www.nytimes. white male peers, realising she hasn’t made a movie for another time”. And more or people are still trying to hold on to power. And I think it’s the fulfilled by it, like a thousand “You’ve given this money to com/2019/07/03/movies/ there have been loads of five years or 10 years.“ They less walked off. And then, recognition that power has to be shared. I don’t want to other films, with the nations - you should think black-directors-1990s. movies where they’ve got are comparing me to people six weeks later, he rang me sound like a greetings card, but I do believe that power is a quintessential male in terms of communities html that 42%. But you know who are making movies and said,” Are you the bit like love and there’s enough to go around. And just protagonist at the centre. too, and ring-fence money what reviewers do? They every 24 months or 48 woman that I met at because you have a powerful Black commissioning editor for them too. We’re here, Lenny: You’re that person sort of ignore the bad months, and slating you if BAFTA?” And I said, “Yes.” whose choices are honoured, it doesn’t mean you’re less and we pay our licence now? movies [by White peers]. they feel that your movies He said, “I’ve been looking powerful. It just means that, rather than losing power, you are fee.” And our opinion was They move on. And those don’t come up to scratch. for you for six weeks, and facilitating the unblocking of the arteries of our industry. And Amma: Yes, exactly. And so that those in charge were filmmakers are … are making want to have a conversation that means you have to really look in the mirror. what I want is for them not looking at these another movie within 18 or with you about the question [inspirational White directors] The need for under-represented groups Lenny: Thank you Amma, this has been wonderful - it was a 24 months, and that you asked me, because I’ve to exist, but I want to exist Amma Asante is a BAFTA in the same way. And, in pleasure to speak to you. becomes their next Oscar ring-fenced been thinking about it.” And alongside them. And I want award-winning filmmaker, the end, if you don’t My takeaway from this is your story about A Way of Life directing “ ” in tipped movie. funds for when I went to meet him, we you, and everybody else, to A Way of Life ring-fence money, those where the producer at ITV Wales, Peter Edwards, came to 2004, “Belle” in 2013, “A talked, and he said, “I’m be able to go to the cinema Lenny: There’s leeway for a eyeballs will turn over and you and said, “We’re going to ring-fence some money so United Kingdom” in 2016, diversity going to ring-fence money and go, “Oh, there’s a certain kind of creative, that seek stories and imagery that you can tell your story”. That needs to happen on a and “Where Hands Touch” Lenny: I think one of the for you. To tell the story you number of films” – maybe just isn’t there for people of telling their stories via global scale because if they don’t do this simple thing - put in 2018. This is a transcript things that keeps creatives want to tell.” And I said, one is by me and one is by a colour, or women, or people like them. money aside for marginalised groups for them to tell their of a conversation which of colour, and producers “What story?” He said, “we white male director. – “Oh, took place over Zoom on non-binary people. own stories - nothing will change. Because nothing and directors of colour, can talk about that, but what Amma: Yes, they can now. they’re both about Black 8th June 2021, produced happens without investment. Amma: You learn from your down is that we are so I’m saying to you is, I’m They can go elsewhere, you women, which one am I and edited by Marcus mistakes, and you also learn critically judged - and you going to ring-fence money know. 20 years ago, they going to go and see?” and Ryder. by continually working. You only get one shot. And if for you. And what I’m saying couldn’t, but now they can, There should be room for know, the average for a you mess it up, that’s it and to you is I’m guaranteeing to as the streamers are looking everyone’s story woman between the first and it’s gonna take you a long, you that I will find something to offer us what we want. If the second film has been 10 long time to get back into for you, and I will keep that they’re offering us the stories Amma: The final thing I want to say is that, you know, I grew years. It was very normal for anybody’s good graces. It’s money from my budget this and the product that we up with Scorsese and Spielberg, and mostly [it was] these a 10 year gap. And that’s one of the reasons why year, to do it for you, want, that’s where we will American directors’ work that inspired me beyond belief. And Representology takeaways what it was for me - it was Marcus Ryder and I, in because what you speak go, and the BBC will be left I got an Empire Award a few years ago. And, part of my 10 years. But if you look at 2015, called for the UK about is important.” dead in the water if it doesn’t speech was talking about all of these men - these white, very The intersection of race and gender presents broadcasters to ring-fence particular challenges and difficulties as a filmmaker the amount of movies that And that’s how A Way of Life catch up. traditional men, whose work inspired me. But I also talked funds for diversity and, in • Women and people of colour are judged to higher my white male counterparts came about. That’s the about the fact that so did Barbra Streisand - when Barbra 2019, to argue for tax standards compared to their white and male are making over those ten movie that got me the Streisand did Yentl, I didn’t realise how much her story behind breaks for diverse films. counterparts - their projects are less likely to be years - actually, even maybe BAFTA. That’s the movie that that film and in front of the camera really inspired me. I know And we wondered - I forgiven for ‘failing’ a Black male director, in that essentially launched my now, because I’m also obsessed with the film. But in my wondered - if you had any time - what they’re doing is career as a director, because speech, I talked about how many more women I could have • It is important that work which didn’t make it to the views on either of these they’re honing their skills, he ring-fenced that money put on my list of directors who inspired me, if more women screen is not considered a “waste of time” - it things? they’re getting better. for me. We obviously got had been given the opportunities that those great men, informs future, more successful work. whose work I love so much, had been given. Amma: I do, because, if you other money in the end, on • Good mentors will ask questions - not offer up remember, Peter Edwards, top of it, but that first I don’t want a world where there’s no Scorsese, I don’t want answers - allowing apprentices to develop their who I mentioned earlier, who amount of money made a a world where there’s no Spielberg, I believe that there was a own solutions was Head of Drama at ITV difference. So, whoever it is, Belle because there was a Colour Purple [directed by Steven • Money should be ring-fenced for work created by Wales, how I met him was at that is ring-fencing money Spielberg]. I believe that, because of him [Spielberg] people from underrepresented groups

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FINDING MY VOICE Working at The Voice, Britain’s premier Black newspaper, gave journalistessential and tools Afua Hirsch broadcaster to navigate the media industry

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There are things I did at But then I went on to write There is no way to describe It was only later, in this culture or how it impacts Recognition within the media Afua Hirsch is a journalist, The Voice newspaper as about racism in football, the confidence that comes newsrooms where I was the upon the people who must is possible, but it comes at a broadcaster, author, and anorexia in the Black from feeling a sense of visible ‘other’ as one of few, inhabit it. cost. Wallis Annenberg Chair of a young journalist in the community, the exclusion of belonging and solidarity in a or where there were no other the University of Southern Even at the time, many of A positive reason for 1990s of which I’m not pregnant schoolgirls, and the place of work. When I began Black journalists, that I came California the people who knew me celebrating a Black press - emerging culture of British writing for The Voice, the to appreciate how nurturing entirely proud. A when I worked at The Voice, as well as all the other media hip hop. I was a Black number of Black journalists a space that was. Older, photoshoot involving a questioned why we needed outlets that speak teenage girl, writing about working on national more experienced journalists a Black newspaper at all. It specifically and directly to snowboard, a cheesy Black teenage girls. Before broadsheets and as TV took an interest in nurturing was segregationist, they minority communities - is interview about the there was a language for broadcasters was negligible. my enthusiasm for writing thought - it presumed a that it creates spaces in ‘For us, by us’, The Voice Other than the grandees of and reporting. It was not a festival Kwanzaa. My homogeneity in the Black which we are not minorities. was a crucial part of the Black British media - Trevor perfect organisation - and first ever copy was community. There are both media landscape in Britain Phillips and Moira Stewart, had problems of leadership This is something I have positive and negative essentially some PR puff that was doing just that. and the crucial work of and financial management come to value more since elements to my response. about a new single from Darcus Howe - the idea of that, even from my my time at The Voice, more Would mainstream media Black people reporting, inexperienced perspective, A negative is that, whilst the than two decades ago. As American R&B artist outlets have covered those investigating and presenting created challenges for the rest of the media has never political and media Faith Evans. stories at the time? If so, news and current affairs was journalists that it hired. But overtly styled itself as ‘the narratives have become would they have centred on a completely fantastical one the threat of feeling alienated white media’, that’s exactly more polarised and the Black experience or, to me. As is so often the or racially othered by what it has been. From the polarising, my role has often instead, moulded it to fit a case, the stories of microaggressions or bias tabloids peddling racist been to serve as the token white gaze? Would their important Black journalists - unconscious or overt - was tropes about immigration Black person in a discussion journalistic instincts, the who had been operating a non-issue. and Black criminality, to the or debate, in which I’m clear call of public interest, throughout the twentieth required to justify both my have extended to include not century - including Una legitimacy as a contributor, just racism, systemic Marson, Barbara Blake and the idea that racism unfairness, but also - and Hannah - were invisible and Even at the time, many of the exists. these are perhaps the early inaccessible to me. works I’m most proud of - people who knew me when I Every Black commentator I features about cultural And yet here was a know - regardless of their innovation that are simply newsroom that was fully worked at The Voice, questioned professional training or allowed to radiate Black joy? staffed, owned and executed why we needed a Black journalistic interest - receives by Black professionals. From dozens of requests to I would later gain insight into the editor to the secretary, appear in still the culture and content of newspaper at all. It was the reporters and the overwhelmingly white media those organisations when I photographers, it was an segregationist, they thought . . . spaces whenever a story became a correspondent for assembly of people who about racism, or official The Guardian, and shared a sense of attempts to deny its validity, freelanced for The Times, broadsheets promoting community, cultural heritage The confidence that becomes significant news. The Telegraph, Sky News, fringe voices who appear to and discourse - an engendered - not just in me, For many news the BBC, CNN, Channel 4, have internalised anti- intellectual curiosity about but in many other young organisations, this is the the Financial Times, Blackness, it’s still often hard the Black experience and Black journalists I single role of Black Prospect, Marie Claire, and to avoid the sense that about how to tell those encountered who were journalists in debating many others. I could offer Britain’s media organisations stories. beginning their careers there questions about race or my anecdotal answer to don’t work for, or include, - stayed with me when I later explaining what it means. these questions, and also Black people. entered the giants of the When people ask me how I cite the numerous studies British media. It was a Every Black journalist knows personally cope with the conducted since the mid confidence I would need. at least one person of colour fatiguing nature of these 1990s which reveal an abject These spaces make you in a predominantly white requests, I often think back failure by the news media to highly conscious of your newsroom who has been to my entry into journalism, reflect the society it claims difference, and reward those able to get through, and at The Voice, and quietly to report upon. who attempt to assimilate enjoy success, as a result of offer my thanks for the But the reality is that I may into the whiteness that assimilating into the pre- resilience it gave me, and not have got there at all, characterised their culture. existing culture and how long it continues to last. were it not for my early Ironically, for a profession narrative, and avoiding experience of incubation at that is supposedly interested drawing attention to either The Voice. in uncovering truths, there their perspective, lived has been little introspection experience, or their identity or honest analysis of either as a Black person.

16 17 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY Putting ISSUE 02 SUMMER 2021 the Black into Britain Professor Kurt Barling highlights the ‘striking impact’ of pioneering BBC current affairs series, Black Britain.

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Steve McQueen’s 2020 Small Axe drama series on Black current affairs break the mould, in the 2020). Misrepresentation and trip to a Harlesden cricket to such depths that BBC Television and BBC2’s Black Power programmes were rarely midst of another periodic stereotypes were at the root Caribbean takeaway brought they couldn’t even beat an seen by programme and recurring crisis of of Hall’s analyses of the about what was quickly African side. The documentary (March 2021) were rare forays into the commissioners as being confidence - what is ways in which television dubbed ‘Black Food Friday’. ‘Caribbeans’ on the team all mainstream experience of Black Britons. successful. Ebony, Bandung sometimes referred to as a presented minority It was, and remains, rare to felt the collective sorrow of Sometimes, it feels that in every generation some File, Black Bag and All Black ‘watershed moment’ - communities (Hall, 1997). assemble such a sporting decline. Then up commissioner or other suddenly ‘discovers’ there all followed Black on Black, ruminating on where Britain Malik has described this as a concentration of Black talent popped the Oxford- which was broadcast on was heading as a multi- ‘racialised regime of in one place on national educated Henry Bonsu, a are real stories of Black contributions to this Island Channel 4 in the mid 1980s, ethnic community. representation’, one that is television. man never afraid to inject of Nations that we call home. It’s hard to believe it is to mixed reviews. BBC News typically characterised by criticism into a conversation, At the same time, Curiously, Black Britain was and Current Affairs the singular association of and asked why this piece of a quarter of a century since the BBC current affairs journalism’s foot soldiers, a programme on which responded to the BBC Two inner-city riots with images journalism had simply dwelt magazine series Black Britain (1996-2000) first like the veteran foreign many people who joined Controller Michael Jackson’s of Blackness. It is not ironic on decline, and had correspondent, George were warned by ‘concerned’ graced our screens. It feels like yesterday, perhaps expression of interest in that, by stumbling into the singularly failed to celebrate Alagiah (now a senior colleagues that it would be because I was a member of the production team Black current affairs Broadwater Farm uprising in the rise of a new African newsreader), described the bad for their careers. So, we programming. A group was North London in 1985, I cricketing nation, like Kenya. that made it, and, uncomfortably, because it shows BBC as being, “dominated created our own production set up, which included Pat concluded that I needed to BBC journalism prided itself my generational point may be closer to reality than I by a white male culture. It sub-culture of endurance Younge, to understand those make journalism my in challenging normative has a certain way of working and solidarity. It was just as would like to imagine. The root cause of this earlier offerings and what the vocation, so disgusted was I views, and Henry had allies and networking” (Malik, well, given the ambiguity condition is amnesia: a collective forgetting of what BBC could do differently. at the reporting of that in the Black Britain 2001). That was also my own with which the programme The programme was able to community by the media. newsroom. Others, including has gone before and, as a consequence, the recollection of BBC News was received. A review in the build on the successful Tottenham became me, have African heritage, evaporation of important lessons that are starting and Current Affairs, which I Independent on 6th July, magazine format of Here and stigmatised for decades by and we agreed. It led to a had worked in, by then, for 1996, three days before the points for remedial action, rather than regrets over Now, and the resources of a that event, which had been several years. Black Britain first programme aired, read, what could have been. The editors of well provisioned part of the sparked by the death of a was a genuine antidote to “BBC tries to vault the BBC. Importantly, it found it Black woman, Cynthia Representology, in supporting this piece of research, that. I joined the BBC in ghetto walls with Black had the autonomy to Jarrett, as a result of police have recognised the importance of restoring 1989, fresh from completing news”. I guess they thought Curiously, Black Britain was a produce what the editorial action. my Ph.D. at the London the headline was clever? At institutional memory about what is possible, but team thought would work. School of Economics. An important remedy was best, they were being programme where many people also how reinventing the wheel to increase equality The team had, and never Shortly after entering the always going to be (and insensitive to the aims of the relinquished, editorial power, who joined were warned by in the media should be totally unnecessary. hallowed halls of remains to this day) the series. It demonstrates the and that was crucial. We already have credible answers. broadcasting, I was accused ability of broadcasters to credibility challenge that was ‘concerned’ colleagues that it The murder of the teenager, by a manager of falsifying broaden their recruitment faced by the team. The Stephen Lawrence, in 1993, my CV. After a week in which base and to offer a wider series producer, Pat Younge, would be bad for their career. opened fresh wounds I was left to stew, and during variety of diverse reminded viewers and critics concerning the treatment of which I felt utterly perspectives - ones that who would listen that “it was Black people across Britain, demoralised, I was informed would be reflected in the a programme for Black lively debate about how, and refocused broadcasters’ that it was all an elaborate words and pictures that are people, and not about them” even on a programme like attention on the reality that joke to test whether I really chosen to describe the lives (Black Film Bulletin, 1997, Black Britain, it was easy to major journalism outlets, was as bright and robust as of Black people in Britain. p.8). fall into lazy assumptions including the BBC, had my qualifications suggested. This is where the recruits to Black Britain had a striking and group-thinking about failed to address the I never really trusted a BBC Black Britain played such an impact on the way in which how a story should be told. concerns of minority manager at face value again. important role. They came stories about Black people This mistake was not made communities. Even whilst from a range of places, and A lack of trust, too, lay at the were told. For a start, it gave again. Black Britain was on air, an they were not all of Black heart of the poor relationship the lie to a sense that there internal 1999 BBC memo Caribbean or African We were able to put other between Black communities was one ‘Blackness’, or to from Tony Hall who, at that heritage. Some were British important stories, like the and those who endeavoured monocultural interpretations time, was Head of News and Asian, and a number were trafficking of African to cover their stories. of what it was to be Black in Current Affairs, recognised white. Others, like myself, historical artifacts to the art Professor Stuart Hall was a Britain. One memorable that: “The BBC receives were of mixed ethnicity. houses of the global north, pioneer in the interrogation editorial discussion very more than £200m in licence Many journalists were in on to the agenda. We gained of this vexed relationship, as clearly illustrated this. The fees from people from ethnic their late twenties to early exclusive access to illustrated by his television West Indies cricket team had minority groups … but they thirties, and it was a truly Pentonville prison to witness essay, ‘It ain’t half racist, played Kenya in the World don’t feel that the BBC ethnically mixed team, but the conversions to Islam of mum’, a transcript of which Cup - and lost. This was little connects with their lives” one in which there was very young African-Caribbean was reprinted in the first short of a disaster for (Malik, 2001). Black Britain quickly a strong sense of men. We even discovered issue of this journal Caribbean aficionados of the emerged as an attempt to camaraderie and joint new sporting talent: Lewis (Representology, Winter game. The item, shot at the endeavour. This was Hamilton was featured on Oval with some celebrated symbolically cemented on the programme as a go- Caribbean elders, lamented Fridays by abstinence from karting ace, long before he the demise of West Indian BBC canteen food. A quick became the Formula One

20 21 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021

World Motor Racing your issues, because we are However, in other ways, Table 1: Successful Black Britain Alumni Champion. In fact, his as British as you are” Black Britain did create a Bibliography backers offered Black Britain (Interview with author). For pathway to sustainability Samina Baig Playwright & Screenwriter Aitkenhead, D., (July 6th an exclusive opportunity to example, Black Britain through the talented folk 1996). ‘BBC tries to vault the Kurt Barling BBC London Special Correspondent follow the story, but even we wouldn’t ignore stories of who left the programme, but ghetto walls with black failed to spot this future deaths in police custody, but who moved on with greater Henry Bonsu BBC Presenter & Radio Executive news’. Independent, legend. the programme would confidence to ‘infiltrate’ Brenda Emmanus OBE London. foreground the human and other areas of journalism and BBC London Arts Correspondent Operation Black Vote (OBV) family contexts of these the programme-making Gillian Joseph Presenter Sky News Black Film Bulletin, (Autumn was launched in the run-up stories, and show how business. Of the 28 people 1996), Vol 4:3, pp.5-8. to the 1997 General Election. Michelle Matherson Creative Diversity Partner, BBC Commissioning structural problems involved in the production Its founder, Simon (now Hall, S (1997) impacted on individuals. staff, nearly half went on to Hugh Muir Print Editor, The Guardian Lord) Woolley, credits the Representation: Cultural Above all, the stories were fairly illustrious careers (see charity being featured in Clive Myrie BBC Correspondent. BBC News Presenter. Representation and not framed by debates on Table 1). Others, who I Black Britain with giving it Presenter Mastermind Signifying Practices. Sage: race, but were narratives haven’t named, remain credibility. One of the final London. about people. respected, successful and Marcus Ryder MBE Senior TV Executive and Diversity Champion programmes under the Black active in the business. Many Henry, L. & M. Ryder. (2021) Britain brand was my To begin with, the magazine Fatima Salaria Commissioner for BBC & Channel 4, MD Naked TV recall Black Britain as a high Access All Areas: The obituary film for the, often format followed the Here and point in their creative Sandy Smith Former Editor, BBC One Show Diversity Manifesto for TV controversial, Tottenham MP, Now series, presenting careers. Of course, this begs and Beyond. Faber: London. Bernie Grant, who died in pieces to reflect the light and Maxine Watson BBC Commissioner the question: how many 2000. I find it significant that shade of current affairs Malik, S., (2001) more people could have Pat Younge BBC Commissioner. US TV Executive. I have been asked every year stories. It tried to mix serious Representing Black Britain: benefited from this talent ITV Studios Board by Black community groups journalism with topical Black & Asian Images on pipeline had the programme how this film can be viewed, treatments, and pieces that Television. Sage: London, endured?. as it is unavailable from the primarily had an themselves lack diversity and institutions, but also Professor Kurt Barling is O’Neil, O., (2000) A Question BBC archive (See Dunkley- entertainment focus. It also So why, you might ask, do and this has worked against assessable reasons for Professor of Journalism at of Trust, 2002 BBC Reith Gyimah, Representology, delivered single item current we still have to discuss the creating a diversity of stories trusting and mistrusting” Middlesex University, and is Lectures, accessed online Winter 2020, for discussion affairs programming - from lack of diversity in British and personnel. (O’Neill, 2000, BBC). a former BBC Special April 2021, https://www.bbc. on the importance of elderly returnees to Jamaica journalism and programme- Correspondent and co.uk/radio4/reith2002/BBC In Access All Areas (Henry & The brutal reality in today’s archives). Supply remains being fleeced of their making? It’s a question for Reporter on Black Britain. Representology, (Winter untailored to minority savings, to Queen Victoria’s which there is no easy Ryder, 2021), the question of media ecosystem is that the 2020) Issue 1. community demand. love for a Black princess. answer. What is striking, ring-fenced financing has BBC is much diminished as The series lasted, in one however, is that Black Britain been floated as a remedy to a player in our broadcast Above all, the impact lay in iteration or another, until its had autonomy within the this absence of access: to environment. It no longer the tone Black Britain set demise in 2000. Having organisational structure of offer certainty to diverse commands the attention or around stories. The team assembled such the BBC, it had its production houses that they resource it once did, and it is recognized that there was an concentrated Black talent at guaranteed place in the can make content which, even less relevant to imbalance in the news’s the BBC, it was right that its schedule and, in this sense, because it is funded, will be younger audiences than it knowledge of Black people went off to pursue it had the independence to broadcast. Good ideas used to be, because of the communities, and how that their careers elsewhere. It wield an unusual level of cannot be refused once paid alternatives that are now shaped news agendas, and seems a pity that the power with which to deliver for. Of course, bad ideas can available. However, it that also often fed into bias programme itself had to end. programming without still be rebuffed and remains at the heart of or misperceptions when The practical reality at the interference. Since it reworked, but good British cultural production, approaching stories about Representology takeaways time was that there was broadcast, the cult of the production houses know and still has the ability to set Black people. Typically, probably an insufficient commissioner has emerged how to get the best from the mood music for the Established broadcasters can create news and when Black people talent pipeline to sustain it, - a particularly powerful set their product. industry’s approach to current affairs output that connects with their appeared on screen, it was issues of equity. With Black and failing to put one in of gatekeepers to In one of her extraordinary non-white audiences in order to explain a Britain, there remain lessons place meant that the BBC programmes, and to the type • Broadcasters should address a lack of trust problem. Black Britain BBC Reith Lectures, back in missed the opportunity to of talent that appears on of power, resourcing and attempted to apply the same 2000, Onora O’Neill made an between managers and journalists of colour who make a sustained difference those programmes. recruitment which may not criticality to those stories important intervention. It fear being pigeon-holed working on stories about in this arena. Ironically, in a digital be applied in the same way that were expected of us in goes to the heart of the communities of colour. ecosystem that has become now, but which offer us the usual course of our relationship between the less certain where the examples of what • Black staff from a range of Black British journalistic duties. The media and the audience, and audience will go for what it broadcasters must focus on communities will help to challenge the idea that current Guardian print editor, resonates well for Black and wants, commissioners have in order to move the dial and their is a single homogenous Black community and former Black Britain Brown audiences, in become more insistent on tell a plurality of stories while recognising commonalities of experience. reporter, Hugh Muir, particular. O’Neill said, “To what the audience doesn’t about our evolving nation. describes this as telling the restore trust we need not • Talent pipelines can be created to ensure that want. The commissioners audience that “our issues are only trustworthy persons these types of endeavours are sustainable and built upon.

22 23 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021 The Exclusion Act British East and South East Asians in British Cinema Chi Thai and Delphine Lievens

This research examines British films that were theatrically released from 1st January 2011 to 31st December 2020, and studies how many of these films featured British East and/or South East Asians (BESEA) in a directing, or lead acting role. The term BESEA refers to British people of the following descent and heritage: Brunei, Burma, Cambodia, China, East Timor, Hong Kong, Indonesia, Japan, Laos, Macau, Malaysia, Mongolia, North Korea, Philippines, Singapore, South Korea, Taiwan, Thailand, Vietnam and their diasporas. This study shows a high level of absence of BESEA talent in the UK film industry. The data is drawn from Comscore.1

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ourselves of Orientalism community “you all look which are often experienced by ESEA pits marginalized Executive Summary Introduction (Said, 1978) and the alike.” It is this very dehumanizing: inscrutable or women in western society. communities against each Our data is generated from a study of 1077 films Ethnic minorities are often exclusionary history that this sentiment that has informed emotionless Asians, This form of racism other - “the good immigrant” community has faced, and the understanding of East obedient lotus flowers, perpetuates a type of versus the “bad immigrant,” that were theatrically released in the last decade. addressed under one banner, and are often to understand East and and South East Asia and its servile prostitutes, misogyny that dehumanizes whilst upholding white This research shows: referred to as “BAME”. A South East Asian (ESEA) diasporas as being made up emasculated men, violent ESEA women, and in which supremacy. The myth also 2 specific systemic challenges, of a singular monolithic thugs, perpetual foreigners, violence6 against them is perpetuates an erasure of • In the past ten years, 9 British films have been released recent anti-racist movement in which the BESEA group group of people. This is and more. normalized and socially BESEA racial identity and theatrically by BESEA directors, which equates to 0.8% which is growing in has been subjected to: the reflected in all forms of acceptable. A study from the reality. Consequently, the of all releases. momentum, aims to address This typecasting can “Model Minority Myth”, bureaucracy, from film National Network to End BESEA community is one of systemic racism and to become particularly • Of these 9 films, 1 film is a feature documentary. “Yellow Peril” “Yellow Fever”; industry monitoring forms to Domestic Violence7 reports: the least visible minorities understand diversity by insidious within the UK and and lastly, in particular to the the National Census, where “The everyday racism and within the BAME spectrum. • The majority of these films are defined as low budget. dismantling the term US film industries where the entertainment industry, the BESEA people are given the sexism against Asian In the Race and Ethnic “BAME’’ and the limitations stereotype is pervasive and • These 9 films account for 0.018% of box office for all on-going practices of choice of “Chinese” or women yield deadly results, Diversity: Diamond Data of what it represents. damaging, particularly in the British films released during the 10 year period. “Yellow Face” and “Other”, thus exposing a (with) 41 to 61 percent of Report 202010 BESEA casting process as reported Understanding diversity “Whitewashing.” Within this reductive white gaze Asian women report inclusion in the television • 2 films were released in over 25 screens at the widest in Nancy Yuen’s Reel requires acknowledgement historical context, this report (Consequently, it is difficult experiencing physical and/ industry consistently ranked point of release. Inequality: of all the marginalized demonstrates deep rooted to accurately calculate the or sexual violence by an lowest in comparison with • The ethnic backgrounds of the directors were communities of colour; and exclusionary practices percentage of BESEA in the “I work with a lot of different intimate partner during their Black and South Asian predominantly Japanese, Cambodian and Chinese. how these different originating from colonial UK population - for the people, and Asians are a lifetime. This is significantly groups. communities are confronted systems of power that purposes of this report is challenge to cast because higher than any other ethnic • 3 films speak to the culturally specific lived BESEA Even more being the “good by different challenges. Two continue to control who can approximated as 2.2%4. The most casting directors feel group.” experience. immigrant” has afforded the recent reports have been and cannot shape the UK’s An example of this is seen in community no protection or • BESEA acting talent in a main role featured in only 17 illuminating in their society and culture today. theatrical releases in the 10 year period, which equates examination of the British writer-director privilege when confronted 11 to 1.7% of all British film releases. representation, ethnicity, and Orientalism is a form of “Yellow Alex Garland’s lauded with COVID - the the British television An directorial debut, Ex community has gone from • BESEA actors typically are not cast in a leading role in 8 industry. Peril,” a persistent and harmful Machina (2015) which was invisibility to hypervisibility these films. Exclusionary nominated for an Academy during the pandemic, • Dr. Jami Rogers’s form of stereotyping and Award for Best Original shattering the myth and • The ethnic backgrounds of the actors were Diversity in Broadcast History Screenplay and for a BAFTA showing it to be a thin mask predominantly Japanese and Chinese. Peak Scripted Television3, Orientalism is the positioning xenophobia that aims to ensure for Best Film. Kyoko, a of tolerance revealing the which exposed the deep of the West as the norm, secondary character played racism that lurks underneath. These findings suggest that the BESEA community is exclusion of the BESEA BESEA are perceived as threats sophisticated and superior in by British Japanese actor, marginalized in the film industry, resulting in severe under community in the Whitewashing is the casting contrast to the exoticized, and perpetual foreigners. Sonoyo Mizuno is an android representation both on and off-screen. television industry. A of white actors in non-white undeveloped and backwards who takes the form of a significant observation in roles. Yellow Face is the East. Orientalism has driven mute Japanese woman, this study indicated 0% application of make-up to the exclusionary history of obedient, emotionless and on-screen BESEA combined Asian and BESEA as though they’re not very imitate the appearance of an the ESEA community. Two submissive, who serves her representation on major community together make expressive,” one other East or South East Asian. accounts of historical master and absorbs his flagship continuing drama 7.5% of the UK population casting director told Yuen. Notable entries are Fu exclusion are worth flagging mistreatment against her series for 2018. - the largest ethnic group “They’re very shut down in Manchu, Breakfast at and although by no means without complaint. When the after White British, followed their emotions … If it’s a Tiffany’s and Charlie Chan. • The Creative Diversity comprehensive, they film’s protagonist, Caleb, by Black British at 3.3%. ) look thing for business In the US, these practices Network’s “Race and demonstrate the scope and meets Kyoko for the first where they come in they’re were underpinned by Ethnic Diversity: A Deep extent of ESEA discrimation: Orientalism is a form of time (because of the at a computer or if they’re legislation - the Motion Dive into Diamond Data” • The Chinese Exclusion “Yellow Peril,” a persistent prevailing stereotype which like a scientist or something Picture Production Code, studied the ethnic Act of 1882 in the US, and harmful form of is taken at face value as like that, they’ll do that; but widely known also as the breakdown of senior (prohibiting all stereotyping and xenophobia truth) he does not question if it’s something where they Hays Code, was created in production staff (e.g. immigration of Chinese that aims to ensure that whether or not Kyoko is really have to act and get 1934 to prohibit “immoral” commissioning editors, labourers) which was not BESEA are perceived as human, until she later reveals some kind of performance films, for instance, the directors, producers, abolished until 1965. threats and as perpetual she is an android. out of, it’s a challenge.”5 depiction of miscegenation writers) and observed foreigners. In entertainment, • The forced repatriation Since the 1960s9, East and (e.g. interracial relationships). “East Asian” inclusion at the majority of the Furthermore, the sexual from the UK of thousands South East Asians in the It would take until 1967 for 0.7%. representation of BESEA has fetishizing of ESEA women, of Chinese sailors in the West have been framed as a anti-miscegenation to be been through the eyes of the which is also known as This report, “The Exclusion 1940s. model minority. This is a deemed unconstitutional. Act” has focused specifically status quo and consequently “Yellow Fever,” not only 12 Although these accounts myth that sets up an illusion The Hays Code also on the BESEA community in the portrayal of these prevails on our cinema and refer to Chinese people, the that all Asian Americans and informed that whitewashing the British film industry. In characters are drawn by the television screens, but also exclusion extended to those BESEA people are smart, and yellowface, where this regard, discussing the hand of the establishment in everyday life, and that looked and sounded wealthy, hard working, necessary, was a legal systemic racism faced by and seen through the prism represents a major Chinese goes hand in hand obedient and self-reliant. requirement. Although the the BESEA community it is of the Yellow Peril. This contributory factor to the with the common slight Most dangerously, the myth Code is now obsolete the first worth reminding sustains common depictions violence and abuse thrown at the ESEA

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practices of yellow face and The practice of Yellow Face being British East Asian • Cumulative UK box office whitewashing are not, and and Whitewashing takes suddenly seems to diminish gross BESEA Off-Screen your “authenticity” to be recent examples include: away precious opportunities • Main Cast Representation “Chinese”. Under this bias, • Jim Sturgess, Hugo from an already marginalized • Genre Of the 1077 British films that were theatrically released in the Weaving, Halle Berry, community that has so few some casting directors • Release Date UK in the last decade, 9 were helmed by BESEA directors. Of Hugh Grant and James opportunities in the first would prefer to cast the 9 films, 8 are narrative features: Black Pond (2011), Lilting D’Arcy as Neo-Koreans in place and contributes to the someone from China/East To investigate and confirm (2014), The Darkest Universe (2016), Gangsters Gamblers Cloud Atlas (2012). under-nourishment of the Asia for a Chinese/East the ethnic heritage of BESEA talent pool. In this Asian role in a western directors and actors, names Geezers (2016), The Receptionist (2018), Redcon-1 (2018), • Emma Stone as Hawaiian world, more white women production, a practice that were cross checked against London Unplugged (2019) and Monsoon (2020). Asian Allison Ng in Aloha have won an Academy is not much carried out for industry databases including (2015). Dispossession: The Great Social Housing Swindle (2017) is a roles of other ethnic origins. Award for playing an East or IMDB or directly with feature documentary and is the only theatrically released • Tilda Swinton as the An example is the Disney South East Asian than actual directors, actors or their feature documentary with a BESEA director at the helm in the Tibetan Ancient One in remake of Mulan casting East or South East Asian agents / representatives. The last 10 years, from a total of 249 British documentaries that Doctor Strange (2016). 13 Chinese actress Liu Yifei. It actresses themselves. analysis was also were released in that period. • Natt Wolf as Light Turner denies the opportunity for underpinned by the Yellow Face and in Death Note (2017). East Asian diasporas in the professional knowledge of Whitewashing perpetuate Table showing all BESEA directed films • West to create their own the authors of this report - in Scarlett Johansson as the principle that white representation in the media that regard there are December 2020 -January 2021 Japanese cyborg Motoko actors can play anybody and that they themselves limitations to the precision Kusanagi in Ghost in Shell everybody. Whereas people consume.’ (Jennifer Mak, that is ascertainable (2017). of colour, cannot be white 201914). (especially in the event of • French Algerian Tahar neither can they be people of colour who pass17 Rahim was cast in the themselves. From a wider The BESEA community is for white). Given that white is titular role of a societal perspective, it sets confronted with systems of considered to be the default Vietnamese Indian in The white as the norm and the exclusion which have long it is often not written Serpent (2021) a prime default, the standard that histories and remain real explicitly, whereas it often is time BBC drama. non-white people should obstacles to the community for people of colour. In aspire to but which today. But there is another addition, sometimes a ultimately, they can never devastating wound to inflict, person’s ethnicity was achieve. in the wake of these external reported under a more social and structural forces, generic term, as opposed to the BESEA community must being reported more also contend with specifically. The BESEA community is internalized racism, which can embed complex and Further research was confronted with systems of deep-rooted feelings of undertaken to also calculate doubt, disrespect and hatred and source: exclusion which have long for one’s heritage. • Screen averages18 histories and remain real • Production budgets obstacles to the community Methodology • BFI production funding This report examined all of awards today. the British feature films that Budgets were confirmed by were released in the UK producers or funders in between 1st January, 2011, order to ensure reliable data. With limited opportunities for to 31, December, 202015. Where this was not possible, BESEA acting talent to Films were defined as British estimates were provided by develop their employability if they indicated that that the experienced line producers. (experience, skills and UK was the primary territory The data was analyzed profile), further forces come of origin16. All non British comparatively across into play that can potentially films were excluded from industry averages to further marginalize a this study. Data was illuminate patterns and vulnerable community. An compiled from Comscore trends. example of this is how and tabulated to indicate diasporic ESEA might be The study also interviewed data across the following 19 considered less authentic Robert Mitchell , a leading headings: than “motherland” ESEA: Theatrical Insight analyst in ‘There is a huge racial • Director/s the UK. authenticity bias that • Number of screens the happens to all British East film exhibited across at Asian actors I think in that the point of widest release

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Of the 9 films, 2 films Often low budget films serve make a second film if your General Observations Budgets, received BFI funding - Lilting as debut films and as first film is both unprofitable These 9 films equate to 0.8% of all theatrical releases in the The ethnic backgrounds of the directors are: Chinese, Hong Distribution and Monsoon - both stepping stones to higher and unloved is very UK. Kong, Filipino, Cambodian, mixed White British and directed by Hong Khaou. Of budgets and bigger difficult.” and Box Office the full list of 1,077 British production ambitions. When Japanese; and mixed White British and Chinese. There are no As these films are perceived 4 of the 9 films are directed by the same directors, films, 137 received BFI questioned as to why there directors of the following descents and heritages: Brunei, Revenue to underperform at the box Will Sharpe and Hong Khaou. production funding, are so many low budget Burma, East Timor, Indonesia, Laos, Macau, Malaysia, office, film financiers and The average number of equivalent to 13%. films in the marketplace, Of the 9 films, 3 have directors who identify as female: Mongolia, North Korea, Singapore, South Korea, Taiwan, distributors will naturally cinemas in which UK films Robert Mitchell replies that: Jenny Lu (The Receptionist) and Kaki Wong and Qi Zhang Thailand, Vietnam and their diasporas. The data suggests that perceive BESEA directed are released is 103. This “Low budget films reduce (directors on the London Unplugged anthology). BESEA directed films receive films to be risky, niche and The graphs shown below highlight the availability of options reduces to 23 cinemas when barriers to entry for smaller releases. Of the 9 uncommercial. This for BESEA talent (both in terms of volume of releases and considering films that unproven filmmakers. They films released by BESEA contributes to an ecosystem box office grosses) in the past 10 years, in comparison to all grossed under £150k, as per can be both a proving directors, only 2 were in which BESEA helmed of the British films released. the 9 films listed above. The ground for ambitious released in over 25 screens: films are not supported by screen average for all of the filmmakers and a safe-zone Lilting and The Receptionist. the industry, maintaining 1077 British films analysed for filmmakers with stories Lilting is also the only film BESEA at the margins of an sits at a median of £1,842, to tell that may not be that grossed over £100k at industry. This was further an amount which 6 of the deemed particularly the box office, with a lifetime clarified by Robert Mitchell: films listed above exceeded. commercial.” total of £133k. These 9 films There can be a justifiable Despite the restrictions of “ account for just £262k of the The highest budget is perception that any the films’ release size, some UK box office gross, or Monsoon at £1.7m. There is culturally-specific features of these films have 0.018% of box office for all not a wide mix of films - low, are ‘risky’ because they rely overperformed at the box of the films released in the medium and high, or a mix on a specific niche office in terms of their screen UK during the 10 year of directing talent that goes audience to come out. average - these are Black period. from the very experienced to Bigger distributors will tend Pond, Lilting, Dispossession, the emerging directors, and to have a more ‘one size fits and London Unplugged. The most significant finding so forth. This is an from this data set is that with all’ approach to marketing, The median production unhealthy snapshot of an the exception of two films all and distribution which may budget for UK domestic industry. A healthy market BESEA directed films are low lack the nuance necessary films has risen in the past 10 22 will house a variety of to properly exploit genuine budget ones . Low budget years21, starting at £180k in budgets, genres, experience opportunities among films are under-resourced in 2011 and gradually rising to and talent. Robert Mitchell minority groups. There is a so many ways - from a reach £750k in 2019. 6% of emphasized the importance bias among largely white, comprehensive development the British films made in of this, acknowledging that: heterosexual ‘gatekeepers’ process, funding, cast, crew, 2019 had a budget that was “No two people like all the that stories from minority production value and more. in excess of £5m, and a same things and catering filmmakers are less likely to It is accepted that low further 45% had a budget of only for one group only break out and be seen as budget films will struggle in between £500k and £5m. ensures disaster, because universal the marketplace, often .” The remaining 48% had the moment that group attracting a lower P&A budgets that were lower doesn’t come out the Of the 9 films from the last spend. Robert Mitchell than £500k. Even with the industry is lost.” decade, 3 of these films, confirmed this, asserting that small sample size, it is clear Lilting, Monsoon and The for low budget films: Only 3 of these BESEA that BESEA directed films Receptionist can be broadly There is a clear correlation directors have gone on to occupy the lowest end of the “ themed as being culturally between production budget make another feature at the budget scale in the film specific to the ‘lived’ BESEA and P&A budget, this is time of writing. This data market, with 7 of the 9 films experience. Simply, BESEA unsurprising given the shows that BESEA directors having a budget that was audiences are starved of financials at stake and the work with the lower end of considerably less than films that reflect them and importance therefore of production budgets and £500k. their experiences. With so reaching the biggest receive lower distribution few BESEA directors able to audience available. A low support. The combination of get their films made and budget film will not need as the elements creates difficult widely seen, the greater large an audience to make conditions for BESEA diaspora do not see it profitable, although it will directors to thrive in and themselves being reflected likely have to work harder sustain careers. Robert in the cinema. to reach them.” Mitchell explained: “A low budget feature can be seen as a calling card, a proof of talent. Getting to

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BESEA Budgets Table showing all BESEA starring films Films featuring BESEA actors in their cast demonstrate a January 2011-January 2021 On-screen wider variety of production budgets. At the lower end Black Represen- Pond (£25k), middle range Before I Go To Sleep (£3.3m) and upper Johnny English Reborn (£32m). tation Box Office Out of 1077 films BESEA Films featuring BESEA actors in their cast demonstrate a actors23 feature in 17 wider variety of box office returns, from Johnny English theatrical releases over this Reborn (£20.7m) and Mary Queen of Scots (£9.3m) to Anna & 10-year period. This equates The Apocalypse (£32k) and Stratton (£28k). At the lower end to 1.7% of all British film Gangsters, Gamblers and Geezers (£2k) and The Darkest releases. These are: Black Universe (£2k). Pond, Johnny English Reborn, Submarine, All Release size Stars, Lilting, Before I Go To In addition, the films cover a better scope of release sizes Sleep, The Double, Honey too, including a number of saturation releases such as The Trap, X+Y, The Darkest Personal History of David Copperfield at 680 screens and All Universe, Gangsters Stars at 441 screens. At the lower end Black Pond at 3 Gamblers and Geezers, screens and in the middle, The Double with 79 screens. Stratton, The Receptionist, Anna & the Apocalypse, ESEA Heritage Mary Queen of Scots, The ESEA heritage of actors in these films are predominantly Monsoon, The Personal Chinese and Japanese with the vast majority of the remaining History of David Copperfield. backgrounds excluded. 24 6 of those films are helmed Tokenism by BESEA directors that feature the previous section Gemma Chan stars in 4 of the 17 films. Mak observes: - they are: Black Pond, “When East Asians finally “make it” to the top, such as Lilting, The Darkest Universe, Gemma Chan landing a lead role in Humans or Katie Gangsters, Gamblers and Leung starring as a romantic interest to Harry Potter, the Geezers, Monsoon and The industry becomes complacent with casting these big Receptionist. names who they have helped create. Essentially, traditional mainstream companies engage in an exercise of patting themselves on the back for apparent “diversity”, yet refusing to cultivate new talents from the East Asian community.” (Mak 2019). The dangers of tokenism are Power-holders, intentionally or unconsciously select one, or a few marginalized talents to succeed which gives an well documented - it is a form of impression of broader inclusion. The dangers of tokenism are performative inclusion that often well documented - it is a form of performative inclusion that often comes at the expense of a wider community. If comes at the expense of a wider tokenism is the problem, then pluralism is the solution. community.

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Table one Looking at the data in this regard exposes that of the 17 films The exclusion has a knock- This point is particularly On-screen listed, 5 featured a BESEA in a leading role. These leading on effect for audiences:- important, given that in a Represen- roles account for 29% of all the films with BESEA cast, and with so few BESEA directors colonially rooted system, the 0.5% of all the British films examined. Typically, BESEA being able to get their films risk is of the status quo tation in actors are playing secondary or smaller roles in British films. made and widely seen, the co-opting the cultures and Television In the US, Annenberg29 study data shows that 1% of lead BESEA community do not narratives of marginalized roles go to Asian Americans. These findings confirm a see themselves reflected in communities. This will give versus Cinema reported experience of ESEA actors as typically not being the cinema, especially in the appearance of an perceived as leading acting material. Such is the prevalence films that authentically inclusive society, but, in These findings mirror and frustration of this view, that screenwriter and author, represent their lived actuality the practice of observations found in Dr. Charles Yu, predicated an entire novel, Interior Chinatown30 in experiences. This creates co-option is another form of Jami Rogers Equity report: order to satirize that falsehood, but also to expose the narrative poverty for the oppression. Supporting Diversity in Broadcast Peak dangers of that perception: BESEA community, thus marginalized communities in Scripted Television28 which Yu explores in devastating (and darkly hilarious) fashion reinforcing their telling their own stories is examined primetime “ Hollywood’s penchant for promoting clichés about Asians marginalization. But it also key to genuine allyship, as television broadcast by the and Asian-Americans. Wu has worked his way from has deep implications for the opposed to performative BBC One, BBC Two, ITV and “Background Oriental Male” to “Dead Asian Man” to wider society, who are allyship. Channel 4 in 2018. In this “Generic Asian Man Number Three/Delivery Guy” — a long mainly exposed to harmful study on-screen Table two The powers that be also way from “Kung Fu Guy,” which is where he wants to be. stereotypes and are not representation, the data was ” need to move beyond afforded normalized and broken down by ethnicity tokenistic gestures and to authentic depictions of the and showed: The Relationship Between engage with actions that BESEA community. The very propagate pluralism - it is • 82% White Off-Screen and On-Screen real fall out from this has through this that we can • 9% African-Caribbean Representation already been witnessed transition from narrative • 7% South Asian through the rapid and sharp poverty to plentitude. rise of COVID fuelled Asian • 1% East/South East The 8 narrative films directed by BESEA were also examined In film distribution, there is hate in the UK and in the Asian for BESEA on-screen representation. an urgent need to normalise United States, which has • See Table three and reframe the perception 1% Middle Eastern resulted in real lives being Of the 831 narrative films helmed by BESEA directors, of BESEA talent and their The report concluded that lost. 632 featured BESEA cast. stories as not being ‘risky’. BESEA people are severely This relies on challenging the under-represented. What This suggests a relationship and an interconnectedness Recommen- long-entrenched traditions of was telling, is that in entire between off-screen and on-screen representation - films the UK distribution industry, year on the major flagship created by BESEA writers and directors are more likely to dations and the gatekeepers that continuing drama series also feature BESEA actors. Power-holders need to start uphold them. Throughout there was zero on-screen fully understanding diversity the British film industry, a BESEA representation. Conclusion and that begins with largely homogenous 33 See Table one acknowledging how different workforce is preventing The film industry is part of an entrenched and long-standing communities are diverse talent from Both television broadcasters colonial system which has put into play a complex set of marginalized differently. For prospering. and film industry executives robust, and often insidious forces that are intent on the the BESEA community, there This study was only able to are failing in relation to continued marginalization of the BESEA community. This has been a long history of examine British films that inclusion where it comes to system houses near impossible conditions for BESEA exclusion which has given were theatrically released, the BESEA community. The Table Three directors and actors to thrive and sustain careers. severe lack of inclusion rise to varied forms of who they were helmed by, requires urgent attention. With BESEA helmed films typically occupying the lower end systemic racism, much of and the main cast featured of the budget scale, and also receiving less distribution which has evolved to remain in them. The final support, these films are perceived to underperform at the box invisible to the untrained recommendation is that Leading Roles office - informing and sustaining the viewpoint that BESEA eye. Recognition of BESEA further research is done to: The Comscore data was directed films are risky and not commercial. This contributes experience is the first step. • Examine how BESEA then further examined to see to an ecosystem in which BESEA helmed films are rarely Next, to increase producers and writers are whether the BESEA cast supported by the industry, thus relegating BESEA filmmakers representation, power- working in the industry. to the margins of an industry. featured were in leading or holders need to understand • Discover which films are secondary roles. Films featuring BESEA characters are more likely to be how on-screen being supported at the See Table two helmed by a BESEA director. To stimulate opportunities for representation is related to development stage. representation off-screen. BESEA actors, and to increase visible representation of • Ascertain which films are That to generate more and BESEA faces, voices and stories on our screens, the industry being supported at the better visible representation should look at who it is they are supporting behind the production stage. camera - or more simply, at understanding the nuance that it on-screen they should invest • What the ethnic is who you fund not what you fund, that will make the biggest in more representation breakdown of students positive impact. off-screen. attending film schools is.

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This report was written by Chi Thai and Delphine Bibliography References Lievens. Briones, Isis. “Asian Actors Are Still Only 1% of Hollywood’s Leading Roles.” 1. Comscore is a media measurement company who record 21. Data from the BFI Statistical Yearbook for Screen Sector Delphine Lievens is a Senior Teen Vogue: 4 March 2016. www.teenvogue.com/story/asian-representation-in-hollywood over 95% of global film box office. They are the leading Production, 2019. providers of film box office data Box Office Analyst at Gower Britain’s East and South East Asian Network. 12 April 2021. 22. For the purposes of this report, ‘low budget’ is Street Analytics, where she twitter.com/besea_n/status/1381720332646637569 2. https://www.theguardian.com/commentisfree/2020/ considered as a budget of £500k or below, in line with provides forecasting and jul/25/the-term-bame-isnt-fit-for-use-we-need-a-new- the data in the BFI Statistical Yearbook British Film Institute, Research and Statistics Unit. “BFI Statistical Yearbook 2019.” box office analysis for a political-language 23. Main cast is identified as anyone listed in the cast by number of international Creative Diversity Network. “Race and Ethnic Diversity: A Deep Dive into Diamond Data.” 3. https://www.equity.org.uk/news/2020/april/equity- Comscore clients in film distribution October 2020. publishes-study-on-poor-racial-diversity-in-uk-television 24. London Unplugged and Redcon-1 do not register on the and exhibition. Dewey, Morgan. “Sexualized, Submissive Stereotypes of Asian Women Lead to Staggering 4. This percentage was arrived by combining “British list as Comscore list main cast, but it is acknowledged Chi Thai is an independent Rates of Violence.” Chinese,” and *Other Asian*, however does not included that there are BESEA actors in those films filmmaker & producer who National Network to End Domestic Violence, 21 March 2016. https://nnedv.org/latest_update/ “Mixed Asian” or “Mixed White Asian” from the last 25. Public funding indicates that the film eceivedr production works across features, stereotypes-asian-women/ British National Census: https://www.ethnicity-facts- support from the BFI Film Fund documentary, animation & figures.service.gov.uk/uk-population-by-ethnicity/ 26. The authors were unable to confirm the production immersive. She has been a Mak, Jennifer. “East Asian Representation in British Television and Cinema.” national-and-regional-populations/population-of- budget from the producers, funders, sales agents or Cannes Lions finalist three Glasgow University: September 2019. england-and-wales/latest distributors of this film, and sought an educated estimate times and was listed in Malik, Kenan. “Don’t Call Me BAME.” 5. Reel Inequality: Hollywood Actors and Racism by Nancy from a professional line producer Creative England’s Top The Guardian, 25 July 2020, www.theguardian.com/commentisfree/2020/jul/25/the-term- Wang Yuen creative companies. She is 27. The authors were unable to confirm the production bame-isnt-fit-for-use-we-need-a-new-political-language 6. https://www.theguardian.com/us-news/2021/mar/18/ a recipient of the BFI Vision budget from the producers, funders, sales agents or atlanta-spa-shootings-anti-sex-worker-racism-sexism Award. Nittle, Nadra Kareem. “What Is the Definition of Passing for White?” distributors of this film, and sought an educated estimate ThoughtCo. 21 March 2021. thoughtco.com/what-is-passing-for-white-2834967 7. https://nnedv.org/latest_update/stereotypes-asian- from a professional line producer Petersen, William. “Success Story: Japanese American Style.” women/ & https://www.teenvogue.com/story/hollywood- 28. https://www.equity.org.uk/news/2020/april/equity- New York Times Magazine, 9 January 1966. hypersexualizing-asian-women publishes-study-on-poor-racial-diversity-in-uk-television/ 8. According to Comscore Ex Machina, although helmed by Robey, India. “Hollywood Played a Role in Hypersexualizing Asian Women.” 29. https://www.teenvogue.com/story/asian-representation- British writer-director, is categorised as a US film due to Teen Vogue, 24 March 2021, www.teenvogue.com/story/hollywood-hypersexualizing-asian- in-hollywood source of finance women 30. https://www.nytimes.com/2020/02/28/books/review/ 9. Success Story: Japanese American Style by William interior-chinatown-charles-yu.html Rogers, Jami, Dr. “Equity report: Diversity in Broadcast Peak Scripted Television.” Peterson in 9th January, 1966, edition, of The New York 31. Dispossession removed from this analysis as a feature Equity: 8 April 2020. Times Magazine documentary with no actors / casting element as part of Said, Edward. (1978). Orientalism. 10. Race and Ethnic Diversity: A Deep Dive into Diamond the production. New York: Pantheon Books. Data by the Creative Diversity Network, October, 2020 32. Data supplied by Comscore only registers the main cast, ScreenSkills. “Annual ScreenSkills Assessment”. 11. BESEA_n https://twitter.com/besea_n/ for these reasons London Unplugged and Redcon-1 are 16 August 2019. www.screenskills.com/news/screenskills-publishes-new-state-of-the-screen- status/1381720332646637569 excluded from this data, but these films feature BESEA sector-report/ 12. https://www.hollywoodreporter.com/news/general-news/ actors in minor roles hays-code-loving-hollywood-s-896342/ Sollis, Marie. “A Specific Type of Racism.” 33. Creative Skillset’s Annual ScreenSkills’ Assessment The Guardian, 18 March 2021. www.theguardian.com/us-news/2021/mar/18/atlanta-spa- 13. https://en.wikipedia.org/wiki/List_of_Asian_Academy_ addresses the lack of diversity in the UK screen shootings-anti-sex-worker-racism-sexism Award_winners_and_nominees#Best_Actress industries here: https://www.screenskills.com/news/ 14. https://www.researchgate.net/publication/338019145_ screenskills-publishes-new-state-of-the-screen-sector- Sun, Rebecca. ‘From the Hays Code to “Loving”.’ East_Asian_Representations_in_British_Television_and_ report/ The Hollywood Reporter, 22 May 2016. www.hollywoodreporter.com/news/general-news/ Cinema hays-code-loving-hollywood-s-896342/ 15. Event cinema and films with a lifetime gross of less than VanderMeer, Jeff. “A Devastating New Novel from “Westworld Writer” Charles Yu.” £1K were excluded from this study New York Times Magazine: 20 February 2020. www.nytimes.com/2020/02/28/books/review/ 16. As per data provided by Comscore Representology takeaways interior-chinatown-charles-yu.html 17. Nittle, Nadra Kareem. “What Is the Definition of Passing The representation of British East and South East Wikipedia. List of Asian Academy Award Winners and Nominees. for White?” ThoughtCo, Mar. 21, 2021, thoughtco.com/ Asians in film is shockingly low en.wikipedia.org/wiki/List_of_Asian_Academy_Award_winners_and_nominees#Best_Actress what-is-passing-for-white-2834967 • Visibility on-screen is directly related to staffing Yuen, Nancy. (2016). Reel Inequality: Hollywood Actors and Racism. 18. The screen average is obtained by dividing a films total off-screen and improving the diversity of the latter New Jersey: Rutgers University Press. box office gross by the number of cinemas it played in, needs to be where the industry starts. in order to establish average gross per cinema • Question why some projects are deemed to be 19. Robert Mitchell is an International Film Distribution ‘risky’, compared with others – where’s the Specialist. He provides expert analysis and reporting on evidence to back it up? business trends with 15 years’ experience across trade and consumer press, and global film distribution. • Genuine allyship lies in supporting people to tell 20. BFI funding indicates that the film eceivedr production their own stories, rather than appropriating their support from the BFI Film Fund experiences.

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the problem with

Nina Robinson was part of the launch team for BBC 1Xtra in 2002. Her face is circled among a distinguished crowd of producers, DJs and music executives. Many, like her, are people of colour, though not the person standing front-and-centre, Andy Parfitt, Controller of Radio 1 (and later 1Xtra) from 1998-2011. URBaN Nina Robinson The term ‘urban’ caused myriad problems for Black artists working in the music industry argues Nina Robinson, who helped launch BBC 1Xtra.

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Rounding up very distinct music genres, Will Dropping ‘Urban’ also linked to the US federal is based in Liverpool, agrees. DJs, Ace and Seani B, bared whole ‘Black Lives Matter’ employees did not reference and Reclaiming ‘Black clean-up programmes of the He sees some benefit in their souls, as Black men, stuff – we lost 5 DJs over Black culture. Instead, “you such as Hip-Hop, Soul and R&B, whose could get the job by talking Music’ Really Change 1950s and ‘60s that targeted using the term from a they spoke of the institutional the summer, including only seeming connection is that they are Sideman. That was crazy. about generic things, like Systemic Racist Issues slums and Black people marketing perspective, racism that they had ” living in poverty. Urban was because he thinks it helps encountered in their lives, the Olympics” largely performed by Black artists and or Solve Underlying In August 2020, DJ Sideman negatively connected to ‘broaden things’ and including inside the putting them all into a box labelled ‘urban’, Diversity and Inclusion resigned from his Saturday “, but when it came down to being poor and Black. It’s removes the political element workplace. mid-morning show on 1Xtra explaining how important is no longer acceptable practise in the UK Problems that are worth noting that, before from the music, since he Seani B, who has been a DJ as a result of his employer’s Nipsey Hussle [an American music industry. Inherent to the British ‘urban’, the term ‘race sees how the term ‘black at the station for 18 years, refusal to condemn the use rapper] was, those kinds of Music Industry? records’ was used. ‘Urban’ -- as a small b or capital B is In a new pledge to stamp out racism, it’s listed at the top of noted that if ‘we looked of the N-word by a white questions were not being was deemed to be less very political’. The removal of the Ten Point Action Plan from UK Music – an umbrella For me, as a member of the different’, then his career news journalist. asked and therefore, offensive by white music these associations from organisation representing the UK music industry, which states launch team for BBC Radio would have moved further ‘diversity was tough’.” executives, even though music and artist, he thinks, A multitude of listening that the: 1Xtra, which, in 2002, burst along, since he had been ‘race records’ had helped may help to sell more sessions took place at the onto the music landscape denied his chance to have a Would Reclaiming generate income for a Black records. This is far from BBC over the summer of Urban classification [should be] under the banner ‘The Home ‘good crack’ at the work he ‘Black Music’ Help to “ music industry and implicitly proven to be the case. Jay 2020, which led to an of New Black Music’, the had dedicated his life to. He Solve the Problem? acknowledged its debt to Davidson, launch and brand outpouring of painful and replaced in all reports and change from ‘Black’ to knows this was due to the Black people. The ‘urban’ manager at 1Xtra for 4 years traumatic experiences Reclaiming the ‘Black’ in ‘urban’ means a lot. 1Xtra’s perception that, as a Black communications - either by classification hid the racial from 2002 says she was detailing incidents of bullying ‘Black music’ will not solve original tagline proudly man, he was less ‘palatable’ element, and would also disappointed when ‘Black and everyday systemic racism, but for genre, such as Soul or Rap; UK represented Black culture than white DJs. Just as ghetto-ise Black artists. music’ was dropped from all microaggressions for staff of many people of colour in the with a diverse set of DJs; ‘urban’ was supposed to Some of the Black artists branding. But she was not colour who work at the British music industry, it is at Music members will commit to from the Rampage Duo, make Black music who were marketed in this surprised. “‘Black music’ organisation. least an acknowledgment of known for their legendary acceptable to (white) support those who wish to use way went on to forge highly was seen as a barrier in where the music comes sound system at Notting Hill audiences, maybe a white 1Xtra had become a successful careers, and were trying to grow the station to from. Vin Gadher was the term ‘black music’ . Carnival, to Robbo Ranx, DJ could package Black stepping stone for white ” loved by audiences globally. a majority white audience”. manager of ‘The Skatalites’ with his expansive network music with a wider appeal to people to move into Radio 1, How did a word come to be so associated with racial These included Stevie She thinks that audience in the 1990s. He says that of contacts in Jamaican British listeners. rather than a destination for discrimination and injustice? The use of ‘urban’ by the music Wonder, Barry White and research may have indicated they would probably tell you dancehall, to DJ Flight, who people who want to industry, was seen as an act of ‘silo-ing’ Black artists, The Stylistics. that white listeners would That the radio industry has a that their Ska sound came quietly took her place behind celebrate 1Xtra’s music and lumping them into one homogenous group and tarring a wide feel “alienated” and that serious diversity and from: the decks via pirate radio for Debate on the use of the culture, according to an expanse of Black talent with a very broad and biased brush. 1Xtra did “not reflect them”. inclusion problem is not appreciative Drum ‘n’ Bass term ‘urban’ by the music insider source. “… listening to Jazz and Some music industry executives used the categorisation to Station management, she really in any doubt. fans. When the marketing of industry had been ongoing Mento, so the history there marginalise Black artists, justifying the signing of white artists feels, could not afford for According to Ofcom’s 2019 “Nobody is saying that you the station changed, and for decades2, but pressure to is long. I think the Black and not of Black artists. The X-Factor winner, Alexandra potential listeners to “feel diversity report, in BBC have to be Black or brown ‘Black’ was dropped and finally drop it, gathered pace sound comes in a spiritual Burke, said in an Instagram video, that she had been told by a excluded”. Ultimately, Yaw Radio as a whole, only 9% of to appreciate Black culture, replaced, not only with amid the Black Lives Matter way. It is the Soul-ness of record producer; “I already have one Black artist, I don’t finds ‘urban’ to be staff are from a black and obviously not, but people ‘urban’, but also with ‘street’ it.” need another”1. protests of 2020, when being hired, who were not music monikers, it was a problematic. ethnic minority, which drops Ariana Grande and Drake’s Black or brown …didn’t A New York Times audio signifier of change. Arguably, to 6% at senior leadership Conversely, the categorisation keeps Black artists in one box, label, Republic Records, “I see it as a catch-all term 4 levels. Commercial radio is have the integrity to work series, 1619 podcast traces limiting their success and exposure to different audiences. the loss of the ‘Black music’ announced that they would that allows white artists to even worse, with only 6% of on the station.” the deep roots of Black The huge hit song by Lil Nas X ‘Old Town Road’, was easily identifier was whitewashing a be erasing it “from their do what is classed as Black all staff at Bauer Media, music in the birth of slotted into the Hip-Hop/Rap category, but was removed by rich history, severing Black verbiage in describing music, it felt like it was to The 1Xtra employee explains which includes Kiss FM, and American music itself. It Billboard’s Hot Country Songs chart for not ‘embracing musical roots and leaving departments, employee champion them. So, I think how an appreciation of no senior leaders. tracks how the Black sound enough elements of country music’. open the door to cultural titles and music genres”3 the change is good to show 1Xtra’s music was simply not . has permeated all genres appropriation. there is a wind of change. I Speaking to one long time a requirement of the job. At The term ‘urban’ sits uncomfortably for many. After his win in For many in the British music today. It can be heard in the don’t think anyone will be senior 1Xtra employee, who recruitment boards, interview the ‘urban’ music category at the 2020 Grammy’s, the artist, For decades, the term industry, the word ‘urban’ ‘gravelly tones of the white fighting to keep it”. wishes to remain questions to potential Tyler, The Creator, said: ‘urban’ has been used as a will not be missed. Vin anonymous, the lack of classification by record Gadher, a music producer When BBC 1Xtra lost its “I don’t like that word, it’s like a politically correct way of diversity in youth music radio companies, which is thought and promoter, thinks it was ‘Black music’ tagline, there saying the N-word to me”. at the BBC is plain to see. As “I see it as a catch-all term that to date back to 1974, when it always pretty meaningless. was a shift felt by some they sit and speak via Zoom was used by a radio station people working at the “To me, it is what music on the 8th floor of New allows white artists to do what in New York. It was dreamt station. Whilst it is not they make, the genre of Broadcasting House, on a up by (white) marketing possible to distinguish is classed as Black music, it felt music they make. Is it Soul? busy workday, they survey strategists who were correlation and causality, a Is it R&B? Is it Jazz? Rather the room and can see only like it was to champion them. packaging Black music change in the proportion of than calling it ‘urban’. What two other Black producers whilst minimising attention to Black and ethnic minority is urban?” across not only 1Xtra, but So, I think the change is good to the Black artist; offering an staff working on and off-air also its sister station, acceptable face to the white Yaw Owuso, a music has been noted by some. In show there is a wind of change. Radio 1. mainstream, to attract more entrepreneur who has their award-winning Black I don’t think anyone will be listeners and advertising managed artists as exec. at Lives Matter inspired show, “A lot of people left last dollars. The term’s history is the Playmaker Group, which 1Xtra Talks, long-time 1Xtra year. That was among this fighting to keep it.”Yaw Owuso

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singer Kenny Loggins’ for “Black culture is furnishing catalogue of Reggae label, Jet Star, in 2020, all of the 18 because you profit so manifesto for change. For example; “like he is scraping popular culture, which is remixes they put out were by white producers, except for 18. heavily off these artists, Yaw Owusu, the solution References the bottom of a pan to get fabulous, as long as we there are certain things you “The amount of people who think it’s just fine to sample ultimately lies in 1. Alexandra Burke on Instagram: “I felt it was time to speak all the good bits off of it remember where it started.” any old Ragga vocal – they don’t even know what the need to tell them… at least “independence and up... This is a scary moment for me. I didn’t always want before you pour the gravy For a senior 1Xtra employee, person is saying, but they stick it into the tune, they put red, give them the basics of autonomy”. He gives to speak up -- but it is the right thing to do. So…” in”. respecting this fact is a key yellow and green on their artwork …that kind of shit – very understanding [about] their Stormzy and Jamal Edwards accessed 2 June, 2021. element of any successful superficial.” publishing rights.” as examples to follow. Black music has become the 2. BBC NEWS | Entertainment | Music | Brits debate over diversity and inclusion We are seeing that people popular culture, according to She also notes the switch to white DJs at the BBC. In a team Exploitative practises in the “ ‘urban’ music accessed 2nd June, 2021. policies in music radio. want independence from music exec., Yaw Owusu. which used to consist of 5 Black DJs across both Radio 1 and music industry date way ‘Respect’, is one of the three back too, of course. In the the corporations. What Jay 3. Republic Records on Instagram: “#WeUseOurVoices, Use “Streaming has allowed us 1Xtra (DJ Flight, L Double, Bailey, Fabio & Grooverider), today, Z is doing in America, and Yours.” Accessed May 5th, 2021. to measure this impact in litmus tests that are detailed in 2021, there is only one white Canadian, representing British 1950s, the father of rock n’ 7 there is a lot of social and the mainstream, and it is in the If Ever You’re DnB music. roll, Chuck Berry, spoke of 4. See www.nytimes.com › 2020/01/23 › Listening blog for his managers and structural stuff to do”. undeniable” he says, I could feel my whole career and achievements being 5. Nearly a third of all streams in the US last year were of recognising the cultural “ promoters, “who were “people have known that erased before my eyes He says it will all take time, hip-hop and R&B artists (as rock beat pop to second appropriation of music. The ” she says. usually friends, or Hip-Hop is the biggest form another generation perhaps. businessmen, as there was most popular streaming genre) - Music Business of music forever,” but it was other two are: giving credit to 1Xtra’s Ace and Seani B also feel as if their music has been a lot of money transacted As for black music on Radio Worldwide (Accessed 2 June 2021). only when the download Black artists, and, to ensure taken from them and replaced by white line-ups. In their Black that I didn’t’ know about, 1 and 1Xtra, DJ Flight puts it figures from streaming sites something new is made from Lives Matter Talks Special they explain how; ” 6. BBC Group Annual Report and Accounts 2019/20 p.138. what came before, rather he said in a BBC interview.9 succinctly; “nothing really were revealed, that “the Our aesthetics are scary, so [the solution is] let’s give 7. https://ifeveryourelistening.medium.com/ than just taking it as your “ changes at the BBC”. maths and the push through people what’s not scary to deliver the music they love, own. 8. Chris Inperspective calling out Hospital Recs | DOA | of Black music… as the which is our music.” Drum & Bass Forum (dogsonacid.com) Accessed 5 May dominant genre of music” In an emotional and highly 2021. became clear.” charged radio appearance, Seani then lays down his truth, and asks a question that is If the huge and continued inspired by seeing so many white artists representing Reggae in 2014, the Black artist, 9. BBC World Service - Weekend, Chuck Berry Dies. Latest figures compiled by Azealia Banks, speaks of and Dancehall, both on radio and on festival rosters: “Can you success of Black music tells us Billboard/MRC Data show 10. Ibid. how hurtful she finds the imagine if I was a white Dancehall DJ??” He is thought to be that the number one anything, it’s that audiences do white Australian ‘rapper’, referring to a disparity in treatment and opportunities offered 11. Fight for your right to yeehaw: Lil Nas X and country’s category for audio and video Iggy Azalia, who, in one of to the white Dancehall DJ, Toddla T, who left 1Xtra after 11 not need a dilution or cover-up race problem, Music, The Guardian. streams and downloads in her lyrics, refers to being ‘a years in August, 2020, during the summer of Black Lives the US were for Rap/Hip runaway slave master’. Matter protests. Toddla T is also married to veteran Radio 1 of ‘Black’ to make it more Hop/R&B, followed by Rock Iggy Azalia was nominated DJ Annie Mac. and then Pop.5 marketable or palatable. for a Grammy award in the 1Xtra has recently appointed its first Black Station Head, Given that this is the case, rap category. Faron McKenzie. Music executive, Yaw Owusu, knows him, you might expect that ‘Black When the interviewer asks If a new generation of music “I feel just like, in this and thinks that, music’ is the principal sound him what advice he would artists have any hope of Nina Robinson is an award-winning documentary maker country, whenever it comes “moving Black people into positions of influence” will see that is recognisable on the A give to a young artist, he breaking free from the to our things – like Black play out very differently and CEO of Soundtruism Productions, Diversity Researcher playlist of 1Xtra’s sister things “ ”. Already, line-ups are systemic racism in an issues or Black politics or replies; at Sir Lenny Henry Centre for Media Diversity, and Lecturer station, Radio 1. Radio 1 starting to change. Rampage and The Heartless Crew are industry where it runs deep, Black music … there’s this “Major in math, then take up at Birmingham City University. enjoys a rich historical among the Black DJs who have been brought back to the pulling off the disguise of a undercurrent of kinda, like, music, which is really half legacy on UK analogue radio schedules. well wrapped up term, such a ‘fuck you’.” Banks refers math, and then major in that dates back to 1967. as ‘urban’ is an obvious first to there being a cultural Historic Racial Inequalities and Exploitation Play human nature.”10 1Xtra was launched on DAB step. If the huge and “smudge out”, which “tells Out Today just under two decades ago. continued success of Black Black kids you don’t own This remains essential Radio 1’s lineage affords it After decades working in the UK music industry with music tells us anything, it’s shit, not even the shit you advice for Black music Representology takeaways an elevated status, with the Jamaican and South Asian artists, Vin Gadher is “still artists in 2021. that audiences do not need a created for yourself.” budget to match (£38 million shocked” by how many white faces he sees, even in dilution or cover-up of Severing a genre’s links to its cultural heritage has Long-term plans to address compared to 1Xtra’s £8 Former 1Xtra DJ Flight, departments representing global regions whose populations ‘Black’ to make it more detrimental consequences on the racial diversity of systemic racism are currently million).6 keenly feels there has been are Black or brown. He is concerned about the exploitation of marketable or palatable. the industry’s workforce underway, instigated by BBC Group Annual Report and cultural appropriation of Black artists. Recognising its history and • The term “urban” has played a role in ghettoising influential UK music industry Accounts 2019/20 Pg 138 Black music in the Drum ‘n’ As musicians [The Skatalites] were highly respected but, culture through people who “ insiders on a variety of Black artists and allowing white artists to Bass scene. She was part of economically, they weren’t. When I discovered them again work in those industries Disparity between the fronts. These include Power appropriate Black culture the original 1Xtra launch in the 1990s, they were in New York State doing manual today is necessary to reveal stations exists on many Up, which offers grants to • Broadcasters need to remember the cultural team and hosted a weekly jobs, and I was thinking; “These guys are geniuses, why those connections between levels, the big one is the Black creators, combined importance of the music they play to minority show for 5 years, until 2007. haven’t they been given the income due to them? what happened before and weekly listening figures ” with professional network The roots of DnB are what is still happening communities and strive for authenticity. which, for Radio 1, is ten support. The founder of the embedded in Jamaican It is a common complaint voiced by music industry diversity today11. • Will solutions to increase diversity and fight times greater than for its campaigners, pointing to systemic inequalities resulting in MOBO Awards, Kanya King, sound systems; Jazz, Funk, discrimination be less about changing labels and ‘sister’ station. It may be is launching a platform to Soul and Reggae. But when poor contract terms for Black artists when they are signed. more accurate to say that connect Black people to more about who controls the platforms that the Drum ‘n’ Bass label, Shauni Caballero, speaking to Power Up, a long-term initiative 1Xtra is the ‘poor cousin’ of I tell mentors, and the Black broadcast the music? Hospital Records, bought to address racial disparities in the music sector, says, “ Radio 1. them, they have a duty – the major labels especially – Music Coalition presents a the rights to the back

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By the 1980s, Sian in its Open Door slot on 10th Vasey, a young woman May, 1979, but the BBC refused to take the idea who was a wheelchair forward and to make a user in London, was regular programme for Deaf already heavily involved and hearing-impaired people. and making her mark in In response, the National Union of the Deaf worked radical organisations, with the British Deaf including the Union of Association to create the the Physically Impaired Deaf Broadcasting Against Segregation, Campaign, DBC, in 1980. The DBC organised and UPIAS, and the London delivered the ‘broken’ TV set Disability Arts Forum, to the Prime Minister in 1981, LDAF. as well as a petition to MPs in Parliament. The news cameras filmed the ‘broken’ Key to her involvement was TV being carried in through her belief in the social model the door of No 10. The of disability – that you are campaign struck home, disabled by society’s Government ministers spoke Sian exclusions and not by your to the BBC and See Hear impairment – as opposed to was green-lit to start in the medical model of October, 1981, and was to disability. be broadcast once a month. (BSL Zone, 2019). Vasey The 1980s were times of great social changes for us. As a terrible footnote, even in After ITV’s Link, a monthly 2021, the Downing Street - disability programme that was created press conferences still refuse by Richard Creasey in 1975, to include a BSL interpreter, it was six years before the unlike the daily pandemic BBC had its own regular press conferences in Wales pioneer programme, made by Deaf and Scotland, and in and disabled people, See Northern Ireland, where there Hear. The programme are two interpreters in-vision, inside British eventually came about with BSL and with Irish Sign following a protest in Language. Downing Street, at which Like Sian, I had joined in with broadcasting Deaf people marched, and the disability movement in then presented the the 1980s, and by the early government with a TV set 1990s I was heavily involved that had been fixed to have in trying to change how no sound, just vision. This David Hevey looks at the disabled people were was before soft subtitles represented in media impact of his colleague Sian Vasey (“closed caption”) were a channels. I was producing feature in TV sets; and alternative ways of showing OBE (1956-2020), a disabled woman seeing a presenter using disabled people, including British Sign Language was who changed practice and output in The Creatures Time Forgot very rare. Deaf people, project – posters, a book British TV both on-screen and behind including the scholar and (Hevey 1992), and TV activist Paddy Ladd, coverage – which had a the camera. protested that they paid the significant impact in helping licence fee, but got nothing to move disability back. representation away from the The National Union of the old, doomy, monochrome Deaf had gained some victim imagery that was independent funding and dominated by charity made a programme, Signs of advertising and other Life, that the BBC broadcast medical model approaches.

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My point was that the company, which we saw as a Then, during the pre-viewings, the BBC executives in the hook, but her persistence David Hevey worked for the BBC’s Disability Programmes Unit during the 1990s and ‘enfreakment’ of disabled way of weakening our room began to panic again – it was too anti-charity, there were was always utterly charming. produced the landmark history series The Disabled Century (1999) people served able-bodied disabled people-led drive. not enough non-disabled people in it, it was too pro-rights, it However, she was much fear-management, not We said: “no, we will deliver was too political, and so on. We managed to persuade them more than that. She was a disabled people. This hit a Poor Dear from our own new that this was a true position of what many disabled people stalwart of the fight for rights nerve, and I was both disabled staff-led company, felt, and still feel, about charity. In one of the episodes, dealing for disabled people, and she References and background praised and attacked in Criptic Productions Ltd.”, with how charity promotes a cure, in contrast to disabled easily bridged the space equal measure across the and, after some arguing, the people, who were more focused on access than they were on between being in the Books, Journals and Audio TV programmes media, including the news BBC executives agreed. cure, the BBC pushed us to include ‘more disabled people movement and being in • Baldwinson, Tony. (2019) • Link, (1975-1999). Producer- • The Disabled Century, (1999) UPIAS: The Union of the Creator: Richard Creasey; a three-part series and studio press. They even went along with who want to be cured’; and we pushed back, saying, disabled television. In other words, her Physically Impaired Against Presenters: Rosalie Wilkins debate; Producer-Director: our crip spelling in Criptic. people do not go around waiting for cures, they do go around head didn’t turn because she However, a major event Segregation (1972-1990) A (1975-), John Sheppard David Hevey TX: BBC2. 10th Sian was the producer- pushing for barriers to be removed, and you would not be was ‘in tele.’ If anything, it Public Record from Private (1975-1988), Niam McAleer June 1999, repeated 2012. happened as a consequence presenter, I was the telling the journalistic truth if you pushed this ‘crips want gave her a platform from Files, Manchester, TBR (1979-); Kevin Mulhern • Modern Times, (2000) of this media coverage, producer-director and, cures’ position. The BBC executives began to despair. At one which to fight for more Imprint. Print and online. (1984-); Birmingham: ATV, Director: David Hevey, 10,000 which was that Sian Vasey then Central TV, then Coffers putting ourselves under point, one executive said that we would be hugely criticised inclusion. And we all knew • Baldwinson, Tony. (2019) Le Private Eyes, TX: 22 March knocked on my council flat Court Film Unit: An Award- Bare Productions Ltd. 2000; Suicide, TX: 27 some pressure, we made for ‘attacking charities.’ Good, we replied, bring it on – that if you could get the real door one day and asked me Winning Disabled People’s (1982-1999); for the ITV UK September 2000. three episodes in six months. because those old-school disability charities had to change. stories and tell them in network. if I would like to make a TV Film Crew (1958-1969), • Children’s Hospital – innovative ways, then you Manchester, TBR Imprint. • Signs of Life, (1979), National mini-series with her, based As the presenter, Sian was a After Poor Dear was broadcast on BBC1, Sian and I went our Birmingham (2001), Producer: could get audiences in the Print and online. Union of the Deaf, in the Sian Vasey, TX: BBC1, 18 on the ideas in my book. I brilliant interviewer – separate ways into two separate independent production millions, as opposed to the • Finkelstein, Vic. (1987) community access slot Open July 2001. knew Sian a little from street constantly pushing those we companies for a while, before our work aligned again, and we Door, BBC Community old style ‘poor old Harry is ‘Disabled People and Our • BSL Zone: I Want to Change protests by the disability interviewed – charity bosses, both became producer-directors at the BBC Community and Culture Development’. Programmes Unit, TX: BBC1, the World (2019), Director: wheelchair bound’ material, Disability Programmes Unit, “the DPU”, to most of our people. London Disability Arts Forum 10th May 1979. Sebastian Cunliffe, BSL with sad piano music, which By the time we joined it, in the mid-1990s, the DPU was (LDAF). Vol. 8. 1987. • Open Door, (1973-1983) BBC Broadcasting Trust / still dominates too much of Community Programmes regularly making films and programmes about how disabled • Finkelstein, Vic. (1996) Drummer TV Ltd, TX: Film4, . . . disabled people do not go the media, even though it no ‘Outside, ‘Inside Out’’, Unit, including: 8th March 2021, 08:00. people saw the world. The DPU closed in 2000. longer draws large Coalition Journal, • Hidden Costs of Disability, around waiting for cures, they Manchester: GMCDP, April Disablement Income Group For me, the most interesting thing about the DPU – staffed by audiences. 1996, pp. 30-36. (An edited (1981), disabled people – was that many of the radicals from the do go around pushing for Around 1999, and after version in, Disability Now, • Attitudes: The Second disability movement were there in-house. It was people like 1996.) several years in the DPU, I Handicap, Chris Davies barriers to be removed, and you me, Sian Vasey, Elspeth Morrison, and others. But there were • Hevey, David. (1992), The (1983). moved onto BBC’s Modern also some ‘play it safe’ non-radicals, who just wanted to ‘be in Creatures Time Forgot: • See Hear, (1981-current) would not be telling the Times to make more films, telly’ and didn’t really care about changing disabled Photography and Disability BBC, monthly series on deaf and Sian moved on too, Imagery. Taylor & Francis. representation or reflecting the movement, which Sian, people’s issues. journalistic truth if you pushed moving into the wider media • Vasey, Sian. (1989) ‘Disability Elspeth and I very much cared about. • One in Four (1986-1992), this ‘crips want cures’ position. … and for a while we lost Culture: It’s a Way of Life’, monthly disability issues Indeed, one of my early films there was Desperate Dan, for touch. Feminist Arts News, vol 2 programme, Isobel Ward, issue 10, pp. 5-6. which I was the executive producer. It was a documentary Simon Barnes, Chris Davies, To new generations, Sian • Vasey, Sian. (1997) ‘Sorry - I TX: BBC1 (1986), then BBC2 movement, but did not know advertising execs, and so on about the Direct Action Network (DAN), a street-protest Vasey being an incredible TV Can’t Make the Tea!’ [a (1986-1992). her well at that point. My flat – to justify their medical organisation, and it was very much a film supporting their pioneer and a role-model for chapter in the book] • Same Difference, (c.1987- was accessible, and in she model positions on camera. demands. We got around the calls for ‘BBC balance’ by - Framed: Interrogating 1991), Same Production Co. front-of-camera disabled came, proceeding to lay out Sian interviewed with great arguing that other more naff producers (we did say that, we Disability in the Media, Ann (1989–1991), for Channel 4. presenters, and for behind- how she wanted us to use rigour and great charm, were young!) in the BBC were making old-school ‘poor Pointon & Chris Davies (eds.), • From the Edge, (1992-2000), camera disabled crews, was published by the Arts Council parts of my book to pitch a which disconcerted those cripple’ TV and we were showing the reality of the new, radical a disability current affairs all about the control of of England and the British programme, BBC Disability three-part series to the BBC charity bosses we social model approaches – and we were getting large content. And it was not only Film Institute, pp. 135-140. Programmes Unit, TX: BBC2. in which we would take apart interviewed, who were very audiences with these new approaches. • Vasey, Sian, et al. (2002) [two her control of TV content, but • Over the Edge (1993-1995) an the very negative charity much unused to such a audio programmes] Sian brought her usual brilliant journalism and constant drive. also her pushing for a radical annual six-part disability models which dominated too ‘radical crip’ being so sharp, Programme 1 - Disability and documentary series, BBC She would turn around stories faster than anyone else in the and rights-based approach Difference, Programme 2 many disabled people’s lives. so shrewd, and so friendly, Disability Programmes Unit. - Normal Lives, Different unit and, with her lived experience of disability, drive for rights with which to create new • Poor Dear, (1994), Director: It seemed such a worthwhile all at once, in each interview. Lives, the publishers are the and experience in television (she was one of the very early ways for TV to show and see David Hevey, Presenter: Sian punt that I said, ”Fine”. Many were furious when the BBC and the Open pioneers working on ITV’s Link disability programme, before disabled people and our Vasey, Criptic Productions University, reference K202/ About a month later, we were camera was off! And Sian Ltd, TX: BBC1, 9, 16, 23rd working at the BBC), Sian became the formidable journalist of allies, an approach which is CD2. commissioned to make Poor just smiled her charming January 1994. the DPU. While I made my landmark series, The Disabled still fresh and authentic all • Vasey, Sian. (2004) ‘Disability Dear, a three-part series, for smile and never became • Desperate Dan, (1995), Century, Sian drove much of From the Edge. For the first time, these years later. Culture: The Story So Far’, [a engaged in the off-camera documentary in Over the the BBC. chapter in the book] there was a superb disabled talent pool, both behind and in Edge slot, first episode of a rows with them. If the BBC ever puts up - Disabling Barriers, Enabling Then came the inevitable front of camera at the DPU – and Sian was one of the stars six-part series, BBC statues, then I say that one Environments, John Swain et commissioning meetings, from whom we all learned what are now considered to be the Disability Programmes Unit, should be of Sian Vasey, al., pp. 106-110. pressuring us to compromise tools of the trade. Executive Producer: David saying – She Led the Way in Hevey; TX: BBC2 28 June from our radical positions; So why was Sian such a pioneer? From being one of the few Radical Disability Television. 1995. the BBC executives asked us disabled on-screen talents, she continued in television as a And I’d place her at the to work with this or that director, producer, presenter, journalist and writer, through BBC’s main gates. non-disabled independent sheer tenacity – she would never let an interviewee off the

46 47 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021 The impact of negative female stereotypes in the television industry and strategies for change

Why it’s Melanie Gray outlines existing and evolving research around discrimination against women in UK television

industry have experienced which is female). However, Female Discrimination in the sexism (2015). Although not women are still significantly not ok a reason to rejoice, headline under-represented at senior Television Industry figures such as these have levels throughout the Globally, the UK television industry is upheld as meant that female industry (Ofcom 2020). discrimination in the UK Outside of the industry, being progressive, leading the response to the television industry has female discrimination has an rapid changes in broadcasting that have been received much wider even wider stage. In this attention and support in regard, the work of the brought about by converging technology and recent years, from both in- United Nations and its to call changing consumer habits. However, although and outside the industry. Committee on the This is partially due to high Elimination of Discrimination innovative on many fronts, when viewed profile cases, such as the Against Women (CEDAW), through the lens of gender discrimination, we BBC’s 2017 publication of its has shed important light on on-air high earners, and the the significant harm caused have to question whether the industry is criticism it received about by gender stereotypes and progressive enough. the huge disparity between the impact that gender its male and female stereotyping has on society a female presenters, but also from at large. The work of these Even with apparent legal organisations such as different mechanisms and protection from the Equality Directors UK and the organisations has helped to Act, 2010, female Writers’ Guild of Great propel the issue of gender discrimination in the Britain, who are campaigning stereotyping onto a much workplace still appears to be for gender balance change. broader and more public prevalent, with millions of Ofcom, the UK television stage, yet we require further women in employment being industry’s regulator, is trying understanding and affected by different forms of director to hold the television corrective action. sexual discrimination broadcast industry to (Margolis et al. 2015) and To date, academic research account through its work on gender discrimination, looking at the television Diversity and Equal costing the global economy industry has largely focused Opportunities (Ofcom 2020), up to £9 trillion annually in on the representation of and it can be argued that wasted potential females in front of the there does seem to be some (Organisation for Economic camera (Mulvey, 1999; positive progress being Co-operation and Wedel, 2003 Oliver, 2017; made here, with the Development, 2016). In Nassif & Gunter, 2008; ‘ ’: proportion of women fluffy 2015, the UK television Saz-Rubio, 2018), with the employed in the industry industry did not seem to be voices of those behind the now closely reflecting the UK bucking this trend, with The screen still being relatively working age population Observer reporting that 99% hidden. However, it is these more generally (47% of of women working in this female voices from behind

48 49 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021

the screen that can have so Whilst acknowledging that female discrimination in the hegemonic norms of society, to men; so, the stereotyping potentially contributes to the This makes it harder for through all forms of female much impact on what we there does appear to be an TV industry, even before which are ingrained in daily different treatments of males and females. The stereotypical females to reach the same discrimination is that women see on the screen. For awareness and appetite for action can be taken to lives over a prolonged period attributes defining masculine and feminine qualities can be professional levels as males, are treated as a body, an example, a report by change in combating the overcome it. A useful of time. These patterns of argued to be why more males are to be found in the more thus reinforcing the gender entity that is valued Common Sense, in 2017, negative female stereotypes definition of what constitutes thinking are reflected in the senior positions, if compared to females, as males are gap between males and predominantly for its use by demonstrates the power of in the television industry, this a stereotype is provided by meaning that people attach associated with the managerial qualities of being assertive in females, and enhancing the others. television in shaping how paper seeks to explore what Ashmore and Del Boca to various aspects of life, their careers and thus are considered more prone to success. glass ceiling effect. The The focus on, and the children learn about gender, we know about the female (1981), who suggest that and they are played out in The perception of females as the weaker and more Bournemouth University reinforcement of, these influencing how boys and discrimination that is being stereotypes are “a set of the institutions of a society, subservient sex reinforces the misconception that they are research identified that negative female stereotypes girls look, think, and behave. experienced by those who beliefs about the personal such as workplaces. incapable of accessing more dominant roles in both society people are unconsciously has far reaching implications Common Sense (2017) work behind the television attributes of a group of According to Hofstede’s and the workplace. Females in senior roles face being further prioritising males over for those women who are identified that the depictions screen. It then attempts to people” and, accordingly, cultural characteristics undermined, as they are perceived to be ‘tokens’ (Kanter females, based on working behind the screen in of gender roles in the media move beyond the problem female stereotypes are a set (2003), gender stereotypes 1997), rather than as having justifiably achieved the same stereotypes and their gender, the UK television industry, affect children at all stages by discussing strategies that of beliefs about the are closely aligned with the roles as their male counterparts. With fewer woman in more with the ingrained and for the influence of their of their development. are taking place to make attributes of women. This set culture of the country. The senior roles, and those that are there often being viewed with perceptions of females work. Through their analysis, change happen, and of beliefs has led to UK has been identified as mirth, then this symbolises the continued presence and creating explicit media messages were seen considers what else could normalised views on the being a relatively highly reinforcement of female discrimination. discrimination. In Sheryl Sandberg’s book, to influence children in be done. In order to explore roles that should be masculine culture, scoring Lean In: Women, Work, and In addition, as well as not being perceived as being equally “People who work in the relation to a variety of this, we must first look at performed by women 66% on Hofstede’s the Will to Lead, (2013), capable in the more powerful roles, the sexualised view of industry unconsciously aspects, including their own understanding what the (Haines, Deaux & Lofaro, masculinity dimension; females are identified as women has severe negative consequences. If woman are first have a set of beliefs or feeling of self-worth and how female stereotype is, and 2016), for example, they see valuing attributes such as having lower self- and foremost seen as sexual beings then, in the workplace, ideas about women that they value others, and to why it is problematic. that child care assertiveness and the drive confidence, and this is due women are being perceived as sex objects, even when they influence the way that they what they think about career responsibilities are the for success. These cultural to female discrimination, and are successful in their careers (Thio &Taylor, 2012; Gill & treat them.” aspirations. If those behind responsibility of females, attributes can be deemed to lower self-esteem creates Baker, 2019). the screen are influencing The Female and often lead to harmful or translate into the gender What was also experienced further internal barriers, television content, and if the Stereotype: narrow perceptions of stereotypes that are by those women who were which hold them back even gender stereotypes being Characteristics woman. In the workplace, prevalent in the UK and in Negative Female Stereotypes interviewed as part of the further from being experienced by those these female stereotypes are other societies, which are Behind the Television Screen: Bournemouth University considered equal to their women are prohibiting and Harmful harmful if they limit or inhibit then transposed into research, was that women male counterparts. The women from progressing to professional careers workplaces that identify Type and Impact were seen as sexual beings, Bournemouth University more influential roles, then Nature (Heilman 2012). The practice success and drive as male rather than as whole work supports this, with the As already highlighted, there has been limited research to persons, as professional sample of women identifying this negatively impacts on According to the United of ascribing specific characteristics. These date that specifically explores the gender bias that exists persons, who just happen to that females who work them, and on society at Nations (2013), harmful attributes or roles that are ingrained characteristics, behind the screen in the UK television industry. be female. behind the screen in the UK large. Negative female gender stereotypes and based only on an individual’s which together create a stereotypes behind the inclusion within a specific stereotype, make people TV industry are emotionally wrongful gender Research conducted by Bournemouth University, in 2020, “I had a boss... he said, I impacted upon by female screen in the UK television stereotyping are some of the group, is gender and society perceive the into the experiences of women who work in production and had this dream about you discrimination in a way industry are holding us back root causes for stereotyping, and it is this stereotype to be normal, and directing roles within UK television aimed to provide richer last night and you did this which lowers self-esteem — politically, economically, discrimination, and can lead practice which people are then categorised insights into those females behind the screen. By interviewing and you did that, and all and socially. fundamentally leads to and judged accordingly. and provokes negative to violations of a wide array a number of females in production, directing and writing this other stuff.” female discrimination in the Lester and Ross (2003) roles, more is understood about the gender stereotyping feelings about themselves workplace (Cundiff & Vescio, argue that gender which occurs and the impact this can have. The research has And the more subtle and their value as 2016). Harmful female stereotypes in society create provided a rich understanding of the type of gender bias comments about professionals: These ingrained characteristics, stereotyping in the female discrimination in appearance and the way a which occurs behind the TV screen due to negative female “I didn’t feel competent which together create a workplace can be both employment, as the stereotypes, highlighting the explicit behaviour and feelings female looks: enough, even though I had hostile, e,g., seeing a female categorisation, inference and that occur due to an unconscious bias. The women we spoke “Constant comments about that 30 years experience. I stereotype, make people and as irrational, or benign, e.g., judgment placed on females to experienced a lack of humanity and respect within the your appearance… I think still didn’t have the seeing females as caring. leads to an inability to see workplace. appearance is the first thing confidence.” society perceive the stereotype Unfortunately, gender the individual beyond the “males have made comments about female directors, being people commented on. So stereotypes and the stereotype. It is not only negative as normal, and people are then woolly-headed, or fluffy, or, scatty.” that was the forefront of discrimination that results, emotional feelings that result When looking at what their mind… you wouldn’t are compounded by other “one of my nicknames was pedantic Pippa. I don’t think from the continuous categorised and judged constitutes the female immediately comment on a stereotypes, for example, they’d have a pedantic Paul.” discrimination caused by stereotype, research uses guy’s appearance.” accordingly. those relating to religion or female stereotypes, but there adjectives such as ‘weaker’, The women from the sample also identified that no matter disability, which have a This objectification are some very real financial ‘timid’ and ‘passive’. Bernd what the quality of a female’s work was, women were disproportionately negative demonstrates the and career implications. of human rights. By and Thomas (1991) state automatically remembered with negative stereotypical impact on women (United reinforcement of the Margolis et al. (2015) argue reflecting on female that the female stereotype is impressions. Nations, 2020). sexualised female negative that the most covert female stereotypes, looking at how less assertive and less active “If a woman is making a lot of demands they are seen as stereotype, concurring with discrimination occurs when a they are formed and why These beliefs, and therefore than the male stereotype, yet being difficult, but for a man it’s not frowned upon.” Fredrickson and Roberts woman does not get a job, a they continue to prevail, this the stereotypical portrayals females are also more (1997), who argued that a decision that is based purely provides a starting point of women, are linked to the communal, understanding universal theme running on her gender. from which to understand cultural, social, and and caring when compared

50 51 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021

This is also supported by the Bournemouth University girls becoming focused on reinforced by what is seen and inequality are eliminated ensure greater gender parity, measures that are intended and evolving insights which research: their appearance; more on TV. in the television industry, as they can help to draw up to drive diversity and explore the negative female tolerant views of sexual there will still be the need for and implement visible inclusivity. ITV have also set stereotypes that occur “Males who aren’t as experienced, or who haven’t been It is clear that the harassment; and career campaign groups to diversity principles within a requirement for any behind the scenes in the there as long as women, have been given opportunities reinforcement of negative choices that are limited by advocate and fight for decision making, for returning series with more television industry, it is clear over other females.” female stereotypes is a key gender norms. One of the change. Campaigning example, by advocating than one writer to have that gender discrimination is problem for those working Females who work in what can be perceived to be ‘non- most consistent themes of groups, such as Directors gender targets in female representation. This still very much an issue that within, and wanting to traditional’ jobs, such as those in the TV industry, are Western media is that UK, who, in their 2014 recruitment. By making is in addition to initiatives to impacts upon the industry, progress in, the UK TV consistently looking for ways to overcome stereotypes that women are valued primarily report, identified both the gender diversity and support creative diversity, and on society as a whole. industry, and for society as a define what females can and cannot do. According to for their bodies, and that chronic lack of women inclusivity top level such as Comedy 50:50, The culture of gender biased whole. By furthering this Margolis et al. (2015), the glass ceiling for females exists, and they primarily exist as sexual directing UK programming commitments, change can which aims to increase the behaviour, and the lack of understanding, we are it is extremely restrictive on the progression of women. objects for others’ sexual and the narrow range of happen. The BBC’s 50:50 numbers of female writing women behind the screen moving towards the Research by Ross and Padovani (2017), supported by a use (American Psychological subgenres in which they Project provides a good talents across its comedy who are in senior positions, strategies that might be comprehensive review of the American media industry by Association, 2007). It’s not were getting the opportunity example of this. The BBC genre output. are receiving greater adopted to change this cycle McKinsey (2020), provides evidence of this, highlighting that surprising, therefore, that to direct, have been actively set a target of having at least attention and action, but it is of negativity.. Attitudes derived from although females hold many of the media-related careers, the older adolescents who campaigning to improve the 50% of contributions coming argued that much more still negative stereotypes may be powerful executive positions remain male-dominated. Women watch TV that is saturated gender balance across the from women. In April, 2018, needs to be done. Until it is, deeply held, so one-off who enter the media industry are leaving at a higher rate than with such themes agree with industry. There are tangible only 36% of the teams we will continue to see Strategies to initiatives will not be enough their male counterparts, with every step on the career ladder this notion that women are ways that UK TV companies associated with the 50:50 women creating their own to change behaviours having fewer and fewer women on it. This is neatly sexual objects. This can be Change the can help to both tackle Project reported having at strategies in order to cope. around female stereotypes. summarised in the McKinsey Report (2020), which states: seen in a study by Peter and discrimination and to level least 50% female There are those who work Cycle of True change will require a Valkenburg (2007), and their the field for women’s contributors. By March, longer hours than their male “A woman graduating with a degree in mass structured and committed work with Dutch teens, Negative careers. If companies are 2021, the number of teams counterparts, or who create communications or journalism will walk across a stage programme of diversity which identified that teens truly committed to diversity with 50% female work personas in order to where six out of every ten students are women. If she’s Female training, communication, who watched sexually and gender parity, the issue contributors had increased avoid the stereotypes, so hired into the industry, her entry-level class will consist of leadership modelling and explicit media endorsed Stereotyping needs to be a top priority for to 70% (BBC 2021). The females are doing what they five women in every ten hires. Further up the corporate support. Enveloping this in a views that women were senior leadership. Ofcom BBC also challenged the can to navigate female ladder, at the transition from senior manager to vice There are many obstacles for constant space for dialogue, sexual objects. Further recognises that for television teams involved in the 50:50 discrimination. Without president, one woman from this group, on average, will women who work behind the allowing unacceptable research looking at broadcasting to truly project to maintain equal change leading to an end to drop out of the pipeline. This gets even worse towards the screen in the UK television behaviour to be called out adolescent girls’ and resonate and provide representation over a longer female gender discrimination top, with fewer than three of every ten executives being a industry, but the two biggest and dealt with, as well as young-adult women’s genuine positive reflections period of time, in an attempt in the UK television industry, woman.” challenges appear to be the generating new ideas and exposure to sitcoms and of society, the programmes to really cause cultural the industry will continue to culture of stereotypically initiatives, are what may lead The key reason that has been identified for this is the culture soap operas (Ex et al., 2002) that are commissioned for change. For the six months fail its female workforce and biased behaviour and the to the cultural change of negative stereotypes, of biased behaviour that reinforced the traditional broadcasting are crucial. As from October, 2020, to society. lack of female representation required. Ofcom recognises detrimentally affects women’s day-to-day experiences in the view of women as mothers, it is the commissioning team March, 2021, teams were in senior positions. These this, and is encouraging the workplace. The McKinsey Report also highlighted that 27% and the belief that a mother that plays a key role in asked to feature 50% Melanie Gray is Head of challenges negatively affect television broadcasters to of the women surveyed say that gender has played a role in should devote herself to her deciding which programmes women contributors for at Communication and women’s day-to-day have systematic and explicit their missing out on a rise in pay, a promotion, or a chance to family and her children. From are made, the content that is least three months, and not Journalism at Bournemouth experiences in the programmes and practices get ahead, as opposed to only 7% of men. What’s more, this insight, girls may included, who makes it, and to drop below 45% women University. The author workplace, leading to in place to tackle this gender 35% of women identified that they expect their gender to therefore learn from who appears in it, then that contributors. 40% of the thanks students at detrimental personal and bias. make it harder to get a pay rise or promotion in the future. television that women’s most team, and the teams succeeded, an Bournemouth University for career experiences, as well important job is as a mother, commissioning process, increase from 18% in March, By reflecting on current their input, in particular, When we consider that what appears on television is greatly as worrying repercussions and to be a mother requires need to genuinely include 2019. The 50:50 project research and looking at new Kristyana Papa-Adams. influenced by those from behind the screen, the impact of for society. Moving beyond an unrivalled focus on the women and must avoid the began in London in 2017, negative female stereotypes within the TV industry can be felt the recognition of the family, rather than on a negative stereotyping of but has now expanded to well beyond the workplace. If women are feeling problems that are associated career. gender. Ofcom are therefore involve 670 BBC teams and discriminated against, and are either not able to have their with negative gender Representology takeaways pushing for this to happen, more than 100 partner voice heard, or are choosing to leave the industry, then it will It appears that we are in a stereotyping leads to the Challenging gender discrimination in television for the channel controllers, organisations in 26 be men who are in those senior positions which shape the circle of on-going need for meaningful commissioning editors and countries. All are committed plays an important role in encouraging wider content we see. Ofcom (2020) identified that people want discrimination. As we have progress in addressing these their teams, to be more to continuing to improve societal change programmes that authentically portray life across the UK, but seen, cultural and societal harmful stereotypes and representative and inclusive women’s representation. • Senior leadership matters, and addressing we cannot expect TV broadcasters to represent women norms lead to stereotypes negative practices. This of women. UK TV women’s significant under-representation at authentically if women are not truly represented as and negative stereotypical requires commitment and Likewise, ITV has adopted a broadcasters need to employees in the TV industry. This leads to a further practices, which, in turn, action by legal bodies, the range of initiatives to commissioning editor and channel controller level commit to making cultural perpetuation of the female stereotype, instead of helping to lead to female discrimination TV regulator Ofcom, improve its inclusion and is of paramount importance change, to actively look at push boundaries by creating aspirational, non-stereotypical behind the screen in the TV campaigning organisations, representation of women. • Regulatory and legal bodies should working with ways to increase the number characters, television too often falls back on tired gender industry, and, ultimately, this further and higher education, For example, the new educational and campaigning institutions to tackle of women in powerful roles, stereotypes. leads to dominant and the media and the TV diversity criteria in their as well as to address the workplace gender stereotyping negative norms being organisations themselves. commissioning strategy, Comprehensive research by Common Sense shows that underlying cultural bias. • Initiatives aimed at bringing more women into the portrayed on the screen, and Each needs to give this issue which requires two on- children who are exposed to gender stereotypes have their Bringing more women into industry behind the scenes need to be amplified then the circle continues, as the serious attention it screen and off-screen behaviour and attitudes shaped for years. The effects on senior positions can help to the society’s beliefs are deserves. Until the time is and praised. children of these biased gendered portrayals include: reached when gender bias 52 53 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021

In 1985, I was working Did we achieve in a BBC building with over 1000 staff, and anything and PROTEST, almost everyone over what did we the grade of assistant learn? producer was a white I wish I could say that our middle class man. campaign now looks like an RESEARCH A group of us decided to set outdated piece of social up an Equal Opportunities history but, sadly, it does not. Network. It was a vague, Although there has been a high-spirited idea. We huge change in the TV wanted to collect information industry over the past 30 and about sexism and racism years, much of what we and to propose bold new highlighted in our report changes. There was a remains unresolved today. woman prime minister, but As I have moved through the CAMPAIGN: there were no women in ranks of TV production, from decision-making roles in the being a stroppy researcher to building. The racism was becoming a producer on a obvious. There were no high profile weekly current Black, Asian or people from affairs programme, to being Equal any minority ethnic an Executive Producer, the background in the building, issues of lack of inclusion, either in front of, or behind, equality and diversity have the camera. Manchester has remained all too apparent. always been a multicultural Opportunities city but, behind the doors of While the faces on screen the BBC, it was very white. have become more diverse, the people in charge of We produced a report, that decision making haven’t we presented to changed much. Diverse life Network 1985 management, about how we experiences, views and viewed our working perspectives, are still rarely conditions, along with reflected in the content. suggested action points. On the last page of our 9 page The politics of feminism and report to the management Equal Opportunities were we wrote: “we look forward loud and active in mid 80s to swift and clear changes in Britain. The Industrial Society the BBC”. commissioned a report on Director and producer ‘Women and Power’ and the What started as a thought NUJ was actively Debbie Christie considers became, for a few months, a campaigning for Equal shout, a protest and a Opportunities Officers in the the success of campaigns against campaign. workplace. racism and sexism at the BBC We were fortunate with our noisy campaign, because it in the mid-1980s came off the back of the Sims Report. Monica Sims was a well-respected Controller of BBC Radio 4 who had been invited to conduct a report on Women in the BBC. She requested and analysed the data on women. The statistics were shocking.

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She also identified what she called “a macho style of We found that the lighting I wish, of course, that we had and going to a secretarial significant that there were and influential people as If you seek out different management” and “the difficulties presented because the crew in the studio were pushed harder and looked agency. She was not only already women in lower paid possible to go on record with voices, there is a richness of child-bearing years from 25-35 coincide with those years routinely using the words for more evidence. We excellent at her job, but she jobs in BBC buildings in the their commitment; to collect content and creative energy considered crucial in career terms”. ‘Darkies’ and ‘Winston missed the most significant brought a perspective. She ‘80s who knew they were ‘off the record’ testimony so which not only enhances the Kdogos’. When challenged, abuse of young women in mentioned, in passing, that capable of doing the better as to look at the patterns offering to the audience, but Sims wrote: “Real power, even in production departments they explained that they the building. We all used the her boyfriend, who had lived paid jobs. That wasn’t the that emerge; to shout and that also offers one route where there are a number of women producers, was in the needed to ask if there were BBC canteen. It was a joke in Manchester all of his life, case for Black Asian and complain whenever you feel along which to broaden the hands of men”. any ‘darkies’ in advance of a amongst some of us that was being deported. We Minority Ethnic people, who safe to do so. range of people who work in When things got a little tough for our campaign, it was lighting set up, because if the Stuart Hall, the BBC North were shocked. These stories weren’t even in the building. TV. However, I don’t think we will extraordinarily helpful that we not only had the statistics, but musicians were dark skinned West News presenter, who were rarely reported. We did This societal lack of see significant shifts in that this quietly spoken successful woman had explicitly it altered their lighting rig. We famously wore a pink shirt an item on it. We asked confidence remains, I think, employment without clear, identified the problems. understood that, but we unbuttoned to show his questions of the Home Debbie Christie is an Emmy an issue for all recruitment of targeted recruitment and asked them to modify their medallion, stood a little too Office. He got a reprieve. and RTS award winning Our campaign took anonymised testimony from a wide range diverse staff. It is now training, accompanied by 2 language. They did. close to us in the queue, and Television Director and of women. Now, post #MeToo, they read quite shockingly, We were challenging a particularly true for people year contracts for these new sometimes rubbed into us ‘in Producer but, at the time, we thought they were small things that made culture, and perhaps that from low-income families. recruits. This should be a a jokey way’. We didn’t even life uncomfortable. challenge was easier They don’t see themselves priority. Did our put that in our report. Now, because, in 1985, sexism being employed in TV. Here are some of them from our document, which was sent to of course, we know that he The TV industry needs to findings shock and racism were more overt. the management on 12th July 1985: also invited school girls who welcome not just the people, • 2 women at job interviews had been asked whether they people at the were interested in working in I think some of what helped What did I but the perspectives and planned to get married. television into his office, and me to navigate a culture that ideas that they bring. time? he indecently assaulted wasn’t welcoming to women learn? • A woman had been asked by her male Colleague not to For Commissioners, I would Yes, they did. them. In January, 2013, he was that I had grown up in a wear trousers at work because they were unfeminine I wish we had pushed harder. suggest that the focus now pleaded guilty to historic family, and at a girl’s (these were smart trousers, not scruffy jeans). Some of our ambitions were I wish we had done more. I needs to be on shifting the charges of indecent assault grammar school where it was • Women felt they were often ‘rewarded’ by being given a combative and probably am embarrassed that we lens. I have recently Exec’d a involving a 16 year old, a 17 unthinkable that a woman peck on the cheek or by being bought a drink. They ill-judged. We asked to turn didn’t seek out non-white series of monologues for year old, and a 9 year old in wouldn’t be as clever as a would have preferred to have been told more directly, as the subsidised bar, where voices outside the TV BBC 4 that is called ‘Crip 1983, and a 13 year old in man. I am very aware that their male colleagues had been, that they had done a people gathered to drink at industry, who could have Tales’, and that is written, 1984 .We didn’t suspect at people who have been good job. lunchtime and after work, informed our campaign. directed and performed the time that he was doing brought up in disabled, into a subsidised crèche. entirely by disabled people. • A woman’s contract was terminated when she said she that. And we didn’t look for non-white, or low-income I have since been involved in That certainly met with the As well as achieving critical was pregnant. it. households, have often not many campaigns and wrath and ridicule of many of success, every one of our • We found that there were no women in production who lived in a society that has initiatives as an executive, the staff. We did meet some hostility. writers, who had previously were combining TV production with bringing up children. given them those confident but I am still not sure what never written for TV, have We demanded 5 years Many of the women in the messages. will create change in the TV • In TV production, there were only 2 women above the been offered more work. We (unpaid) maternity leave, with building sent us information, industry. I fear that a largely grade of assistant producer. I was discussing our 1985 have hopefully started them the job being held open. but they didn’t want to be freelance short-term industry, campaign with a friend who on a career in TV. My own experiences echoed this patronising attitude to seen coming to the and a society that hasn’t But we also asked, more was involved at the time. She women. During my initial job interview, the HR representative meetings, because they felt it improved statistically for realistically, for flexibility for said that, in hindsight, she asked whether I had a fiancé in Manchester, and whether I would damage their chances young Black British people, part time work and job felt much more intimidated in would be lonely, as a girl moving to a new city? I had by that of employment and will prove to be tough sharing, and for race the BBC building by her time been to university, worked in Kenya, and had also promotion. challenges. awareness courses for all working-class background worked in a refugee camp in the Middle East. managers and editors. I was a researcher. I had no and Mancunian accent than I have continued to Our report highlighted that this bias was not only verbal, but responsibilities. I was on a by her gender. We weren’t sporadically campaign and Representology takeaways Those should have been also that people declared it in print. We quoted from an article short-term contract. I was even asking questions then to seek to influence and easy to achieve, but when I The struggle for diversity in broadcasting has a in the BBC’s in-house magazine, Peter Hill, the editor of ‘fired up’ and, with the zeal about socio-economic improve recruitment as an returned to the BBC 10 years long, rich history Rough Justice, talks about the production team: “It’s an of youth, I just knew we were inclusion. Although, executive in TV. I am proud later, as an Executive • Significant changes have been made over the past all-male team. I’m not sexist, but situations can develop which right. I also had a decent interestingly, her experience that evidence to a House of Producer, they were still not four decades - women in key positions helped a woman couldn’t handle. Even if I was prepared to expose boss, who I knew wouldn’t was that she came in as a Commons Select Committee happening. improve gender diversity and have other women’s one to the kind of risks we take, which I am not”. succumb to any pressure secretary and has since identified my success in Our eagerness for change around the renewal of my progressed to work as an recruiting a predominantly concerns listened to did achieve something contract. He knew which executive in a major Black Asian and Minority • Anonymous testimony can be a powerful tool in I fear that a largely freelance important. Many women took direction society was multinational media Ethnic production team, but highlighting problems, showing victims of strength from realising that travelling in, and he was company, she was at least in our industry has problems discrimination that they are not alone. short term industry, and a this wasn’t just their own, sympathetic. the building back in 1985. that well-meaning executives • Pushes to increase gender representation have individual problem. It showed cannot solve on their own society that hasn’t improved One small story. One of my Within a few years of our often failed to recognise the intersectionality of that discrimination was not each time they are recruiting sympathetic bosses report, the statistics on just happening occasionally, for a new series. race and class. statistically for young Black employed a secretary who Women in Television were but that it was a widescale, was Black British. I think he shifting fast. They reflected My suggestions would be to British people, will prove to be persistent and embedded managed to do this by huge societal changes for get the statistics, to problem. tough challenges. circumventing the BBC pool women, but I think it was persuade as many important

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Former Guardian columnist Gary Younge reflects on his three decades working at the newspaper.

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When I started at the It was a surprising choice in There was a particular The motion was narrowly the biggest I’d ever been to, Just because you’re Guardian on staff, there many ways but primarily moment that crystallised passed, but when I got back where the chapel voted to paranoid, doesn’t mean because I was only twenty- some of these issues. It was from my trip abroad, Seumas reaffirm its commitment to they’re not out to get you. were only a handful of five, which is quite young to just before the publication of Milne turned to me and said: the boycott which led to the There really was the danger Black journalists there. be calling correspondents the Macpherson Report in ‘Look, we need you to resignation of all the chapel’s that someone would After about six months and saying ‘How’s that intro 1999, the result of the inquiry intervene here.’ I officers. I actually proposed pigeonhole you, and it took a of shift work, I was coming on?’ So given my into institutional racism appreciated his intervention the motion, which was while to navigate the inexperience, it demanded a following the murder of the and was keen to show seconded by Katharine situation. Of course, I always offered a staff job on the certain amount of humility. Black teenager Stephen solidarity but initially bristled Viner, that we reaffirm the thought that race is Foreign Desk as the There were a handful of Lawrence, by which time I’d at the notion that I had to boycott. Overall it was a important and interesting assistant foreign editor. colleagues who resisted been at the Guardian for a clear up a racist mess that I particularly noxious episode. and I wanted to write about taking instruction from me few years. An Asian had nothing to do with. My it: I wanted to write about Staff vacancies there Once I started in the and I had to work really hard colleague, Vivek Chaudhary, initial response was: ‘This the American Black Skiers’ newsroom after my stint on are rare and coveted, so to earn their respect. had been racially abused in isn’t my responsibility. I’ll Association going to a the Foreign Desk, I was turnover is quite low. By the bar that was seen as the boycott the pub, but why is fascist part of Austria, or Race was an important advised (sometimes by the ‘Guardian pub’. If we won an it down to me?’ But I did get about rap classes, or that time, I’d had some factor. Why wouldn’t it be? same people) either to write award, our management involved and it was whatever. But I also wanted experience covering the There’s a lot of racism in a particular story because it would put a couple of grand incredibly exhausting and to write about Ireland and British society and it would was about Black people and South African elections behind the bar and everyone distressing. We had this fight about strikes and about a be strange if the Guardian I had special knowledge, or in 1994 having been would head down the pub. on our hands and it was very range of things. So, there was immune. Generally to stop writing about Black The publican had spoken to weird and ugly. Various was always this assumption introduced to the speaking, it was very people because otherwise a white friend of Vivek’s colleagues would take me of a kind of expertise that Guardian initially convivial: people were very people would think that was about ‘Pakis’ moving in and aside and talk in very was drawn through melanin, pleasant and I was allowed all you could do. The latter through a bursary Vivek had gone up and opaque terms about their for which there was no office to do quite a lot of stuff. But suggestion, I think, often scheme aimed at racial challenged him and the own views: ‘I don’t want to there was a moment where, came from a genuinely landlord had basically get into my private life, but minorities and those in 1995, I edited a series on supportive and even repeated it. Vivek saw in this you should know that I who are otherwise ‘Black Britain’, which didn’t nurturing place. But it was all the things that the paper couldn’t possibly be racist’, endear me to some of my wrong-headed all the same. Race was an important factor. underrepresented in was writing about in terms of and then it would turn out other Black colleagues who ‘You will become pigeon- journalism and would Macpherson: canteen they had a Black wife or they felt, not unreasonably, that holed’ I was told – always in Why wouldn’t it be? There’s a lot culture, racist language and had Black kids by someone benefit from assistance. they had been overlooked. a passive voice, not realising stereotyped assumptions. who left them. It was as if it of racism in British society and Nobody had me down The Guardian is actually that they were telling me not was my personal quite a culturally Vivek raised this at a union to write about something I it would be strange if the for that job, and when it responsibility to fix this thing. conservative institution meeting. I was travelling for knew a lot about, cared a lot was announced there And it was very rancorous, – people are there for a long work at the time but from all about and could write well Guardian was immune. because lots of people were were a few gasps in the time, and if someone comes accounts, his contribution about. not observing the boycott. office. in, then you’re expected to was met with a considerable This was a constant source wait your turn. But when I amount of scepticism and a Anyway, the Black journalists of tension. The first column I and no resources. It’s not was doing that series, I had degree of vilification. He ended up putting a note up ever wrote, which was about like it was established as a some conversations with called for the chapel [the on the wall – a letter to our the Bosnian war, was specialism, but nevertheless white colleagues and was NUJ branch] to boycott the colleagues within the returned to me with the you were expected to shocked by what they had to pub. The motion was passed building – saying that ‘our question: ‘Can you add an produce endless copy about say about their Black but not without resistance understanding of the Union ethnic sensibility to this?’ It it when required, and to colleagues. Many assumed and people saying, ‘Well, is that you stand up for was made clear by the then keep it to yourself at other that they were all affirmative how do we know that what each other and it’s comment editor that my role times. We never had a race action hires and that none of you’re saying is true? The disheartening to see people was to write about ‘Black correspondent as a them were any good, which publican has a disabled not showing solidarity. We stuff ’. So, it was a struggle specialist, which I lobbied for was not true. They had daughter and we’re middle- just want you to know how for a few years to make it constantly, but there was effectively discounted them class journalists so why are really disappointed we are clear that while I did want to always at least one Black being there for any other we beating up on him? We in you and we will not be write about race, I also person in the office they reason than that they were should set up a commission going to that pub.’ The idea wanted to write about other would constantly go to for Black. I was actually of inquiry to find whether this was that if you want to go to things. stories about race. They just shocked that they thought it is true or not.’ It felt as if a segregated pub, you go to never enjoyed the status or and I was even more Vivek, and not racism, was a segregated pub, but we the salary of a specialist shocked that they said it to in the dock. won’t be there. This ended correspondent. me. with the Union officers opposing the boycott and a big Union meeting, one of

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I do remember there was one article about a report that I didn’t know a Black We talked about making sure So, for the longest time, the featured these spurious arguments about how Black people journalist there who didn’t that all posts should be discussion was mostly about have an Irish future, how Asian people have a Jewish future, have to navigate tricky advertised, because up to hiring and then things like and stupid bullshit like that. I was asked ‘maybe you know situations. But you also had that point, an awful lot of internships, where some people that we can interview.’ And I remember to put it in context. Would recruitment was run in a very traditionally people would thinking that I’m not actually paid to know Black people, or at you really be better off cliquey way – ‘I met this give their niece, or their least I shouldn’t be. That happened a couple of times: ‘we’re somewhere else that didn’t guy’ (and it was usually a godchild, or their friend’s doing a series on men of a certain age, but it turns out even publicly aspire to equal guy), ‘I was on this trip’, or friend, some type of work they’re all white, so do you know any Black ones we could opportunities and continually ‘so and so is a good guy experience. The Black interview?’ That kind of thing. wrote reprehensible things and gets a pint in’. These journalists got a work about Black people? You practices continue to experience scheme together In general, however, there wasn’t an awful lot of casual can resign from a job, but mitigate against Black and that saw some quite racism at the Guardian that was aimed at me. But there was you can’t resign from racism. Asian journalists, against impressive people, like Reni one time when somebody used the phrase ‘nigger in a It’s out there. As I’ve already women, particularly those Eddo-Lodge and Bim woodpile’ in our daily ten o’clock conference, and nobody said, the Guardian isn’t with kids, or Muslims – there Adewunmi, come through it, said anything. So, I wrote to a senior member of staff pointing immune. Where would you were all sorts of things that and others who are doing out that ‘we write leaders saying that if somebody uses go? The Telegraph or The were very wrong. So, it was very well. And then there language like that they should be fired.’ Now, I wasn’t Times? The Guardian had its important to establish some was also the bursary scheme suggesting for a second that the person who said that should problems, but compared to transparency in hiring that I set up, which be fired, but they should be talked to. ‘If it’s only me who is offended, forget it. But if you were offended or thought, in what? Which other practices, and to look at continues to be a conduit for retrospect, that it was offensive, then you should talk to mainstream newspaper was what we were publishing and a lot of talent, including going to publish work by to ask ourselves why, if Randeep Ramesh, who is a him. It shouldn’t come from me but from you.’ I was quite Black, left-wing writers? we’re organising panels, chief leader writer, Tania explicit about it: this stops here if I’m the only person Ultimately, I had a successful there are no Black people on Branigan, who is on the offended; otherwise, it has to come from their superior. career there for 27 or so them. So, some of it was leader writing team, Charlie Two minutes later, I get a call from this person who made the years, so whatever problems about how there needed to Brinkhurst-Cuff, who was comment. ‘Oh, I’m such a cunt – I’m so sorry.’ And it then I did experience there were be broader editorial head of editorial at gal-dem, became my issue and my problem, because ‘Gary has navigable. But not everyone responsibility and some of it and Hannah Azieb Pool, complained’. For me, that was a completely reprehensible was so fortunate: some was around newsroom artistic director and CEO of piece of management. So, while the Guardian is almost people found it really hard culture. You could complain the Bernie Grant Centre. certainly more honest than most mainstream British and at some moments it got about the shortcomings of newspapers, in terms of what is necessary, it’s nowhere near quite unpleasant. On this approach, and of honest enough. occasion it could be really particular meetings, but at draining. least they happened, and The Guardian is an expression of a particular patrician form of they probably wouldn’t have British liberalism, and, as such, the racism one experienced Any criticism had to be happened in most other there was mostly benign. It only occasionally came overtly to coupled with a genuine newsrooms. the surface when directly challenged or pointed out, desire to change the regardless of how gently or strategically you did it. Those complexion of the paper. Katharine Viner built on that were the moments when you felt like a mask slipped and you That was an aspiration that and, in terms of recruitment, Gary Younge is a journalist, were really being tolerated to a certain point. That didn’t was embraced from the top, ramped it up. Sure enough, author, broadcaster and happen often, but then it didn’t really have to. Whenever it did but was shaped, in no small as the years went on, the Professor of Sociology at take place, it was both shocking and unsurprising. part, by pressure from number of Black journalists the University of below. Joseph Harker was grew and became better Manchester. This is an absolutely central to this organised. I found the extract from Capitalism’s work. Joseph thought that younger generation more Conscience: 200 Years of the Macpherson Report politically sophisticated, The Guardian, edited by provided an opportunity, a conscious and militant than Des Freedman, on Pluto moment, in which to address my own, which was great to Press. underlying problems of see. Sure enough, as the years went on, the number of racism. He convened the black journalists grew and became better Black journalists and secured a meeting with the organised. I found the younger generation more editor, Alan Rusbridger, who was very receptive to the politically sophisticated, conscious and militant idea. than my own which was great to see.

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Actor Adrian Lester navigates his way through balancing home life with working in the creative industries.

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My wife, Lolita, and I are both freelance creatives. Our Any work either of us did had The best way to navigate all RAISING FILMS jobs can be booked months or days in advance. Work isn’t to be truly worth the other of this has been to remain guaranteed, and when we do get the chance to work on a one not working and, very focused on what we basically, staying at home. want. We have been together Dr So Mayer When, in 2015, Raising Films was formed as a community and as a campaign for project, it can be all-consuming and may demand There is no system of using a for over thirty years and, in parents and carers in the UK screen industries, we had a clear aim: to make parents irregular hours. Trying to maintain a good work/life crèche or day care in order to that time, we have learned to and carers visible and audible throughout the industry. In 2020-21, we have seen just balance in this competitive, freelance profession is help an actor, who is also a create the work we seek to how high the stakes are for incorporating caregiving and work – yet we have also seen difficult. parent, carry out their work. accomplish. This is especially how far there is to go before employers, contractors and the government understand The hours are too irregular true for Lolita, as a writer. and respect caregiving. We book holidays at the last Lolita and I met at drama and the wages are the same. Every job is hard won and minute, and can rarely school. We studied a year If you are in theatre, your offers us the possibility of a commit to anything that is apart, learning to prepare hours shift from a basic better place in the industry, As we reported in our wholly or partly self- At their best, freelancing and more than a month away, ourselves for this erratic nine-to-five to a few days of which could lead to a greater COVID-19 study ‘Back from employed, with many failing being self-employed provide because work might industry. We both felt we twelve hour calls, and then sense of security for future the Brink’, across the board to qualify for SEISS, the freedom and agency that materialise. On the odd were part of a new wave of into a period where you’ll work but, sometimes, we in the UK, severely disabled frequently due to maternity are compelling to parents occasion, we have not even classically-trained actors who start work at 6.30 p.m. and have had to put the stability people (37%) and parents leave, which is why Raising and carers, particularly where been able to properly plan needed to change the finish at 11 p.m. By the time of our children ahead of our and carers (39%) were most Films’ current survey takes a creative work is concerned. celebrations for Christmas or industry from within. The role our second child was born personal ambitions. I have at risk of redundancy during close and urgent look at In order that freedom and birthdays, which is especially models we saw in our we tried, as much as often taken something closer the 2020 COVID-19 ‘How We Work Now’. agency be available to all, disappointing, particularly profession were unsung possible, to juggle our to home where I could see restrictions (Citizens Advice substantive support when our kids were small. heroes whose contributions opportunities for work the family more regularly. I As Adrian Lester’s piece were completely overlooked, Bureau), while mothers were mechanisms such as an HR In order to paint an accurate between us. We have both know Lolita has done the reflects and details so or who were mentioned as a 47% more likely than fathers hub are needed (Creative picture, I had better describe turned away from work that same. Our principles as carefully, when we think and side note. to have lost their jobs, or to Industries PEC). What we’ve what the balance means to we wanted to do because we parents have no doubt cost research about working have resigned from their jobs, learned from our community us, though it’s going to be We left drama school and, knew that the other’s us money, but at least they parents and carers in the and they were 14% more is that the best practices are different for everyone. luckily, began to get theatre opportunity was more have left us with peace of screen and cultural sectors, likely to have been already happening, across so work up and down the important. mind, so far . . . we are looking at what it furloughed (Mayor of many families and country. Before we had means to be freelance, often In the past, like many actors, London’s Office). This has workplaces: we just need to children, it was relatively easy facing unlawful employment we found that some of the exacerbated existing amplify them, which is why for us to see each other legislation and practices, as work we had been offered inequalities at the we have centred interviews wherever we were working. reported by Dr. Tamsyn Dent looked at the world with an intersections of gender, class, and testimonials since Day We would travel regularly, in our 2017 study, ‘Raising ignorant eye, and was best ethnicity and disability. One, even though 79% of visiting each other as much Our Game’. These are avoided, while, at other Adrian Lester CBE is an parents and carers told us as we could, and would see Yet the majority of research exacerbated by legislative times, we jumped through award-winning actor, director that their caregiving each other’s shows. We into the impact of COVID-19 issues, such as the hoops to chase the smallest and writer. Adrian Lester and responsibilities had a performed Shakespeare all on work focuses on people in extraordinary cost of chance of being involved in a Lolita Chakrabarti: A Working negative impact on their work over the world, and we permanent employment, childcare in the UK compared project, only to have the Diary is available on Methuen in the screen industries. As worked with some great rather than those who are in to the cost in most other opportunity disappear. Drama. Lester’s and Chakrabarti’s international artists. precarious labour. Raising European countries; the lack story exemplifies, even Films’ 2016 survey, ‘Making of support for professional While Lolita was pregnant though parents are out there It Possible’, showed that carers, leading to the with our first child, she was ‘Making It Possible’, it could parents and carers in the formation of the worker and on a two-month tour in the certainly be made easier. screen industries are twice as migrant-led Nanny Solidarity U.S. A few months later, our likely as non-parents and Network, the UK’s first nanny first child was born while I carers to be freelancers – and union; the inability of was in the middle of a people working across the freelancers to declare year-long world tour. Once screen industries are already childcare as a tax-deductible the jobs were over, we made twice as likely to freelance as expense; and a broken an agreement not to tour those in other industries. As benefits system that, among anymore! We needed to put our sister organisation, other punitive issues, down some roots and rules Parents in Performing Arts, militates against freelancers for our new family. We were reported, 80% of taking short-term contracts. aware that we were going to respondents to their 2020 have to create a sense of COVID-19 survey were stability from a profession where there is none.

66 67 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021 book review TheThe by DARINGDARING Jonathan LIFELIFE andand Ned Katz DANGEROUSDANGEROUS

Review by Siobhán McGuirk TIMESTIMES ofof EVEEVE ADAMSADAMS

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Although February is the Those events, half a century Finding Eve sustain an effective balance Katz manoeuvres ably by biographer’s portrait of her, officially designated UK ago, were forthright of reverence and foreboding carefully noting his own and more fully to life. assertions of trans and queer Born in Russian Empire- throughout. others’ speculations and LGBT+ History Month, rights; of our community’s alternative possibilities, and controlled Poland in 1891, Elsewhere, his nuanced and June is recognised humanity and refusal to be his refusal to attribute The bigger Chawa Zloczewer (a.k.a. Eve sometimes elaborate surveilled and brutalised by particular qualities to worldwide as the month Adams, among variations of portraits of the supporting picture the state and society. Similar both names) was a working- relationships without of lesbian, gay, bisexual, cast flesh out the bones of a As his title implies, however, struggles continue today, all class, single Jewish woman supporting evidence. trans and queer (LGBTQ) story that is pieced together Katz has not only focused on over the world. Meanwhile, a who emigrated to the United from a fragmented archive. The cumulative effect is to Eve. His book is also Pride. The date is commodified, corporatized States in 1912. After a few By getting to know the many highlight how histories of explicitly concerned with and de-politicised sense of years of factory work, Eve significant: June 28 and varied people who left people who were detailing and exposing the Pride has meant that police joined up with the socialists, marks the anniversary indelible marks on Eve – marginalised or persecuted knotted ways in which the forces and immigration anarchists and bohemians of of the 1969 uprising at whether they crossed paths in their own times are powerful conspire to agencies now sport rainbow- Greenwich Village and for fleeting moments or frequently omitted, erased or maintain and tighten their the Stonewall Inn, and of covered logos for one month became a saleswoman of remained intertwined for distorted in the archive – and grip on society. The each summer, even as they radical publications, before the first Christopher decades – Katz constructs therefore demand judicious deportation hearing that continue to harass LGBTQ later running tea rooms in Street Liberation Day an affectionate, and review. Katz’s own opens the book is, for people year-round. Chicago and New York. March that ultimately affecting, image of painstaking work has, over example, carefully exposed commemorated it the The Daring Life and Her friends and associates, a potential everyday icon. five decades, helped us to as having been prompted Dangerous Times of Eve (re)construct and expand including Emma Goldman The author’s skill and and justified by a confluence following year. Adams is a welcome that archive, and this book is and Ben Reitman, were at experience as a historian of dangerous forces: state intervention into this scene another welcome addition to the forefront of a “sex-love” comes to the fore in his agencies’ crusades against and delivers a potent it, not least because it revolution that, despite scene-setting passages and multiple spectral threats; the reminder that queer liberation includes the full text of naturalising heterosexuality, in his asides, which are fragile masculinity and petty has always been intertwined Adam’s own publication, challenged dominant ideas almost always relevant. His jealousies of aspirational with other struggles: for the Lesbian Love. about monogamy, deep knowledge of LGBTQ men; and the simple greed of rights of immigrants, women, procreation, and desire. history and culture is further Given Eve’s intersecting real estate brokers. ethnic and racial minorities, Against this backdrop, Eve’s highlighted by astute subjectivities – most keenly Later, as fascism spreads workers, all marginalised own daring counter-cultural readings between the lines her class, religion, politics, across Europe, we find Eve peoples. In focusing and immigrant status – is it cornered by poverty and attentively on an individual also painfully clear why her xenophobia, while being who has largely been work has been so unfairly imperilled by virulent overlooked in the history As Katz notes in his convincing overlooked. In namechecking antisemitism. Here, Katz books to date, the author Adams’ celebrated near- does not hesitate to name Jonathan Ned Katz also and layered analysis of Adams’ norms that have long Siobhán McGuirk is an contemporaries Gale the “respectable” high underscores how all of the structured US society with anthropologist at “groundbreaking” and Wilhelm, Radclyffe Hall and society lesbians whose aforementioned struggles only its latest ideologue. Goldsmiths, University of Lillian Helman, Katz names are already writ large have been propelled forward “troublemaking” work, Lesbian London, and is the co-editor underscores the classed, in the annals – Gertrude Thankfully, Katz elaborates by countless unrecognised of Asylum for Sale: Profit racialised and otherwise Stein, Natalie Barney – and on his initial framing in the and under-appreciated Love “paved the way” towards and Protest in the Migration uneven ways in which some who would have shunned (or Epilogue, where he offers figures, whose lives Industry (PM Press, 2020). greater acceptance of gay and people become icons while worse) a Jewish, working- readers a forceful and undoubtedly merit attention. The Daring Life and others fade from view. class, unabashedly sexual compelling argument for His book marks an important lesbian lives. Dangerous Times of Eve woman, like Eve. continuing to fight – in Eve’s corrective to a common For a project that intends to Adams by Jonathan Ned spirit – for a radically more recurrence. restore prominence to a As Katz makes clear in his Katz is out now on Chicago just world. His sense of ideas and activities had the name that had previously Introduction, his researching Review Press. and dissections of the anger and urgency over the scope to flourish – placing been relegated to footnotes, and writing of this book was euphemisms, slurs, alternative is palpable her firmly on the radar of US it is therefore jarring that compelled in part by the encodings and selective throughout, with a closing authorities who were out to Eve’s work is not the presence of Donald J. Trump omissions found buried in rallying cry that will quash “deviants” and centrepiece it could and in the White House and the the varied set of reverberate among all who dissidents of any stripe. should have been. The far-right forces that were correspondences, courtroom continue to fight for an decision to include Lesbian amassing under the long transcripts and newspaper inclusive, anti-capitalist and Katz weaves a complex Love in the ‘Appendix’ that shadow he cast. While there clippings he cites. anti-racist, queer liberation. picture of a complex woman, follows Katz’s biography are, of course, parallels to be set against a richly textured It is, however, impossible to feels counter-productive, at drawn between the canvas of the multiple and disguise the obvious best. While not solving this “dangerous times” of Eve overlapping ‘dangerous difficulty Katz has faced in politically inconsistent Adams and today, it would, times’ in which Eve lived. amassing sources, and his editorial choice, I suggest however, be short-sighted to While the threats that she need to draw upon unreliable that readers turn to it associate the white encountered are clearly narrators (Eve included) is between Chapters 8 and 9. supremacist, discussed, Katz manages to keenly felt. It is a challenge Doing so brings Eve, and her heteropatriarchal, capitalist

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Selina Nwulu

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III Who are we to one another: a dirty secret

Here’s the thing we forget as we age; we’re not so different. II Yes, there are some people whose clothes will never start a I riot, those who will never know the grief of having a face made synonymous with a thug (the trauma of this deserves What does it Matter? Hostile, a definition: its own word). It is true that the things we experience are wrapped up in the life we are given. But when it comes to Bitter; “...you don’t worry about dirt in the who we are, down to our most intimate core, aren’t we all just windrush citizen: here until your skin is no longer needed a bit lonely, a little scared? Asking questions no one truly has garden because it belongs in the garden, Cold; answers for? but the moment you see dirt in the migrants sleeping rough will be deported Consider this; many of us did not want to get up this bedroom you have to do something about Militant; morning, some of us couldn’t. There is that dazed place we charter flights, expulsion as a brutal secret in handcuffs all inhabit seconds before fully waking that has no border, it because it symbolically doesn’t belong needs no passport. When the temperature drops to a chill, a there. And what you do with dirt in the Unwilling; body becomes its own shelter, shoulders round into a cave women charged for giving birth after the trafficking, bedroom is to cleanse it, you sweep it out, protecting itself. Some of our worse fears will come true, after the rape others won’t. We are all still chewing on words we wish we’d you restore order, you police boundaries, Malicious; said to someone, somewhere, and longing to swallow back you know the hard and fast boundaries Yarl’s Wood is locking away too many hearts, the ones we’ve said in temper. A first love will make our will not let them heal bodies speak languages we didn’t know we were fluent in around what belongs and what doesn’t. and we all carry the heaviness of loss. How did we forget that Inside/Outside. Cultured/Uncivilised. Warlike; we’re all deeply connected on some level? Revealed only in IIII landlords, doctors, teachers conscripted for border control Barbarous/Cultivated, and so on.” moments like when a stranger falls ill in public; the way most Argumentative; of us will flock to help them, to remember ourselves. What words have Stuart Hall discussing anthropologist Mary Douglas and her hard Brexit, soft Brexit, Brexit means Brexit Every day my computer scrolls through a news feed of angry ‘matter out of place’ theory.1 Standoffish; people drunk on their ability to put others back in their place. been left for us? do not fall in love with the wrong passport There is a growing army of the righteous who tell us that there I remember an empty seat next to me on a crowded train, is a correct language to speak, an exact way to love, one Words tell lies. This is difficult pill to swallow for a writer, but Resentful; my breath a plague. I remember walking easy in a quaint acceptable altar to pray on. I watch a video of a man on the it is true, I think. We’ve inherited childish terms that shape the French village before being interrupted by the wrinkled nose Black and Brown forced to prove their right to free health care top deck of a bus screaming at another with a boiled kettle way we interact with one another. The words Black and White of a passerby; tu viens d’où, alors? reminding me that foreign Unwelcoming; rage. He is all fist, spit in your face, my-grand-dad-didn’t- are at their heart nonsensical, artificially packed with history follows me like an old cloak lugging around my neck. the number of refugees dying to reach you win-the war-so-your-kind-could-piss-it-all-away. I’m not and, all too often, too much meaning. And yet, still, these I remember the breeze in Kerry’s voice telling me, I don’t like sure it matters who the person on the receiving end of this labels are seared onto our backs. You’ll find this no better Afraid; the really dark Black people, but you’re alright, the way horror rage is. In the video he is a chilling quiet, the kind many than in the language of terrorism, filled with a cruel rage grew in my chest like ivy that day (its leaves have still not Afraid; people of colour will recognise. It is a calculated silence, the reserved for people of colour, whilst the more noble and withered). I remember Year 6, the way my teacher shuddered kind where you are bargaining for your survival (and this too redemptive words, such as lone wolf and misunderstood, for Afraid; at a picture of my profile. How I first understood revulsion needs its own word). It does not matter whether he has a job white acts of violence. How we ourselves are living in a without knowing its name, tucking my lips into themselves to how long must we make a case for migration? recount the he works hard at, the taxes he does or does not pay, if he tips language that equates our colour to a shipwreck where all make them smaller, if only for a little while. I remember the times it has carried this country on its neck so this nation generously, whether he is kind. That’s the point, isn’t it? hope is lost. It is, after all, a dark time. Blackness, with all its pointing, questions of whether I could read whilst holding a could bask in the glory of its so called greatness? how loud Racism does not look for nuance, only the audacity of our pain and apparent innate knowledge of rap and knife crime book, being looked at too intently to be thought beautiful but should we chant our stories of beauty of struggle of grit? skin. I wonder if with a different lens these two could be and squalor embedded under its skin, stands with its back to blushing all the same. I think this is a love, but the kind we write all the ways we are lovely and useful across our faces lovers, could be sitting next to each other as strangers on the whiteness, which in turn, knows fresh air and the best have been warned to run from. It owns a gun, yet will not before we become a hymn sheet singing of desperation? same top deck. They’d realise they were listening to the same schools to get into. How boring this, but these terms of speak of its terror; obsessive in every curl of my hair, the what time left to find a favourite cafè and a hand to hold? to music and how this one track makes them each feel a reference are as scorched in our minds as a national anthem. bloom of my nose, the peaks and troughs of my breath. lie on the grass in the park and spot clouds whose shapes particular kind of giddy as the bass drops, how as the bus How then, should we come to understand ourselves with the I’d tell you who I am, but you do not ask for my voice. remind us of the things we’ve lost? the souvenirs we can’t jolts a headphone would fall from each ear and they would language we’ve been given? To find meaning and truth in You’ve already made up your mind, haven’t you? get back? turn to look at each other and they would smile. words that are the scraps of the dictionary?

The Audacity of Our Skin is a version of a commissioned piece by Counterpoints Arts, originally entitled Who Are We, as part of a festival with 1 http://www.mediaed.org/transcripts/Stuart-Hall-Race-the- Floating-Signifier-Transcript.pdf Tate Exchange in 2018.

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REPRESENTOLOGY Ciaran Thapar, youth worker and author of Cut Short: Youth Violence, Loss and RECOMMENDS Hope in the City, chooses five things for you to read, watch and listen to. Read Watch Listen

Poor by Caleb Femi (2020) The Wire (2002) Philosophy Bites An anatomy of a south London David Simon’s celebrated Baltimore Long-running series interrogating the neighbourhood, expertly explored crime drama shines a light on history of ideas with contemporary through poetry and photography. institutional failure and corruption. philosophers.

The Last Shot: City This is Us (2016) Longform podcast Streets, Basketball Television series written by Dan Interviews helping to uncover ways of Dreams by Darcy Frey Fogelman using flashbacks to inspect storytelling in news journalism. (1994) intergenerational family dynamics. Thrilling account chronicling a year in Three Pounds In My the lives of four Brooklyn college When They See Us (2019) Pocket basketball players. Ava DuVernay’s miniseries looking at Kavita Puri’s BBC Radio 4 oral history the 1989 case of the falsely-accused of Asian migration to Britain from the Inner City Pressure: The Central Park Five. 1950s onwards. Story of Grime by Dan Hancox (2018) Capernaum (2018) Changes with Annie Grime’s pairing of ‘beats and bars’ set MacManus against the backdrop of political and Lebanese film, directed by Nadine social change in the capital. Labaki, following a 12 year old boy, DJ Annie Mac chats to guests about Zain El Hajj, navigating the streets of the biggest changes they’ve faced in Beirut. their lives. Pedagogy of the Oppressed by Paulo Freire Rewind 4Ever: The History Have You Heard (1968) of UK Garage (2013) George’s Podcast? A critique of the relationship between teacher, student and society, helping us Documentary directed by Alex Lawton George The Poet’s reflections to understand sources of oppression. charting Garage culture’s progression innovatively fuse together soundscape from house parties to the club scene. and social commentary. Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity by Katherine Boo (2012) An intimate look at life in Annawadi during an era of globalization and inequality. Ciaran Thapar is a writer, youth worker, and founder of RoadWorks. His book Cut Short: Youth Violence, Loss and Hope in the City is out now on Viking.

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REPRESENTOLOGY EDITORIAL BOARD SUBMISSION GUIDELINES

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Aaqil Ahmed Marverine Duffy Dr Paul Dwyer Barry Diamond Articles are read on the understanding that they are Professor of Media, Senior Lecturer and Director of Student Senior Designer and solely submitted to Representology. Published articles University of Bolton Director of Enterprise, Brand Manager at will receive a modest honorarium. Undergraduate University of Cardiff University Journalism Westminster Courses, Birmingham City University

THANKS Nathan Clarke Cóilín Duffy Maria Way Michelle Alexis Carl Gombrich Sir Lenny Henry An Duc Nguyen Academic Lead and Actor, Activist and Professor of Head of Learning, University Journalism, The London Chancellor, Bournemouth Interdisciplinary Birmingham City University School University

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