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 The Journal of Media and Diversity

Editorial Mission Statement

Welcome to Representology, a journal dedicated to research and best-practice perspectives on how to make the media more representative of all sections of society.

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

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

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

Representology is a collaboration between Birmingham City University and Cardiff University

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CONTENTS EDITORIAL

04 Developing Film Welcome to Issue Two of Representology - Sir Lenny Henry and Amma Asante The Journal of Media and Diversity. Since we interview. launched, many of you have shared 14 Finding My Voice encouraging words and ideas on how to help Afua Hirsch create a media more reflective of modern 18 Putting the Black into Britain Britain. Professor Kurt Barling 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 East Asians in British Cinema visions for the journal and answer your questions. As Chi Thai and Delphine Lievens Editor, I chaired a wide-ranging conversation on ‘Race and the British Media’ with Sir Lenny Henry, Leah 38 The Problem with ‘Urban’ Cowan, and Marcus Ryder. Our discussions and the Nina Robinson responses to illuminating audience interventions gave 44 Sian Vasey - disability pioneer inside us a theme that runs through this issue - capturing British broadcasting experiences and documenting struggles. As illustrated in a number of the following articles, people have been David Hevey fighting for decades to push for positive change within 48 Why it’s not ok to call a female director established institutions in press and broadcasting. Over ‘fluffy’: The impact of negative female the years, there have been great victories - however, in stereotypes in the television industry and many instances, media workers who have raised concerns about poor work and hiring practices have strategies for change had doors slammed in their faces. Melanie Gray We have found a willingness from people - experienced 54 PROTEST, RESEARCH and CAMPAIGN: The equal rights campaigners around disability and race, Equal Opportunities Network at the BBC for gay and women’s liberation - to share their stories Debbie Christie in our journal, buttressed by exclusive and robust 58 A Black journalist at The Guardian academic research. We include these pieces not as Gary Younge mere reminiscences - we hope to play a role in confronting institutional amnesia and inspire a new 64 The Parent Trap generation of media professionals to diversify their Adrian Lester industry. Meaningful change to the media can only So Mayer, Raising Films come about if we break down existing barriers and 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

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4 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, the camera? Tell us a little about your journey from being a and the other Grange Hill drama school kid to being one of our most important Black kids, to go to the White British female directors. House and meet Nancy Amma: There was definitely no master plan. I attended Reagan and to appear on Barbara Speake [Stage School] because my dad noticed, news channels in the US and when I was at primary school in South London, that I was UK. really creative. But I was also quite shy. I was very outgoing at home, and in my mum and dad’s shop, which they had in The importance Shepherds Bush, but I was not outgoing in school. of women and My dad was really good at looking at what each of his diversity in children was good at, and [at] trying to push us towards that. For example, my brother’s a biochemist now, and, at an early positions of age, my dad was always buying him chemistry kits. influence So, he knew of a couple of stage schools, but he wanted me Lenny: But I understand it to go to one that was the most multicultural, that had a could have all ended at that percentage of Black kids. They didn’t want me to go to a point. place where I’d be the only Black kid there. And so I went to Barbara Speake’s. And when I got there, Kwame Kwei-Armah Amma: After Grange Hill, I was there, Naomi Campbell was there and Michelle Gayle effectively stopped acting was there. But, in the beginning, I was terrified. It was all too when I got to around 19. I much. It was like The Kids from “Fame” [cast members from did a little bit of presenting the 1980s American TV drama set in a stage school]. with Lee MacDonald on the Children’s Channel. And Lenny: Kids dancing on taxis in the street in leg-warmers various other things, like a and leotards, yelling “Let’s do the show right here”? bit in one episode of Amma: Exactly! I mean, literally! I walked in and there were all Desmond’s [a 1990s Channel these kids in leotards in the assembly hall. There were kids 4 comedy set in a Black rehearsing what we used to call an “own show”, which was a British barber shop], but show that the kids produced for themselves. It was a lunch mainly because I didn’t know break, and they were all rehearsing and doing splits in the air, how to do anything else. and all of that. And I begged my dad for a full seven months When all my friends had to take me out of the school. Then, suddenly, one day I gone to university, I hadn’t. became one of those kids doing splits in the air, and you’re My mum was terrified that one of those kids who knows how to be one of The Kids from my dad had sort of led me “Fame”, and you’re talking like everybody else, and suddenly down this road, where I had I was a bit more out of myself – not as much as everybody not got an education, the else – but I was one of them. kind of education that she Lenny: So, you were finally fitting in. You’ve said in past wanted me to get. So, she interviews that you realised the power of drama during this begged me to go to time. Can you explain? hairdressing college, where I was promptly kicked out. Amma: Actually, I didn’t ever want to act. I did Grange Hill. I And then she begged me to was surrounded by kids who could act, and I could see what go to secretarial college, good acting looked like. I knew I couldn’t do that. I was too which was the big turning self-aware. I probably lacked confidence as well. But I was point for me. I’d read an blown away by Lee MacDonald, who played Zammo at the article somewhere in time, and he had a harrowing storyline in my final year [about Cosmopolitan or Pride, or childhood drug addiction]. And I was also blown away by the one of the women’s impact of the story on the community. magazines, that said that I’d go back to my own community in South London, and I Black women, at that time, could see the impact, particularly the Heroin storyline, was actually did really well in having with kids I went to school with previously, in my particular areas of primary school, and that blew me away. administration and particular areas of lower management,

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and I thought; “Oh, maybe Fox. And, Lenny, let me tell Mick Pilsworth, at Chrysalis that’s a trajectory that I can you, I turned up at Fox Entertainment. And Mick The qualities of follow.” For me, that just Studios in Los Angeles in cut said to me; “Did you really a good mentor demonstrates why all these down jeans and a cut down write this?” And I said, “Yes, Lenny: But, again, it could statements and things that t-shirt, because I was on I did write it.” And he said, have all come to nothing – we read, even when we’re holiday at the time. “Okay, well, let’s talk about is that right? 15, 16, 17 years old, really what we can do”. And he I was in my very early go on to impact us and then sent it to Channel Amma: I went through three twenties, and had no idea make a difference, one way Four’s Commissioning years of development work, that I was turning up to a or another, because that’s Editor, Seamus Cassidy. and then a new whole professional studio where I thought; “Okay, That’s how I got my first commissioning editor came meeting, because I had no maybe there’s a world where seven script deal with in, with a new broom, and concept of American I can keep a roof over my Channel Four. everything was swept out. studios, or what those kinds head, you know, in that of professional meetings That was how it started. I I’d also got a development way.” were like. But, as I say, I had stopped acting fully at that deal on a sitcom I created, And so I was trying to get gone to the US on holiday, point. It dawned on me when called Ladies in the House, 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 do copy typing. And then I clothes with me. So, I go in, was only doing it because actually remember if it was 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 my head, and something I executives and these two been put into as a child, as one of them had given me a typed off the top of my head development executives, opposed to choosing it. My mentor, called Paul Mayhew- was a script called Soul they’re both women! I just Dad understood I needed an Archer, and that was a Difference. And, in the back thought, “Wow!!” They were outlet for my creativity, but I beautiful experience. He’s a of my mind, I thought I was amazing. They changed my had to figure out exactly great guy. He was so brilliant typing out a half hour life, because they said to what that outlet should be. and clever at just getting me sitcom, but it came out at me:“ we love what you’ve to express what was locked Lenny: I liken the something like two hours by written, and you can write, inside the characters, and experience to climbing a what I wanted to pull out. ladder up the side of a big And so, the experience was house - you get to the roof, so positive, it was so And I felt listened to, and that look across, and see brilliant. He was such a good another house. A bigger somebody was actually mentor, though neither and better house. Then, you project was made. encouraging me, or telling me; slap yourself on the “you are good, and there is a forehead and say, “My And so, today, when I speak ladder was against the to students, I always say to possibility that you might be wrong house! That’s the them, that there is no wasted house I want over there!” piece of work. There is no better”. point in saying, “Well, this Amma: Precisely, writing didn’t get made, or this made me feel so good. And didn’t get done,” or saying “I the time I finished it. It was and you’re really good. And it made me feel like I wasted three years on that.”. about my life at home with they talk to me about the imagined good actors feel, Because I couldn’t have my parents. The mother in it characters, and they talk to because when I was writing, made Belle, I couldn’t have was my mum. The dad was me about the world I’d built I could express what I made any of the films I’ve my dad. And the girl in it was in the script. And, suddenly, I wanted to express. Whereas made without going through me. was talking about creative when I was acting, I couldn’t. all the processes that I went stuff. And I felt listened to, I’d not so long before met a There wasn’t any story I through in those early and that somebody was producer, called Chuck wanted to tell as an actor, stages. I just couldn’t have actually encouraging me, or Sutton, in the States. His but plenty I wanted to tell as done them. I couldn’t have telling me; “you are good, uncle was Malcolm X’s a writer. simply arrived fully baked. and there is a possibility that lawyer, and his family owned you might be better”. the Apollo Theatre in Harlem. I gave him the script to read, So, I came back to the UK and Chuck read it, and said, and pinpointed a producer “This is really good”. And he that I wanted to send my 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 important. I think what you overlap with a white Welsh writing, which meant I was becoming more buried in said about Paul Mayhew- family?” say. You know, and, research, which meant I was becoming more buried in Archer really resonates with all of those conversations politics, and I was becoming more buried in how societies are me. Often people get the about the ‘specific’ and the built, and how societal symptoms sometimes manifest.… not whole mentor/mentee ‘universal’ and how the to say that racism is only a symptom but, in the context of relationship wrong. It ‘detail’ is what makes a story the world I had grown up in, racism was partly a symptom. shouldn’t just be about that resonate. That’s what And, therefore, I wondered what -- could -- be some of the having someone who can allowed me to create the film causes? And, as human beings, where does the responsibility help you make things A Way of Life. of the individual stop and the responsibility of the state and better. You also need to be society begin, and vice versa. able to allow your mentee Do not A Way of Life was actually dealing more with poverty and to make mistakes. And then exclusion, and specifically the underclass, than anything else. let them figure it out for pigeonhole Everyone in it is trying to survive. That popular saying; “Stop themselves. A mentor’s job Black talent and smell the roses”, when I was researching the film, I was, isn’t to come in to save you, like, “Man, how is a person who doesn’t even know where or to move you out of the Lenny: A Way of Life (written and directed by the next bottle of milk is coming from to feed her baby, way and say: “Let me Amma Asante, 2004) went supposed to be expected to stop and smell the roses?” In rewrite that for you,” or, on to win a BAFTA. And it certain situations, that’s like a privilege, beyond anything you ”Let me redesign that piece was extraordinary, because could possibly imagine. of complex machinery for I’m pretty sure it wasn’t you.” A mentor should be You know, when I was growing up, people who had roses in what people were expecting saying: “Okay, what do their gardens were rich. To this day, my mother-in-law has from you - something so ‘you’ think you should do?” roses in her garden. And she’s not rich at all. But I still think of dark and complex. it as such a kind of decadent luxury. I’ve got roses in my Amma: Absolutely. Amma: I really wanted to house right now, and I always think of them as a luxury, Absolutely! The same is true escape the prescription of they’re a big deal for me. And so, I started to read up and I for all the best producers what people thought you learned that if you have an [coin or key fed] electricity meter I’ve had over the years. For should make, as a Black in your home, you pay more per unit of electricity than if you my first film, for instance, my person. just pay a quarterly bill – at least that was the case when I producer, Peter Edwards, was making the film. the Head of ITV Wales, Lenny: But it seems to me wasn’t officially my mentor, that the projects you Lenny: So, you wanted to write about systemic poverty. The but he sort of was, because undertake are always things that keep people poor. The inability of some people he would do it. He would ask stories from a unique to escape a life like that. It’s a generational issue as much questions. All his notes were perspective. And I’m as anything else. questions. fascinated by that. When I first met you, you were quite young, and my initial impression was that you were so serious. I was like, “That I would get on the train back Amma: With A Way of Life, I Amma, man, she’s carrying the world on her shoulders, from Wales. And I’d spend wanted to go down the road she’s got to get these ideas out there, otherwise she would two hours with maybe one where I could express an explode!” question spinning around in experience that I recognise, my head. Like, one of these but I wanted to tell it from Amma: I did feel like that, because society keeps certain questions would spin the point of view of the worlds that once functioned marginalised, right? You take around, spin around, spin people who put me through away everything that allowed them to function. You take away around, and I’d wake up the that experience – to be the work, you take away the libraries, you take away once decent next morning, and observer and, yes, even the schools - because everybody who supported them has something would just click, commentator, if you like. moved out. You cut them off, and then, when immigrants, like and then I’d go back and I my parents and yours, move in, and children of immigrants So, growing up in South would do a whole new draft. like us – we get the blame for what society’s, structures and London, where we were And it would just get better governments have taken from those communities. and better, based on these harangued as one of only And then, because you’ve got no education, you’ve got conversations that we’d two black families on the multi-generational poverty, you’re talking about worlds where have about life. They’d be street. You know, my Virgo kids don’t even remember their parents working, sometimes, about his family, they’d be brain was like; “What makes if unemployment is also multi-generational. Then you’ve got about my family, they’d be people do that, what is the grandparents who lived next door, who remember a time about, you know, “where reasoning behind it?” And my brain was growing up, when these environments were functioning and where these

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were once working Nothing was happening at Amma: It is hard, it is very communities, that made all. I didn’t expect it all to hard, it is also hard for some sense, right? And now they sort of fall in my lap. But I white guys, who drop away don’t make any sense just expected to get my foot before the sophomore anymore. in the door, so I could sit and movie. But once you put have conversations, and talk Black and female, once you And my producer, Peter to people about what I’d like put in that intersection, it Edwards, and I, would talk to do next, and that just was an absolute no-no. And, about whether we’re the wasn’t happening. children of immigrants, or where we’re at today, there is at least some recognition not, in communities like the Lenny: So why? Why do of that, that tragedy and one in A Way of Life, we are you think that had horror, and there is some talking about parents and happened? children who are now living acceptance by the Amma: in non-functioning I think that there was gatekeepers that that’s what communities. just a sense that I was a one they did. And nobody cared, hit wonder. I was an nobody gave a damn that anomaly. I didn’t look like there were large elements of The difficulty of directors were supposed to British talent that were falling building on look, I was both female and by the wayside. black. You have to So [after my first film], I did success as a remember there was no get some work from Steve McQueen directing Black woman America. Universal actually movies when I won my first Lenny: What you are developed something with BAFTA, there was wonderful describing is a hybrid Ngozi [Onwurah], the first between class and Black British woman to have systemic racism. A Way of . . . I was, like, “Man, how is a a feature film made. There Life won multiple awards. were the two of us, and I You won the Alfred Dunhill person who doesn’t even know didn’t know of anyone else UK Film Talent award, the where the next bottle of milk is at that particular point. Carl Foreman Award, The coming from to feed her baby, Times Breakthrough Artist Lenny: In America, in the of the Year. It was 90s, it seemed as though supposed to be expected to stop extraordinary, the amount the film industry was of attention your first film overrun by all these and smell the roses?” brought you. And, I independent films by black presume, all these filmmakers. Like Julie Dash me, and Robert Jones who’d accolades gave you a and Matty Rich and Darnell left the UK Film Council, who platform that would lead to Martin and Leslie Harris. was a British producer, he your second film,Belle . But you’re right, I think what developed something with happened with those me. And then, around 2008, Amma: Well, you know what, filmmakers - apart from we hit a financial crash in the Lenny, in many ways it did, Spike Lee, of course - is UK. And lots and lots of but in other ways it was very, that a lot of them made one production companies went very tough. All the fuss went film that managed to make down the drain, both in away, after the Southbank some money. And then, America and the UK. And, at Show awards, and the once the initial fanfare that particular point, I sort of BAFTA Awards and the about ‘new and exciting thought: “O.K., that’s the FIPRESCI Awards around Black filmmakers’ was over, end.” All three of my projects the world - there was all of it was very difficult for them just crashed. And one of that for about a year. And to carve out any kind of them had been announced then, after that settled down, career, or even get a at Cannes; we were going to and I went and started second film financed.1 make Where Hands Touch writing what became my - loads of noise, some of the fourth film, and I started trades ran it. And that banging on those doors, and crashed, and it was tough, they were like concrete, they you know, because I hadn’t didn’t move.

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sort of been through that Lenny: Was it already Black How you find identity and process before. Now, I’ve written? Did you have to self in a world where you are been through it a million write it solo? characters in wealthy, and in a world that times. But, at that time, I keeps you away from other Amma: I had to write the film period dramas hadn’t been through it people that look like you. we made – 18 drafts. But before. And I just thought, Lenny: I’m so glad you How to find a sense of self what happened was that the it’s time to go now. I’ve really mentioned Belle - I got so without community, because person who had worked with tried hard. I’ve really done much from that movie. And we are not all lucky enough the producer to try to get a my best. There’s nothing I I have to ask, and I ask with to grow up in one where our version off the ground with can do. And so, I was all great respect and a little race is reflected. But Belle HBO was able to take me to ready to bow out and go trepidation: Did you enjoy does find and embrace her her guild in America, and got back to secretarial school Bridgerton? Ahhhh man! I’m identity – and that is her the full writing credit for again. And then Damian telling you, I’m betting the triumph. I’m doing everything I did. I did talk Jones came to me with a producers of that show something at the moment about it in the press, and for picture postcard, in 2009, of must have watched Belle with Tiffany Haddish, which a long time, the experience the painting that became nine hundred times and I’m loving, set in an earlier was extremely painful. It what I adapted into Belle. said, “We should do sump’n period, the 16th century, a stopped me from being able like what Amma did! But Tudor world. In terms of the Damian had tried to make it to write for a period, there’s gotta be more black character whose story I’m elsewhere, as a TV film, and because every time I put pen folks in it!” What I really telling, she’s a real-life it hadn’t worked. And the to paper, the stress of it was want to know is, if you were character, and her story has Film Council said, you know, terrible. I lost my hair. It was doing Belle now, would you a number of Black people in cast more black performers it. in it? I have got to a place where I Lenny: When you make understand that unless I Amma: Oh, well, first of all, decisions about your Shonda Rhimes [the projects, do you see these acknowledge certain of my executive producer of as bold moves in advancing achievements . . . then perhaps Bridgerton] is brilliant. When diversity and Belle came out, she put a representation? Because it no one else will. tweet out saying, “Run, don’t takes a brave person to walk to the movie theatre to take on all these right-wing really awful. But I got to a see Belle.” Which was really historians who have done “Go to Amma and see what place, I would say in the last lovely. such a good job of erasing she makes of it. She’s 24 months, where I realised Lenny: You obviously Black people from the obsessed with the period it really doesn’t matter. planted a seed in her head. historical narrative. Where and she’s obsessed with Because all of the body of do you see your place in all gender.” I’d previously tried work that I’m creating, when Amma: And, I’m proud of of this? to make something set I’m gone, anybody who that. And we [Asante and Amma: Black people have around the same period, and looks at the work will know Rhimes] did something a few lived and thrived and the BFI had rejected it. It what is Amma, and what weeks ago with Gloria struggled in Britain for was around gender, it was a that means. Everybody that Steinem’s Women’s Media centuries. Read David very feminist piece. And so needs to, knows what my Centre, which is an Olusoga, read Peter Fry’s they said, you know, “if voice sounds like, what it organisation based in New Staying Power. Y’know Amma says yes, we might feels like, what it makes York, and sort of does a Lenny, I have got to a place make this,” and they did - them feel like, or not.. similar thing to what you they stuck to their promise. guys are doing, but its focus where I understand that And so the process of is specifically on women. It’s unless I acknowledge certain making and developing it a brilliant organisation, and of my achievements, even was not difficult. she [Shonda Rhimes] was though I’ve had lots of very complimentary, and awards, and some critical really lovely. acclaim, as well as negative criticism too, then perhaps But Belle’s story was quite no one else will. different to Bridgerton - Belle was clearly isolated in her world, and it was a story of isolation that I wanted to tell.

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After Belle, the BBC could Amma: I mean, I think in they’ve not necessarily and called Barry Jenkins [the no longer make their terms of the executives, the watched a single one of my Black director of The quintessential period films producers, I feel like I’m films. Underground Railroad] and and TV dramas and not treated in the same way as said: “Barry, tell me what Lenny: For the US, this is an include a Black person the white guys are treated in was great about the interesting moment, isn’t it? somewhere. It was the US to be really honest experience. Tell me what Because the streamers embarrassing for them to with you. But I think, in terms was horrendous about the have taken prominence. think that they could do that, of crews in America and in experience, and tell me what Amazon’s recent and ITV now has stuff in the UK, they are very similar, you would do differently.” announcement that it’s development all over the and there is still a sense of, And, I got massive about to buy MGM studios place. Period pieces now “Oh, my God, we’ve never goosebumps, because I is a massive play - a have Black people all over quite been led by someone realised 15 years ago [that] I massive move on its part. I them. And everybody wants who looks like this before”. couldn’t do that. Who could I wanted to ask you about to do the movie, or the TV So, I still think that there’s a pick up the phone to? Who the differences between TV show, about Queen Victoria’s lot of work to be done, in was the Black artist that I and film. Do you think the adopted daughter, you terms of crews. The director could pick up the phone to, rise of the streamers, and know, from Nigeria. All these has to know what they’re and say, “what was your their inevitable dominance, stories existed prior to Belle, doing, and the crew has to specific experience of doing will affect diversity in terms but now they have a chance know that you know what this very specific thing?” of how programmes get to be made. you’re doing - you have to And ask exactly what I funded and produced now? really quickly show that you should watch out for, and Lenny: Belle opened the There just seems to be so have a vision. ask, “how can you help me door for other projects to many options for creative navigate some of the be considered. But if you’re Black and talent out there – many potholes that you found?” you’re female, you don’t more interested buyers for Amma: Precisely, it opened have the option of being able a variety of not-so- And he was so open and he the door, both in the US and to go on set and try the mainstream products. Just was so brilliant. in the UK. Belle did better in camera here, or try the look at The Underground the US, actually. It helped camera there. I’m not a Railroad [miniseries created change the conversation. Don’t just give director who can be thinking and directed by Barry on my feet, I’ve got to have Jenkins]. This is an example us a chance, The struggle for everything planned out. And of a very auteurist approach give us the Black women’s I’ve got to know everything. to longform broadcasting And any thinking I’m doing that would never have been chance to fail leadership to has to be done so privately, produced if it had been Lenny: It is amazing that we be accepted and so quietly, between me pitched as a movie. all now have fellow Black and my DP, because, Streamers don’t just want a peers, who we can call on Talking about the Lenny: otherwise, it takes a long sure thing - they’re for support and advice, but US, people often talk about time to earn that trust, and investing across a spectrum it is still tough. And for me, Black actors escaping to you lose it very fast. of subject matter from dark one of the things we are America to further their to light. And they, at the fighting for is the ability to careers. I wanted to ask you Lenny: Yeah, they smell moment anyway, seem very fail, and to learn from our about your experiences as blood. They smell blood in keen on investing in diverse mistakes. You know, artists a Black person behind the the water, and they’ll bite talent. Is that the direction such as Steve Martin made camera over there. Is it your legs off. in which you’re heading a few clunkers before he different for a person of Amma: Oh, my God. Yeah, now? Will that be the next found his feet in film and colour working in the US absolutely. That is a reality. thing? television, as did Robin versus working in the UK? Whereas, with the sorts of Williams. Nobody ever said And what lessons can each Amma: So, it was producers and managers, to Robin Williams, “Oh, side of the Atlantic learn announced a few months there is an understanding of you’re only allowed one try from the other? What’s your ago that I’d be doing your vision, they picked you and that’s it. If it’s a dog’s experience? something similar - a very for you. They thought about breakfast, you don’t get to different kind of show, but it long and hard before they make any more films.” sort of directing all eight brought you on board, episodes. And, you know, whereas crews don’t what was the first thing I necessarily know that, and did? I picked up the phone

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Amma: I completely agree. One of the reasons why I BAFTA, and I was introduced specifically for Black talent, As a Black person you go to decided to do high to him, and I thought, “Oh, they are saying, I’m investing creative prison if you ever production value television in God, I had better say in the talent, not just the make a bad movie. And I the US, was that it meant something clever”. And I project. sort of noticed that. I was that while I was getting my thought, “What can I say?” Lenny: When Marcus Ryder getting a lot of really terrible films financed, I was able to And I said to him, “you and I were talking about reviews for one of my stay behind the camera and know, Wales has some of ring-fencing money, in movies, I think it only got like continue to work with great the oldest black many ways, we saw this 42% on Rotten Tomatoes, talent, continue to work with communities in Europe? current correlation between when my average is about great DPs, and continue to What are you doing on ITV the nations and the regions, 80 or so. And, I sort of felt hone my skills. Because, Wales to reflect that?” And and promoting under- very isolated, and very alone, otherwise, when my movies he sort of looked at me, and represented groups and and I started looking at my come out nobody says; “Oh, said, “Yeah, I’ll see you comparing them, saying; white male peers, realising she hasn’t made a movie for another time”. And more or “You’ve given this money to there have been loads of five years or 10 years.“ They less walked off. And then, nations - you should think movies where they’ve got are comparing me to people six weeks later, he rang me in terms of communities that 42%. But you know who are making movies and said,” Are you the too, and ring-fence money what reviewers do? They every 24 months or 48 woman that I met at for them too. We’re here, sort of ignore the bad months, and slating you if BAFTA?” And I said, “Yes.” and we pay our licence movies [by White peers]. they feel that your movies He said, “I’ve been looking fee.” And our opinion was They move on. And those don’t come up to scratch. for you for six weeks, and that those in charge were filmmakers are … are making want to have a conversation not looking at these another movie within 18 or with you about the question The need for under-represented groups 24 months, and that you asked me, because I’ve in the same way. And, in becomes their next Oscar ring-fenced been thinking about it.” And the end, if you don’t tipped movie. when I went to meet him, we funds for ring-fence money, those talked, and he said, “I’m There’s leeway for a eyeballs will turn over and Lenny: diversity going to ring-fence money certain kind of creative, that seek stories and imagery Lenny: I think one of the for you. To tell the story you just isn’t there for people of telling their stories via things that keeps creatives want to tell.” And I said, colour, or women, or people like them. of colour, and producers “What story?” He said, “we non-binary people. and directors of colour, can talk about that, but what Amma: Yes, they can now. Amma: You learn from your down is that we are so I’m saying to you is, I’m They can go elsewhere, you mistakes, and you also learn critically judged - and you going to ring-fence money know. 20 years ago, they by continually working. You only get one shot. And if for you. And what I’m saying couldn’t, but now they can, 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 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 years. It was very normal for anybody’s good graces. It’s money from my budget this and the product that we a 10 year gap. And that’s one of the reasons why year, to do it for you, want, that’s where we will what it was for me - it was Marcus Ryder and I, in because what you speak go, and the BBC will be left 10 years. But if you look at 2015, called for the UK about is important.” dead in the water if it doesn’t broadcasters to ring-fence the amount of movies that And that’s how A Way of Life catch up. funds for diversity and, in my white male counterparts came about. That’s the 2019, to argue for tax are making over those ten movie that got me the breaks for diverse films. years - actually, even maybe BAFTA. That’s the movie that And we wondered - I a Black male director, in that essentially launched my wondered - if you had any time - what they’re doing is career as a director, because views on either of these they’re honing their skills, he ring-fenced that money things? they’re getting better. for me. We obviously got Amma: I do, because, if you other money in the end, on remember, Peter Edwards, top of it, but that first who I mentioned earlier, who amount of money made a was Head of Drama at ITV difference. So, whoever it is, Wales, how I met him was at that is ring-fencing money

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– being deemed to be a safe go and see both. And that’s We want a power share – not a pair of hands - to walk fine. For me, that’s power grab audiences in the shoes of a absolutely fine. But don’t tell Black woman, in The Colour my story, and not allow me Lenny: OK, here’s my final question. If there was one thing Purple, white audiences to tell it too. you could get broadcasters, streamers and studios to do to realised that they’d actually increase diversity, what would that be? be fine by the end of it. You References Amma: I think it’s more a psychological thing, more than know, if you walk two hours 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’: a difference, they must understand that power has to be woman - of Whoopi Black Directors of the shared. I think the fear of sharing power means that there’s a Goldberg – you’ll be okay, ’90s Speak Out - New lot of lip service. And, they still struggle for the changes that just fine. You can actually York Times, July 3rd 2019. are being made in order to be really meaningful, because come out quite elated and https://www.nytimes. people are still trying to hold on to power. And I think it’s the fulfilled by it, like a thousand com/2019/07/03/movies/ recognition that power has to be shared. I don’t want to other films, with the black-directors-1990s. sound like a greetings card, but I do believe that power is a quintessential male html bit like love and there’s enough to go around. And just protagonist at the centre. because you have a powerful Black commissioning editor You’re that person whose choices are honoured, it doesn’t mean you’re less Lenny: now? powerful. It just means that, rather than losing power, you are facilitating the unblocking of the arteries of our industry. And Amma: Yes, exactly. And so that means you have to really look in the mirror. what I want is for them [inspirational White directors] Lenny: Thank you Amma, this has been wonderful - it was a to exist, but I want to exist Amma Asante is a BAFTA pleasure to speak to you. alongside them. And I want award-winning filmmaker, My takeaway from this is your story about A Way of Life directing “ ” in you, and everybody else, to A Way of Life where the producer at ITV Wales, Peter Edwards, came to 2004, “Belle” in 2013, “A be able to go to the cinema you and said, “We’re going to ring-fence some money so United Kingdom” in 2016, and go, “Oh, there’s a that you can tell your story”. That needs to happen on a and “Where Hands Touch” number of films” – maybe global scale because if they don’t do this simple thing - put in 2018. This is a transcript one is by me and one is by a money aside for marginalised groups for them to tell their of a conversation which white male director. – “Oh, took place over Zoom on own stories - nothing will change. Because nothing they’re both about Black 8th June 2021, produced happens without investment. women, which one am I and edited by Marcus going to go and see?” and Ryder. There should be room for everyone’s story Amma: The final thing I want to say is that, you know, I grew up with Scorsese and Spielberg, and mostly [it was] these American directors’ work that inspired me beyond belief. And Representology takeaways I got an Empire Award a few years ago. And, part of my speech was talking about all of these men - these white, very The intersection of race and gender presents traditional men, whose work inspired me. But I also talked particular challenges and difficulties as a filmmaker about the fact that so did Barbra Streisand - when Barbra • Women and people of colour are judged to higher Streisand did Yentl, I didn’t realise how much her story behind standards compared to their white and male that film and in front of the camera really inspired me. I know counterparts - their projects are less likely to be now, because I’m also obsessed with the film. But in my forgiven for ‘failing’ speech, I talked about how many more women I could have • It is important that work which didn’t make it to the put on my list of directors who inspired me, if more women screen is not considered a “waste of time” - it had been given the opportunities that those great men, informs future, more successful work. whose work I love so much, had been given. • Good mentors will ask questions - not offer up I don’t want a world where there’s no Scorsese, I don’t want answers - allowing apprentices to develop their a world where there’s no Spielberg, I believe that there was a own solutions Belle because there was a Colour Purple [directed by Steven • Money should be ring-fenced for work created by 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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FINDING MY VOICE

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There are things I did at But then I went on to write There is no way to describe The Voice newspaper as about racism in football, the confidence that comes anorexia in the Black from feeling a sense of a young journalist in the community, the exclusion of belonging and solidarity in a 1990s of which I’m not pregnant schoolgirls, and the place of work. When I began entirely proud. A emerging culture of British writing for The Voice, the photoshoot involving a hip hop. I was a Black number of Black journalists teenage girl, writing about working on national snowboard, a cheesy Black teenage girls. Before broadsheets and as TV interview about the there was a language for broadcasters was negligible. festival Kwanzaa. My ‘For us, by us’, The Voice Other than the grandees of first ever copy was was a crucial part of the Black British media - Trevor media landscape in Britain Phillips and Moira Stewart, essentially some PR puff that was doing just that. and the crucial work of about a new single from Darcus Howe - the idea of Would mainstream media Black people reporting, American R&B artist outlets have covered those investigating and presenting Faith Evans. stories at the time? If so, news and current affairs was would they have centred on a completely fantastical one the Black experience or, to me. As is so often the instead, moulded it to fit a case, the stories of white gaze? Would their important Black journalists journalistic instincts, the who had been operating clear call of public interest, throughout the twentieth have extended to include not century - including Una just racism, systemic Marson, Barbara Blake unfairness, but also - and Hannah - were invisible and these are perhaps the early inaccessible to me. works I’m most proud of - features about cultural And yet here was a innovation that are simply newsroom that was fully allowed to radiate Black joy? staffed, owned and executed by Black professionals. From I would later gain insight into the editor to the secretary, the culture and content of the reporters and the those organisations when I photographers, it was an became a correspondent for assembly of people who The Guardian, and shared a sense of freelanced for The Times, community, cultural heritage The Telegraph, Sky News, and discourse - an the BBC, CNN, Channel 4, intellectual curiosity about the Financial Times, the Black experience and Prospect, Marie Claire, and about how to tell those many others. I could offer stories. my anecdotal answer to these questions, and also cite the numerous studies conducted since the mid 1990s which reveal an abject failure by the news media to reflect the society it claims to report upon. But the reality is that I may not have got there at all, were it not for my early experience of incubation at The Voice.

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It was only later, in this culture or how it impacts Recognition within the media Afua Hirsch is a journalist, newsrooms where I was the upon the people who must is possible, but it comes at a broadcaster, author, and visible ‘other’ as one of few, inhabit it. cost. Wallis Annenberg Chair of or where there were no other the University of Southern Even at the time, many of A positive reason for Black journalists, that I came California the people who knew me celebrating a Black press - to appreciate how nurturing when I worked at The Voice, as well as all the other media a space that was. Older, questioned why we needed outlets that speak more experienced journalists a Black newspaper at all. It specifically and directly to took an interest in nurturing was segregationist, they minority communities - is my enthusiasm for writing thought - it presumed a that it creates spaces in and reporting. It was not a homogeneity in the Black which we are not minorities. perfect organisation - and community. There are both had problems of leadership This is something I have positive and negative and financial management come to value more since elements to my response. that, even from my my time at The Voice, more inexperienced perspective, A negative is that, whilst the than two decades ago. As created challenges for the rest of the media has never political and media journalists that it hired. But overtly styled itself as ‘the narratives have become the threat of feeling alienated white media’, that’s exactly more polarised and or racially othered by what it has been. From the polarising, my role has often microaggressions or bias tabloids peddling racist been to serve as the token - unconscious or overt - was tropes about immigration Black person in a discussion a non-issue. and Black criminality, to the or debate, in which I’m required to justify both my legitimacy as a contributor, and the idea that racism Even at the time, many of the exists. people who knew me when I Every Black commentator I know - regardless of their worked at The Voice, questioned professional training or why we needed a Black journalistic interest - receives dozens of requests to newspaper at all. It was appear in still overwhelmingly white media segregationist, they thought . . . spaces whenever a story about racism, or official attempts to deny its validity, broadsheets promoting The confidence that becomes significant news. fringe voices who appear to engendered - not just in me, For many news have internalised anti- but in many other young organisations, this is the Blackness, it’s still often hard Black journalists I single role of Black to avoid the sense that encountered who were journalists in debating Britain’s media organisations beginning their careers there questions about race or don’t work for, or include, - stayed with me when I later explaining what it means. Black people. entered the giants of the When people ask me how I British media. It was a Every Black journalist knows personally cope with the confidence I would need. at least one person of colour fatiguing nature of these These spaces make you in a predominantly white requests, I often think back highly conscious of your newsroom who has been to my entry into journalism, difference, and reward those able to get through, and at The Voice, and quietly who attempt to assimilate enjoy success, as a result of offer my thanks for the into the whiteness that assimilating into the pre- resilience it gave me, and characterised their culture. existing culture and how long it continues to last. Ironically, for a profession narrative, and avoiding that is supposedly interested drawing attention to either in uncovering truths, there their perspective, lived has been little introspection experience, or their identity or honest analysis of either as a Black person.

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18 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 BBC Television and BBC2’s Black Power programmes were rarely midst of another periodic seen by programme and recurring crisis of documentary (March 2021) were rare forays into the commissioners as being confidence - what is mainstream experience of Black Britons. successful. Ebony, Bandung sometimes referred to as a Sometimes, it feels that in every generation some File, Black Bag and All Black ‘watershed moment’ - commissioner or other suddenly ‘discovers’ there all followed Black on Black, ruminating on where Britain which was broadcast on was heading as a multi- are real stories of Black contributions to this Island Channel 4 in the mid 1980s, ethnic community. of Nations that we call home. It’s hard to believe it is to mixed reviews. BBC News At the same time, and Current Affairs a quarter of a century since the BBC current affairs journalism’s foot soldiers, responded to the BBC Two magazine series Black Britain (1996-2000) first like the veteran foreign Controller Michael Jackson’s correspondent, George graced our screens. It feels like yesterday, perhaps expression of interest in Alagiah (now a senior because I was a member of the production team Black current affairs newsreader), described the programming. A group was that made it, and, uncomfortably, because it shows BBC as being, “dominated set up, which included Pat my generational point may be closer to reality than I by a white male culture. It Younge, to understand those has a certain way of working would like to imagine. The root cause of this earlier offerings and what the and networking” (Malik, condition is amnesia: a collective forgetting of what BBC could do differently. 2001). That was also my own The programme was able to has gone before and, as a consequence, the recollection of BBC News build on the successful evaporation of important lessons that are starting and Current Affairs, which I magazine format of Here and had worked in, by then, for points for remedial action, rather than regrets over Now, and the resources of a several years. Black Britain what could have been. The editors of well provisioned part of the was a genuine antidote to BBC. Importantly, it found it Representology, in supporting this piece of research, that. I joined the BBC in had the autonomy to have recognised the importance of restoring 1989, fresh from completing produce what the editorial my Ph.D. at the London institutional memory about what is possible, but team thought would work. School of Economics. also how reinventing the wheel to increase equality The team had, and never Shortly after entering the relinquished, editorial power, in the media should be totally unnecessary. hallowed halls of and that was crucial. We already have credible answers. broadcasting, I was accused The murder of the teenager, by a manager of falsifying Stephen Lawrence, in 1993, my CV. After a week in which opened fresh wounds I was left to stew, and during concerning the treatment of which I felt utterly Black people across Britain, demoralised, I was informed and refocused broadcasters’ that it was all an elaborate attention on the reality that joke to test whether I really major journalism outlets, was as bright and robust as including the BBC, had my qualifications suggested. failed to address the I never really trusted a BBC concerns of minority manager at face value again. communities. Even whilst A lack of trust, too, lay at the Black Britain was on air, an heart of the poor relationship internal 1999 BBC memo between Black communities from Tony Hall who, at that and those who endeavoured time, was Head of News and to cover their stories. Current Affairs, recognised Professor Stuart Hall was a that: “The BBC receives pioneer in the interrogation more than £200m in licence of this vexed relationship, as fees from people from ethnic illustrated by his television minority groups … but they essay, ‘It ain’t half racist, don’t feel that the BBC mum’, a transcript of which connects with their lives” was reprinted in the first (Malik, 2001). Black Britain issue of this journal emerged as an attempt to (Representology, Winter

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2020). Misrepresentation and trip to a Harlesden cricket to such depths that stereotypes were at the root Caribbean takeaway brought they couldn’t even beat an of Hall’s analyses of the about what was quickly African side. The ways in which television dubbed ‘Black Food Friday’. ‘Caribbeans’ on the team all presented minority It was, and remains, rare to felt the collective sorrow of communities (Hall, 1997). assemble such a sporting decline. Then up Malik has described this as a concentration of Black talent popped the Oxford- ‘racialised regime of in one place on national educated Henry Bonsu, a representation’, one that is television. man never afraid to inject typically characterised by criticism into a conversation, Curiously, Black Britain was the singular association of and asked why this piece of a programme on which inner-city riots with images journalism had simply dwelt many people who joined of Blackness. It is not ironic on decline, and had were warned by ‘concerned’ that, by stumbling into the singularly failed to celebrate colleagues that it would be Broadwater Farm uprising in the rise of a new African bad for their careers. So, we North London in 1985, I cricketing nation, like Kenya. created our own production concluded that I needed to BBC journalism prided itself sub-culture of endurance make journalism my in challenging normative and solidarity. It was just as vocation, so disgusted was I views, and Henry had allies well, given the ambiguity at the reporting of that in the Black Britain with which the programme community by the media. newsroom. Others, including was received. A review in the Tottenham became me, have African heritage, Independent on 6th July, stigmatised for decades by and we agreed. It led to a 1996, three days before the that event, which had been first programme aired, read, sparked by the death of a “BBC tries to vault the Black woman, Cynthia ghetto walls with Black Jarrett, as a result of police news”. I guess they thought Curiously, Black Britain was a action. the headline was clever? At An important remedy was best, they were being programme where many people always going to be (and insensitive to the aims of the who joined were warned by remains to this day) the series. It demonstrates the ability of broadcasters to credibility challenge that was ‘concerned’ colleagues that it broaden their recruitment faced by the team. The base and to offer a wider series producer, Pat Younge, would be bad for their career. variety of diverse reminded viewers and critics perspectives - ones that who would listen that “it was would be reflected in the a programme for Black lively debate about how, words and pictures that are people, and not about them” even on a programme like chosen to describe the lives (Black Film Bulletin, 1997, Black Britain, it was easy to of Black people in Britain. p.8). fall into lazy assumptions This is where the recruits to Black Britain had a striking and group-thinking about Black Britain played such an impact on the way in which how a story should be told. important role. They came stories about Black people This mistake was not made from a range of places, and were told. For a start, it gave again. they were not all of Black the lie to a sense that there Caribbean or African We were able to put other was one ‘Blackness’, or to heritage. Some were British important stories, like the monocultural interpretations Asian, and a number were trafficking of African of what it was to be Black in white. Others, like myself, historical artifacts to the art Britain. One memorable were of mixed ethnicity. houses of the global north, editorial discussion very Many journalists were in on to the agenda. We gained clearly illustrated this. The their late twenties to early exclusive access to West Indies cricket team had thirties, and it was a truly Pentonville prison to witness played Kenya in the World ethnically mixed team, but the conversions to Islam of Cup - and lost. This was little one in which there was very young African-Caribbean short of a disaster for quickly a strong sense of men. We even discovered Caribbean aficionados of the camaraderie and joint new sporting talent: Lewis 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

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World Motor Racing your issues, because we are However, in other ways, Champion. In fact, his as British as you are” Black Britain did create a backers offered Black Britain (Interview with author). For pathway to sustainability an exclusive opportunity to example, Black Britain through the talented folk follow the story, but even we wouldn’t ignore stories of who left the programme, but failed to spot this future deaths in police custody, but who moved on with greater legend. the programme would confidence to ‘infiltrate’ foreground the human and other areas of journalism and Operation Black Vote (OBV) family contexts of these the programme-making was launched in the run-up stories, and show how business. Of the 28 people to the 1997 General Election. structural problems involved in the production Its founder, Simon (now impacted on individuals. staff, nearly half went on to Lord) Woolley, credits the Above all, the stories were fairly illustrious careers (see charity being featured in not framed by debates on Table 1). Others, who I Black Britain with giving it race, but were narratives haven’t named, remain credibility. One of the final about people. respected, successful and programmes under the Black active in the business. Many Britain brand was my To begin with, the magazine recall Black Britain as a high obituary film for the, often format followed the Here and point in their creative controversial, Tottenham MP, Now series, presenting careers. Of course, this begs Bernie Grant, who died in pieces to reflect the light and the question: how many 2000. I find it significant that shade of current affairs more people could have I have been asked every year stories. It tried to mix serious benefited from this talent by Black community groups journalism with topical pipeline had the programme how this film can be viewed, treatments, and pieces that endured?. as it is unavailable from the primarily had an BBC archive (See Dunkley- entertainment focus. It also So why, you might ask, do Gyimah, Representology, delivered single item current we still have to discuss the Winter 2020, for discussion affairs programming - from lack of diversity in British on the importance of elderly returnees to Jamaica journalism and programme- archives). Supply remains being fleeced of their making? It’s a question for untailored to minority savings, to Queen Victoria’s which there is no easy community demand. love for a Black princess. answer. What is striking, The series lasted, in one however, is that Black Britain Above all, the impact lay in iteration or another, until its had autonomy within the the tone Black Britain set demise in 2000. Having organisational structure of around stories. The team assembled such the BBC, it had its recognized that there was an concentrated Black talent at guaranteed place in the imbalance in the news’s the BBC, it was right that its schedule and, in this sense, knowledge of Black people went off to pursue it had the independence to communities, and how that their careers elsewhere. It wield an unusual level of shaped news agendas, and seems a pity that the power with which to deliver that also often fed into bias programme itself had to end. programming without or misperceptions when The practical reality at the interference. Since it approaching stories about time was that there was broadcast, the cult of the Black people. Typically, probably an insufficient commissioner has emerged when Black people talent pipeline to sustain it, - a particularly powerful set appeared on screen, it was and failing to put one in of gatekeepers to in order to explain a place meant that the BBC programmes, and to the type problem. Black Britain missed the opportunity to of talent that appears on attempted to apply the same make a sustained difference those programmes. criticality to those stories in this arena. Ironically, in a digital that were expected of us in ecosystem that has become the usual course of our less certain where the journalistic duties. The audience will go for what it current Guardian print editor, wants, commissioners have and former Black Britain become more insistent on reporter, Hugh Muir, what the audience doesn’t describes this as telling the want. The commissioners audience that “our issues are

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Table 1: Successful Black Britain Alumni Bibliography Samina Baig Playwright & Screenwriter Aitkenhead, D., (July 6th 1996). ‘BBC tries to vault the Kurt Barling BBC London Special Correspondent ghetto walls with black Henry Bonsu BBC Presenter & Radio Executive news’. Independent, Brenda Emmanus OBE BBC London Arts Correspondent London. Gillian Joseph Presenter Sky News Black Film Bulletin, (Autumn 1996), Vol 4:3, pp.5-8. Michelle Matherson Creative Diversity Partner, BBC Commissioning Hall, S (1997) Hugh Muir Print Editor, The Guardian Representation: Cultural Clive Myrie BBC Correspondent. BBC News Presenter. Representation and Presenter Mastermind Signifying Practices. Sage: London. Marcus Ryder MBE Senior TV Executive and Diversity Champion Henry, L. & M. Ryder. (2021) Fatima Salaria Commissioner for BBC & Channel 4, MD Naked TV Access All Areas: The Sandy Smith Former Editor, BBC One Show Diversity Manifesto for TV and Beyond. Faber: London. Maxine Watson BBC Commissioner Malik, S., (2001) Pat Younge BBC Commissioner. US TV Executive. Representing Black Britain: ITV Studios Board Black & Asian Images on Television. Sage: London, themselves lack diversity and institutions, but also Professor Kurt Barling is O’Neil, O., (2000) A Question and this has worked against assessable reasons for Professor of Journalism at of Trust, 2002 BBC Reith creating a diversity of stories trusting and mistrusting” Middlesex University, and is Lectures, accessed online and personnel. (O’Neill, 2000, BBC). a former BBC Special April 2021, https://www.bbc. Correspondent and co.uk/radio4/reith2002/BBC In Access All Areas (Henry & The brutal reality in today’s Reporter on Black Britain. Ryder, 2021), the question of media ecosystem is that the Representology, (Winter ring-fenced financing has BBC is much diminished as 2020) Issue 1. been floated as a remedy to a player in our broadcast this absence of access: to environment. It no longer offer certainty to diverse commands the attention or production houses that they resource it once did, and it is can make content which, even less relevant to because it is funded, will be younger audiences than it broadcast. Good ideas used to be, because of the cannot be refused once paid alternatives that are now for. Of course, bad ideas can available. However, it still be rebuffed and remains at the heart of reworked, but good British cultural production, Representology takeaways production houses know and still has the ability to set how to get the best from the mood music for the Established broadcasters can create news and their product. industry’s approach to current affairs output that connects with their issues of equity. With Black In one of her extraordinary non-white audiences Britain, there remain lessons BBC Reith Lectures, back in • Broadcasters should address a lack of trust of power, resourcing and 2000, Onora O’Neill made an between managers and journalists of colour who recruitment which may not important intervention. It fear being pigeon-holed working on stories about be applied in the same way goes to the heart of the now, but which offer us communities of colour. relationship between the examples of what • Black staff from a range of Black British media and the audience, and broadcasters must focus on communities will help to challenge the idea that resonates well for Black and in order to move the dial and Brown audiences, in their is a single homogenous Black community tell a plurality of stories particular. O’Neill said, “To while recognising commonalities of experience. about our evolving nation. restore trust we need not • Talent pipelines can be created to ensure that only trustworthy persons these types of endeavours are sustainable and built upon.

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24 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 Executive Summary Introduction (Said, 1978) and the Our data is generated from a study of 1077 films Ethnic minorities are often exclusionary history that this community has faced, and that were theatrically released in the last decade. addressed under one banner, and are often to understand East and This research shows: referred to as “BAME”. A South East Asian (ESEA) 2 specific systemic challenges, • In the past ten years, 9 British films have been released recent anti-racist movement in which the BESEA group theatrically by BESEA directors, which equates to 0.8% which is growing in has been subjected to: the of all releases. momentum, aims to address systemic racism and to “Model Minority Myth”, • Of these 9 films, 1 film is a feature documentary. understand diversity by “Yellow Peril” “Yellow Fever”; and lastly, in particular to the • The majority of these films are defined as low budget. dismantling the term “BAME’’ and the limitations entertainment industry, the • These 9 films account for 0.018% of box office for all of what it represents. on-going practices of British films released during the 10 year period. “Yellow Face” and Understanding diversity “Whitewashing.” Within this • 2 films were released in over 25 screens at the widest requires acknowledgement historical context, this report point of release. of all the marginalized demonstrates deep rooted • The ethnic backgrounds of the directors were communities of colour; and exclusionary practices predominantly Japanese, Cambodian and Chinese. how these different originating from colonial communities are confronted systems of power that • 3 films speak to the culturally specific lived BESEA by different challenges. Two experience. continue to control who can recent reports have been and cannot shape the UK’s • 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 to 1.7% of all British film releases. representation, ethnicity, and the British television An • BESEA actors typically are not cast in a leading role in industry. these films. Exclusionary • Dr. Jami Rogers’s • The ethnic backgrounds of the actors were Diversity in Broadcast History predominantly Japanese and Chinese. 3 Peak Scripted Television , Orientalism is the positioning which exposed the deep of the West as the norm, These findings suggest that the BESEA community is exclusion of the BESEA sophisticated and superior in marginalized in the film industry, resulting in severe under community in the contrast to the exoticized, representation both on and off-screen. television industry. A undeveloped and backwards significant observation in East. Orientalism has driven this study indicated 0% the exclusionary history of on-screen BESEA the ESEA community. Two representation on major accounts of historical flagship continuing drama exclusion are worth flagging series for 2018. and although by no means • The Creative Diversity comprehensive, they Network’s “Race and demonstrate the scope and Ethnic Diversity: A Deep extent of ESEA discrimation: Dive into Diamond Data” • The Chinese Exclusion studied the ethnic Act of 1882 in the US, breakdown of senior (prohibiting all production staff (e.g. immigration of Chinese commissioning editors, labourers) which was not directors, producers, abolished until 1965. writers) and observed • The forced repatriation “East Asian” inclusion at from the UK of thousands 0.7%. of Chinese sailors in the This report, “The Exclusion 1940s. Act” has focused specifically Although these accounts on the BESEA community in refer to Chinese people, the the British film industry. In exclusion extended to those this regard, discussing the that looked and sounded systemic racism faced by Chinese goes hand in hand the BESEA community it is with the common slight first worth reminding thrown at the ESEA

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community “you all look which are often experienced by ESEA pits marginalized alike.” It is this very dehumanizing: inscrutable or women in western society. communities against each sentiment that has informed emotionless Asians, This form of racism other - “the good immigrant” the understanding of East obedient lotus flowers, perpetuates a type of versus the “bad immigrant,” and South East Asia and its servile prostitutes, misogyny that dehumanizes whilst upholding white diasporas as being made up emasculated men, violent ESEA women, and in which supremacy. The myth also of a singular monolithic thugs, perpetual foreigners, violence6 against them is perpetuates an erasure of group of people. This is and more. normalized and socially BESEA racial identity and reflected in all forms of acceptable. A study from the reality. Consequently, the This typecasting can bureaucracy, from film National Network to End BESEA community is one of become particularly industry monitoring forms to Domestic Violence7 reports: the least visible minorities insidious within the UK and the National Census, where “The everyday racism and within the BAME spectrum. US film industries where the BESEA people are given the sexism against Asian In the Race and Ethnic stereotype is pervasive and choice of “Chinese” or women yield deadly results, Diversity: Diamond Data damaging, particularly in the “Other”, thus exposing a (with) 41 to 61 percent of Report 202010 BESEA casting process as reported reductive white gaze Asian women report inclusion in the television in Nancy Yuen’s Reel (Consequently, it is difficult experiencing physical and/ industry consistently ranked Inequality: to accurately calculate the or sexual violence by an lowest in comparison with percentage of BESEA in the “I work with a lot of different intimate partner during their Black and South Asian UK population - for the people, and Asians are a lifetime. This is significantly groups. purposes of this report is challenge to cast because higher than any other ethnic Even more being the “good approximated as 2.2%4. The most casting directors feel group.” immigrant” has afforded the An example of this is seen in community no protection or the British writer-director privilege when confronted Alex Garland’s lauded with COVID11 - the Orientalism is a form of “Yellow directorial debut, Ex community has gone from Peril,” a persistent and harmful Machina8 (2015) which was invisibility to hypervisibility nominated for an Academy during the pandemic, form of stereotyping and Award for Best Original shattering the myth and Screenplay and for a BAFTA showing it to be a thin mask xenophobia that aims to ensure for Best Film. Kyoko, a of tolerance revealing the BESEA are perceived as threats secondary character played racism that lurks underneath. by British Japanese actor, Whitewashing is the casting and perpetual foreigners. Sonoyo Mizuno is an android of white actors in non-white who takes the form of a roles. Yellow Face is the mute Japanese woman, application of make-up to obedient, emotionless and combined Asian and BESEA as though they’re not very imitate the appearance of an submissive, who serves her community together make expressive,” one other East or South East Asian. master and absorbs his 7.5% of the UK population casting director told Yuen. Notable entries are Fu mistreatment against her - the largest ethnic group “They’re very shut down in Manchu, Breakfast at without complaint. When the after White British, followed their emotions … If it’s a Tiffany’s and Charlie Chan. film’s protagonist, Caleb, by Black British at 3.3%. ) look thing for business In the US, these practices meets Kyoko for the first where they come in they’re were underpinned by Orientalism is a form of time (because of the at a computer or if they’re legislation - the Motion “Yellow Peril,” a persistent prevailing stereotype which like a scientist or something Picture Production Code, and harmful form of is taken at face value as like that, they’ll do that; but widely known also as the stereotyping and xenophobia truth) he does not question if it’s something where they Hays Code, was created in that aims to ensure that whether or not Kyoko is really have to act and get 1934 to prohibit “immoral” BESEA are perceived as human, until she later reveals some kind of performance films, for instance, the threats and as perpetual she is an android. out of, it’s a challenge.”5 depiction of miscegenation foreigners. In entertainment, Since the 1960s9, East and (e.g. interracial relationships). the majority of the Furthermore, the sexual South East Asians in the It would take until 1967 for representation of BESEA has fetishizing of ESEA women, West have been framed as a anti-miscegenation to be been through the eyes of the which is also known as model minority. This is a deemed unconstitutional. status quo and consequently “Yellow Fever,” not only myth that sets up an illusion The Hays Code12 also the portrayal of these prevails on our cinema and that all Asian Americans and informed that whitewashing characters are drawn by the television screens, but also BESEA people are smart, and yellowface, where hand of the establishment in everyday life, and wealthy, hard working, necessary, was a legal and seen through the prism represents a major obedient and self-reliant. requirement. Although the of the Yellow Peril. This contributory factor to the Most dangerously, the myth Code is now obsolete the sustains common depictions violence and abuse

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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 your “authenticity” to be recent examples include: away precious opportunities • Main Cast • from an already marginalized “Chinese”. Under this bias, Jim Sturgess, Hugo • Genre Weaving, Halle Berry, community that has so few some casting directors • Release Date Hugh Grant and James opportunities in the first would prefer to cast D’Arcy as Neo-Koreans in place and contributes to the someone from China/East To investigate and confirm 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 • Emma Stone as Hawaiian world, more white women production, a practice that were cross checked against Asian Allison Ng in Aloha have won an Academy is not much carried out for industry databases including (2015). Award for playing an East or roles of other ethnic origins. IMDB or directly with • Tilda Swinton as the South East Asian than actual An example is the Disney directors, actors or their Tibetan Ancient One in East or South East Asian remake of Mulan casting agents / representatives. The Doctor Strange (2016). actresses themselves.13 Chinese actress Liu Yifei. It analysis was also • 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 • 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 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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BESEA Off-Screen Representation Of the 1077 British films that were theatrically released in the UK in the last decade, 9 were helmed by BESEA directors. Of the 9 films, 8 are narrative features: Black Pond (2011), Lilting (2014), The Darkest Universe (2016), Gangsters Gamblers Geezers (2016), The Receptionist (2018), Redcon-1 (2018), London Unplugged (2019) and Monsoon (2020). Dispossession: The Great Social Housing Swindle (2017) is a feature documentary and is the only theatrically released feature documentary with a BESEA director at the helm in the last 10 years, from a total of 249 British documentaries that were released in that period.

Table showing all BESEA directed films December 2020 -January 2021

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General Observations These 9 films equate to 0.8% of all theatrical releases in the The ethnic backgrounds of the directors are: Chinese, Hong UK. Kong, Filipino, Cambodian, mixed White British and Japanese; and mixed White British and Chinese. There are no 4 of the 9 films are directed by the same directors, directors of the following descents and heritages: Brunei, Will Sharpe and Hong Khaou. Burma, East Timor, Indonesia, Laos, Macau, Malaysia, Of the 9 films, 3 have directors who identify as female: Mongolia, North Korea, Singapore, South Korea, Taiwan, Jenny Lu (The Receptionist) and Kaki Wong and Qi Zhang Thailand, Vietnam and their diasporas. (directors on the London Unplugged anthology). The graphs shown below highlight the availability of options for BESEA talent (both in terms of volume of releases and box office grosses) in the past 10 years, in comparison to all of the British films released.

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Of the 9 films, 2 films Often low budget films serve make a second film if your Budgets, received BFI funding - Lilting as debut films and as first film is both unprofitable Distribution and Monsoon - both stepping stones to higher and unloved is very directed by Hong Khaou. Of budgets and bigger difficult.” and Box Office the full list of 1,077 British production ambitions. When As these films are perceived films, 137 received BFI questioned as to why there Revenue to underperform at the box production funding, are so many low budget office, film financiers and The average number of equivalent to 13%. films in the marketplace, distributors will naturally cinemas in which UK films Robert Mitchell replies that: The data suggests that perceive BESEA directed are released is 103. This “Low budget films reduce BESEA directed films receive films to be risky, niche and reduces to 23 cinemas when barriers to entry for smaller releases. Of the 9 uncommercial. This considering films that unproven filmmakers. They films released by BESEA contributes to an ecosystem grossed under £150k, as per can be both a proving directors, only 2 were in which BESEA helmed 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 Films featuring BESEA actors in their cast demonstrate a 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 showing all BESEA starring films January 2011-January 2021

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On-screen Table one Represen- tation in Television versus Cinema These findings mirror observations found in Dr. Jami Rogers Equity report: Diversity in Broadcast Peak Scripted Television28 which examined primetime television broadcast by the BBC One, BBC Two, ITV and Channel 4 in 2018. In this study on-screen Table two representation, the data was broken down by ethnicity and showed: • 82% White • 9% African-Caribbean • 7% South Asian • 1% East/South East Asian • 1% Middle Eastern The report concluded that BESEA people are severely under-represented. What was telling, is that in entire year on the major flagship continuing drama series there was zero on-screen BESEA representation. See Table one Both television broadcasters and film industry executives are failing in relation to inclusion where it comes to the BESEA community. The Table Three severe lack of inclusion requires urgent attention. Leading Roles The Comscore data was then further examined to see whether the BESEA cast featured were in leading or secondary roles. See Table two

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Looking at the data in this regard exposes that of the 17 films The exclusion has a knock- This point is particularly listed, 5 featured a BESEA in a leading role. These leading on effect for audiences:- important, given that in a 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 actors are playing secondary or smaller roles in British films. made and widely seen, the co-opting the cultures and 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 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 and frustration of this view, that screenwriter and author, represent their lived actuality the practice of Charles Yu, predicated an entire novel, Interior Chinatown30 in experiences. This creates co-option is another form of order to satirize that falsehood, but also to expose the narrative poverty for the oppression. Supporting dangers of that perception: BESEA community, thus marginalized communities in “Yu explores in devastating (and darkly hilarious) fashion reinforcing their telling their own stories is Hollywood’s penchant for promoting clichés about Asians marginalization. But it also key to genuine allyship, as and Asian-Americans. Wu has worked his way from has deep implications for the opposed to performative “Background Oriental Male” to “Dead Asian Man” to wider society, who are allyship. “Generic Asian Man Number Three/Delivery Guy” — a long mainly exposed to harmful The powers that be also way from “Kung Fu Guy,” which is where he wants to be.” stereotypes and are not need to move beyond afforded normalized and tokenistic gestures and to The Relationship Between authentic depictions of the engage with actions that BESEA community. The very propagate pluralism - it is Off-Screen and On-Screen real fall out from this has through this that we can Representation already been witnessed transition from narrative through the rapid and sharp poverty to plentitude. rise of COVID fuelled Asian The 8 narrative films directed by BESEA were also examined In film distribution, there is hate in the UK and in the for BESEA on-screen representation. an urgent need to normalise United States, which has See Table three and reframe the perception resulted in real lives being 31 of BESEA talent and their Of the 8 narrative films helmed by BESEA directors, lost. 632 featured BESEA cast. stories as not being ‘risky’. This relies on challenging the This suggests a relationship and an interconnectedness Recommen- long-entrenched traditions of between off-screen and on-screen representation - films the UK distribution industry, created by BESEA writers and directors are more likely to dations and the gatekeepers that also feature BESEA actors. Power-holders need to start uphold them. Throughout fully understanding diversity the British film industry, a Conclusion and that begins with largely homogenous acknowledging how different workforce33 is preventing The film industry is part of an entrenched and long-standing communities are diverse talent from colonial system which has put into play a complex set of marginalized differently. For prospering. robust, and often insidious forces that are intent on the the BESEA community, there This study was only able to continued marginalization of the BESEA community. This has been a long history of examine British films that system houses near impossible conditions for BESEA exclusion which has given were theatrically released, directors and actors to thrive and sustain careers. rise to varied forms of who they were helmed by, 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 office - informing and sustaining the viewpoint that BESEA eye. Recognition of BESEA further research is done to: directed films are risky and not commercial. This contributes experience is the first step. • Examine how BESEA to an ecosystem in which BESEA helmed films are rarely Next, to increase producers and writers are supported by the industry, thus relegating BESEA filmmakers representation, power- working in the industry. to the margins of an industry. holders need to understand • Discover which films are Films featuring BESEA characters are more likely to be how on-screen being supported at the 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 Lievens. Briones, Isis. “Asian Actors Are Still Only 1% of Hollywood’s Leading Roles.” Delphine Lievens is a Senior Teen Vogue: 4 March 2016. www.teenvogue.com/story/asian-representation-in-hollywood Box Office Analyst at Gower Britain’s East and South East Asian Network. 12 April 2021. Street Analytics, where she twitter.com/besea_n/status/1381720332646637569 provides forecasting and box office analysis for a British Film Institute, Research and Statistics Unit. “BFI Statistical Yearbook 2019.” number of international Creative Diversity Network. “Race and Ethnic Diversity: A Deep Dive into Diamond Data.” clients in film distribution October 2020. and exhibition. Dewey, Morgan. “Sexualized, Submissive Stereotypes of Asian Women Lead to Staggering Chi Thai is an independent Rates of Violence.” filmmaker & producer who National Network to End Domestic Violence, 21 March 2016. https://nnedv.org/latest_update/ works across features, stereotypes-asian-women/ documentary, animation & immersive. She has been a Mak, Jennifer. “East Asian Representation in British Television and Cinema.” Cannes Lions finalist three Glasgow University: September 2019. times and was listed in Malik, Kenan. “Don’t Call Me BAME.” Creative England’s Top The Guardian, 25 July 2020, www.theguardian.com/commentisfree/2020/jul/25/the-term- creative companies. She is bame-isnt-fit-for-use-we-need-a-new-political-language a recipient of the BFI Vision Award. Nittle, Nadra Kareem. “What Is the Definition of Passing for White?” ThoughtCo. 21 March 2021. thoughtco.com/what-is-passing-for-white-2834967 Petersen, William. “Success Story: Japanese American Style.” New York Times Magazine, 9 January 1966. Robey, India. “Hollywood Played a Role in Hypersexualizing Asian Women.” Teen Vogue, 24 March 2021, www.teenvogue.com/story/hollywood-hypersexualizing-asian- women Rogers, Jami, Dr. “Equity report: Diversity in Broadcast Peak Scripted Television.” Equity: 8 April 2020. Said, Edward. (1978). Orientalism. New York: Pantheon Books. ScreenSkills. “Annual ScreenSkills Assessment”. 16 August 2019. www.screenskills.com/news/screenskills-publishes-new-state-of-the-screen- sector-report/ Sollis, Marie. “A Specific Type of Racism.” The Guardian, 18 March 2021. www.theguardian.com/us-news/2021/mar/18/atlanta-spa- shootings-anti-sex-worker-racism-sexism Sun, Rebecca. ‘From the Hays Code to “Loving”.’ The Hollywood Reporter, 22 May 2016. www.hollywoodreporter.com/news/general-news/ hays-code-loving-hollywood-s-896342/ VanderMeer, Jeff. “A Devastating New Novel from “Westworld Writer” Charles Yu.” New York Times Magazine: 20 February 2020. www.nytimes.com/2020/02/28/books/review/ interior-chinatown-charles-yu.html Wikipedia. List of Asian Academy Award Winners and Nominees. en.wikipedia.org/wiki/List_of_Asian_Academy_Award_winners_and_nominees#Best_Actress Yuen, Nancy. (2016). Reel Inequality: Hollywood Actors and Racism. New Jersey: Rutgers University Press.

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References 1. Comscore is a media measurement company who record 21. Data from the BFI Statistical Yearbook for Screen Sector over 95% of global film box office. They are the leading Production, 2019. providers of film box office data 22. For the purposes of this report, ‘low budget’ is 2. https://www.theguardian.com/commentisfree/2020/ considered as a budget of £500k or below, in line with jul/25/the-term-bame-isnt-fit-for-use-we-need-a-new- the data in the BFI Statistical Yearbook political-language 23. Main cast is identified as anyone listed in the cast by 3. https://www.equity.org.uk/news/2020/april/equity- Comscore publishes-study-on-poor-racial-diversity-in-uk-television 24. London Unplugged and Redcon-1 do not register on the 4. This percentage was arrived by combining “British list as Comscore list main cast, but it is acknowledged Chinese,” and *Other Asian*, however does not included that there are BESEA actors in those films “Mixed Asian” or “Mixed White Asian” from the last 25. Public funding indicates that the film eceivedr production British National Census: https://www.ethnicity-facts- support from the BFI Film Fund figures.service.gov.uk/uk-population-by-ethnicity/ 26. The authors were unable to confirm the production national-and-regional-populations/population-of- budget from the producers, funders, sales agents or england-and-wales/latest distributors of this film, and sought an educated estimate 5. Reel Inequality: Hollywood Actors and Racism by Nancy from a professional line producer Wang Yuen 27. The authors were unable to confirm the production 6. https://www.theguardian.com/us-news/2021/mar/18/ budget from the producers, funders, sales agents or atlanta-spa-shootings-anti-sex-worker-racism-sexism distributors of this film, and sought an educated estimate 7. https://nnedv.org/latest_update/stereotypes-asian- from a professional line producer women/ & https://www.teenvogue.com/story/hollywood- 28. https://www.equity.org.uk/news/2020/april/equity- hypersexualizing-asian-women publishes-study-on-poor-racial-diversity-in-uk-television/ 8. According to Comscore Ex Machina, although helmed by 29. https://www.teenvogue.com/story/asian-representation- British writer-director, is categorised as a US film due to in-hollywood source of finance 30. https://www.nytimes.com/2020/02/28/books/review/ 9. Success Story: Japanese American Style by William interior-chinatown-charles-yu.html Peterson in 9th January, 1966, edition, of The New York 31. Dispossession removed from this analysis as a feature Times Magazine documentary with no actors / casting element as part of 10. Race and Ethnic Diversity: A Deep Dive into Diamond the production. Data by the Creative Diversity Network, October, 2020 32. Data supplied by Comscore only registers the main cast, 11. BESEA_n https://twitter.com/besea_n/ for these reasons London Unplugged and Redcon-1 are status/1381720332646637569 excluded from this data, but these films feature BESEA 12. https://www.hollywoodreporter.com/news/general-news/ actors in minor roles hays-code-loving-hollywood-s-896342/ 33. Creative Skillset’s Annual ScreenSkills’ Assessment 13. https://en.wikipedia.org/wiki/List_of_Asian_Academy_ addresses the lack of diversity in the UK screen 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- East_Asian_Representations_in_British_Television_and_ report/ Cinema 15. Event cinema and films with a lifetime gross of less than £1K were excluded from this study 16. As per data provided by Comscore Representology takeaways 17. Nittle, Nadra Kareem. “What Is the Definition of Passing The representation of British East and South East for White?” ThoughtCo, Mar. 21, 2021, thoughtco.com/ Asians in film is shockingly low what-is-passing-for-white-2834967 • Visibility on-screen is directly related to staffing 18. The screen average is obtained by dividing a films total off-screen and improving the diversity of the latter 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 URBaN

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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 and Reclaiming ‘Black clean-up programmes of the such as Hip-Hop, Soul and R&B, whose 1950s and ‘60s that targeted only seeming connection is that they are Music’ Really Change Systemic Racist Issues slums and Black people living in poverty. Urban was largely performed by Black artists and or Solve Underlying negatively connected to putting them all into a box labelled ‘urban’, Diversity and Inclusion being poor and Black. It’s is no longer acceptable practise in the UK Problems that are worth noting that, before music industry. Inherent to the British ‘urban’, the term ‘race Music Industry? In a new pledge to stamp out racism, it’s listed at the top of records’ was used. ‘Urban’ the Ten Point Action Plan from UK Music – an umbrella For me, as a member of the was deemed to be less organisation representing the UK music industry, which states launch team for BBC Radio offensive by white music that the: 1Xtra, which, in 2002, burst executives, even though onto the music landscape ‘race records’ had helped “Urban classification [should be] under the banner ‘The Home generate income for a Black of New Black Music’, the music industry and implicitly replaced in all reports and change from ‘Black’ to acknowledged its debt to ‘urban’ means a lot. 1Xtra’s Black people. The ‘urban’ communications - either by original tagline proudly classification hid the racial genre, such as Soul or Rap; UK represented Black culture element, and would also with a diverse set of DJs; ghetto-ise Black artists. Music members will commit to from the Rampage Duo, Some of the Black artists known for their legendary who were marketed in this support those who wish to use sound system at Notting Hill way went on to forge highly the term ‘black music’”. Carnival, to Robbo Ranx, successful careers, and were with his expansive network loved by audiences globally. How did a word come to be so associated with racial of contacts in Jamaican These included Stevie discrimination and injustice? The use of ‘urban’ by the music dancehall, to DJ Flight, who Wonder, Barry White and industry, was seen as an act of ‘silo-ing’ Black artists, quietly took her place behind The Stylistics. lumping them into one homogenous group and tarring a wide the decks via pirate radio for expanse of Black talent with a very broad and biased brush. Debate on the use of the appreciative Drum ‘n’ Bass Some music industry executives used the categorisation to term ‘urban’ by the music fans. When the marketing of marginalise Black artists, justifying the signing of white artists industry had been ongoing the station changed, and 2 and not of Black artists. The X-Factor winner, Alexandra for decades , but pressure to ‘Black’ was dropped and Burke, said in an Instagram video, that she had been told by a finally drop it, gathered pace replaced, not only with record producer; “I already have one Black artist, I don’t amid the Black Lives Matter ‘urban’, but also with ‘street’ need another”1. protests of 2020, when music monikers, it was a Ariana Grande and Drake’s Conversely, the categorisation keeps Black artists in one box, signifier of change. Arguably, label, Republic Records, limiting their success and exposure to different audiences. the loss of the ‘Black music’ announced that they would The huge hit song by Lil Nas X ‘Old Town Road’, was easily identifier was whitewashing a be erasing it “from their slotted into the Hip-Hop/Rap category, but was removed by rich history, severing Black verbiage in describing Billboard’s Hot Country Songs chart for not ‘embracing musical roots and leaving departments, employee enough elements of country music’. open the door to cultural titles and music genres”3. appropriation. The term ‘urban’ sits uncomfortably for many. After his win in For many in the British music the ‘urban’ music category at the 2020 Grammy’s, the artist, For decades, the term industry, the word ‘urban’ Tyler, The Creator, said: ‘urban’ has been used as a will not be missed. Vin classification by record “I don’t like that word, it’s like a politically correct way of Gadher, a music producer companies, which is thought saying the N-word to me”. and promoter, thinks it was to date back to 1974, when it always pretty meaningless. was used by a radio station To me, it is what music in New York. It was dreamt “ they make, the genre of up by (white) marketing music they make. Is it Soul? strategists who were Is it R&B? Is it Jazz? Rather packaging Black music than calling it ‘urban’. What whilst minimising attention to is urban? the Black artist; offering an ” acceptable face to the white Yaw Owuso, a music mainstream, to attract more entrepreneur who has listeners and advertising managed artists as exec. at dollars. The term’s history is the Playmaker Group, which

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is based in Liverpool, agrees. DJs, Ace and Seani B, bared whole ‘Black Lives Matter’ employees did not reference He sees some benefit in their souls, as Black men, stuff – we lost 5 DJs over Black culture. Instead, “you using the term from a they spoke of the institutional the summer, including could get the job by talking marketing perspective, racism that they had Sideman. That was crazy.” about generic things, like because he thinks it helps encountered in their lives, the Olympics” In August 2020, DJ Sideman ‘broaden things’ and including inside the resigned from his Saturday “, but when it came down to removes the political element workplace. mid-morning show on 1Xtra explaining how important from the music, since he Seani B, who has been a DJ as a result of his employer’s Nipsey Hussle [an American sees how the term ‘black at the station for 18 years, refusal to condemn the use rapper] was, those kinds of -- as a small b or capital B is noted that if ‘we looked of the N-word by a white questions were not being very political’. The removal of different’, then his career news journalist. asked and therefore, these associations from would have moved further ‘diversity was tough’.” music and artist, he thinks, A multitude of listening along, since he had been may help to sell more sessions took place at the denied his chance to have a Would Reclaiming records. This is far from BBC over the summer of ‘good crack’ at the work he ‘Black Music’ Help to proven to be the case. Jay 2020, which led to an had dedicated his life to. He Solve the Problem? Davidson, launch and brand outpouring of painful and knows this was due to the manager at 1Xtra for 4 years traumatic experiences Reclaiming the ‘Black’ in perception that, as a Black from 2002 says she was detailing incidents of bullying ‘Black music’ will not solve man, he was less ‘palatable’ disappointed when ‘Black and everyday systemic racism, but for than white DJs. Just as music’ was dropped from all microaggressions for staff of many people of colour in the ‘urban’ was supposed to branding. But she was not colour who work at the British music industry, it is at make Black music surprised. “‘Black music’ organisation. least an acknowledgment of acceptable to (white) was seen as a barrier in where the music comes audiences, maybe a white 1Xtra had become a trying to grow the station to from. Vin Gadher was DJ could package Black stepping stone for white a majority white audience”. manager of ‘The Skatalites’ music with a wider appeal to people to move into Radio 1, She thinks that audience in the 1990s. He says that British listeners. rather than a destination for research may have indicated they would probably tell you people who want to that white listeners would That the radio industry has a that their Ska sound came celebrate 1Xtra’s music and feel “alienated” and that serious diversity and from: culture, according to an 1Xtra did “not reflect them”. inclusion problem is not insider source. “… listening to Jazz and Station management, she really in any doubt. Mento, so the history there Nobody is saying that you feels, could not afford for According to Ofcom’s 2019 “ is long. I think the Black have to be Black or brown potential listeners to “feel diversity report, in BBC sound comes in a spiritual to appreciate Black culture, excluded”. Ultimately, Yaw Radio as a whole, only 9% of way. It is the Soul-ness of finds ‘urban’ to be staff are from a black and obviously not, but people it.” problematic. ethnic minority, which drops being hired, who were not to 6% at senior leadership Black or brown …didn’t A New York Times audio “I see it as a catch-all term 4 levels. Commercial radio is have the integrity to work series, 1619 podcast traces that allows white artists to even worse, with only 6% of on the station.” the deep roots of Black do what is classed as Black all staff at Bauer Media, music in the birth of music, it felt like it was to The 1Xtra employee explains which includes Kiss FM, and American music itself. It champion them. So, I think how an appreciation of no senior leaders. tracks how the Black sound the change is good to show 1Xtra’s music was simply not has permeated all genres there is a wind of change. I Speaking to one long time a requirement of the job. At today. It can be heard in the don’t think anyone will be senior 1Xtra employee, who recruitment boards, interview ‘gravelly tones of the white fighting to keep it”. wishes to remain questions to potential anonymous, the lack of When BBC 1Xtra lost its diversity in youth music radio ‘Black music’ tagline, there at the BBC is plain to see. As “I see it as a catch-all term that was a shift felt by some they sit and speak via Zoom people working at the on the 8th floor of New allows white artists to do what station. Whilst it is not Broadcasting House, on a possible to distinguish is classed as Black music, it felt busy workday, they survey correlation and causality, a the room and can see only like it was to champion them. change in the proportion of two other Black producers Black and ethnic minority across not only 1Xtra, but So, I think the change is good to staff working on and off-air also its sister station, has been noted by some. In show there is a wind of change. Radio 1. their award-winning Black I don’t think anyone will be Lives Matter inspired show, “A lot of people left last 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 example; “like he is scraping popular culture, which is remixes they put out were by white producers, except for 18. the bottom of a pan to get fabulous, as long as we “The amount of people who think it’s just fine to sample all the good bits off of it remember where it started.” any old Ragga vocal – they don’t even know what the before you pour the gravy For a senior 1Xtra employee, person is saying, but they stick it into the tune, they put red, in”. respecting this fact is a key yellow and green on their artwork …that kind of shit – very element of any successful superficial. Black music has become the ” diversity and inclusion popular culture, according to policies in music radio. She also notes the switch to white DJs at the BBC. In a team music exec., Yaw Owusu. which used to consist of 5 Black DJs across both Radio 1 and ‘Respect’, is one of the three “Streaming has allowed us 1Xtra (DJ Flight, L Double, Bailey, Fabio & Grooverider), today, to measure this impact in litmus tests that are detailed in 2021, there is only one white Canadian, representing British 7 the mainstream, and it is in the If Ever You’re DnB music. undeniable Listening blog for ” he says, “I could feel my whole career and achievements being people have known that recognising the cultural “ erased before my eyes” she says. Hip-Hop is the biggest form appropriation of music. The 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 only when the download Black artists, and, to ensure taken from them and replaced by white line-ups. In their Black figures from streaming sites something new is made from Lives Matter Talks Special they explain how; what came before, rather were revealed, that “the Our aesthetics are scary, so [the solution is] let’s give than just taking it as your “ maths and the push through people what’s not scary to deliver the music they love, own. of Black music… as the which is our music.” dominant genre of music” In an emotional and highly became clear.” charged radio appearance, Seani then lays down his truth, and asks a question that is in 2014, the Black artist, inspired by seeing so many white artists representing Reggae Latest figures compiled by Azealia Banks, speaks of and Dancehall, both on radio and on festival rosters: “Can you Billboard/MRC Data show how hurtful she finds the imagine if I was a white Dancehall DJ??” He is thought to be that the number one white Australian ‘rapper’, referring to a disparity in treatment and opportunities offered category for audio and video Iggy Azalia, who, in one of to the white Dancehall DJ, Toddla T, who left 1Xtra after 11 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 Hop/R&B, followed by Rock Iggy Azalia was nominated DJ Annie Mac. and then Pop.5 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 “I feel just like, in this and thinks that, music’ is the principal sound country, whenever it comes moving Black people into positions of influence that is recognisable on the A “ ” will see to our things – like Black play out very differently playlist of 1Xtra’s sister things “ ”. Already, line-ups are issues or Black politics or station, Radio 1. Radio 1 starting to change. Rampage and The Heartless Crew are Black music … there’s this enjoys a rich historical among the Black DJs who have been brought back to the undercurrent of kinda, like, legacy on UK analogue radio schedules. a ‘fuck you’.” Banks refers that dates back to 1967. to there being a cultural Historic Racial Inequalities and Exploitation Play 1Xtra was launched on DAB “smudge out”, which “tells Out Today just under two decades ago. Black kids you don’t own Radio 1’s lineage affords it After decades working in the UK music industry with shit, not even the shit you an elevated status, with the Jamaican and South Asian artists, Vin Gadher is “still created for yourself.” budget to match (£38 million shocked” by how many white faces he sees, even in compared to 1Xtra’s £8 Former 1Xtra DJ Flight, departments representing global regions whose populations million).6 keenly feels there has been are Black or brown. He is concerned about the exploitation of BBC Group Annual Report and cultural appropriation of Black artists. Accounts 2019/20 Pg 138 Black music in the Drum ‘n’ “As musicians [The Skatalites] were highly respected but, Disparity between the Bass scene. She was part of economically, they weren’t. When I discovered them again stations exists on many the original 1Xtra launch in the 1990s, they were in New York State doing manual levels, the big one is the team and hosted a weekly jobs, and I was thinking; “These guys are geniuses, why weekly listening figures show for 5 years, until 2007. haven’t they been given the income due to them?” The roots of DnB are which, for Radio 1, is ten It is a common complaint voiced by music industry diversity times greater than for its embedded in Jamaican sound systems; Jazz, Funk, campaigners, pointing to systemic inequalities resulting in ‘sister’ station. It may be poor contract terms for Black artists when they are signed. more accurate to say that Soul and Reggae. But when the Drum ‘n’ Bass label, Shauni Caballero, speaking to Power Up, a long-term initiative 1Xtra is the ‘poor cousin’ of I tell Hospital Records, bought to address racial disparities in the music sector, says, “ Radio 1. them, they have a duty – the major labels especially – the rights to the back

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because you profit so manifesto for change. For heavily off these artists, Yaw Owusu, the solution References there are certain things you ultimately lies in 1. Alexandra Burke on Instagram: “I felt it was time to speak need to tell them… at least “independence and up... This is a scary moment for me. I didn’t always want give them the basics of autonomy”. He gives to speak up -- but it is the right thing to do. So…” understanding [about] their Stormzy and Jamal Edwards accessed 2 June, 2021. publishing rights.” as examples to follow. 2. BBC NEWS | Entertainment | Music | Brits debate over Exploitative practises in the “We are seeing that people ‘urban’ music accessed 2nd June, 2021. music industry date way want independence from back too, of course. In the the corporations. What Jay 3. Republic Records on Instagram: “#WeUseOurVoices, Use 1950s, the father of rock n’ Z is doing in America, and Yours.” Accessed May 5th, 2021. roll, Chuck Berry, spoke of there is a lot of social and 4. See www.nytimes.com › 2020/01/23 › his managers and structural stuff to do”. 5. Nearly a third of all streams in the US last year were of promoters, “who were He says it will all take time, usually friends, or hip-hop and R&B artists (as rock beat pop to second another generation perhaps. businessmen, as there was most popular streaming genre) - Music Business a lot of money transacted As for black music on Radio Worldwide (Accessed 2 June 2021). that I didn’t’ know about,” 1 and 1Xtra, DJ Flight puts it 6. BBC Group Annual Report and Accounts 2019/20 p.138. he said in a BBC interview.9 succinctly; “nothing really changes at the BBC”. 7. https://ifeveryourelistening.medium.com/ 8. Chris Inperspective calling out Hospital Recs | DOA | Drum & Bass Forum (dogsonacid.com) Accessed 5 May If the huge and continued 2021. success of Black music tells us 9. BBC World Service - Weekend, Chuck Berry Dies. anything, it’s that audiences do 10. Ibid. 11. Fight for your right to yeehaw: Lil Nas X and country’s not need a dilution or cover-up race problem, Music, The Guardian. of ‘Black’ to make it more marketable or palatable.

When the interviewer asks If a new generation of music him what advice he would artists have any hope of Nina Robinson is an award-winning documentary maker give to a young artist, he breaking free from the and CEO of Soundtruism Productions, Diversity Researcher replies; systemic racism in an at Sir Lenny Henry Centre for Media Diversity, and Lecturer industry where it runs deep, “Major in math, then take up at Birmingham City University. pulling off the disguise of a music, which is really half well wrapped up term, such math, and then major in as ‘urban’ is an obvious first human nature.”10 step. If the huge and This remains essential continued success of Black advice for Black music music tells us anything, it’s Representology takeaways artists in 2021. that audiences do not need a dilution or cover-up of Severing a genre’s links to its cultural heritage has Long-term plans to address ‘Black’ to make it more detrimental consequences on the racial diversity of systemic racism are currently marketable or palatable. the industry’s workforce underway, instigated by Recognising its history and • The term “urban” has played a role in ghettoising influential UK music industry culture through people who insiders on a variety of Black artists and allowing white artists to work in those industries fronts. These include Power appropriate Black culture today is necessary to reveal Up, which offers grants to • Broadcasters need to remember the cultural those connections between Black creators, combined importance of the music they play to minority what happened before and with professional network what is still happening communities and strive for authenticity. support. The founder of the today11. • Will solutions to increase diversity and fight MOBO Awards, Kanya King, discrimination be less about changing labels and is launching a platform to connect Black people to more about who controls the platforms that mentors, and the Black broadcast the music? Music Coalition presents a

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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 ‘enfreakment’ of disabled way of weakening our room began to panic again – it was too anti-charity, there were people served able-bodied disabled people-led drive. not enough non-disabled people in it, it was too pro-rights, it fear-management, not We said: “no, we will deliver was too political, and so on. We managed to persuade them disabled people. This hit a Poor Dear from our own new that this was a true position of what many disabled people nerve, and I was both disabled staff-led company, felt, and still feel, about charity. In one of the episodes, dealing praised and attacked in Criptic Productions Ltd.”, with how charity promotes a cure, in contrast to disabled equal measure across the and, after some arguing, the people, who were more focused on access than they were on media, including the news BBC executives agreed. cure, the BBC pushed us to include ‘more disabled people press. They even went along with who want to be cured’; and we pushed back, saying, disabled our crip spelling in Criptic. people do not go around waiting for cures, they do go around However, a major event Sian was the producer- pushing for barriers to be removed, and you would not be happened as a consequence presenter, I was the telling the journalistic truth if you pushed this ‘crips want of this media coverage, producer-director and, cures’ position. The BBC executives began to despair. At one which was that Sian Vasey putting ourselves under point, one executive said that we would be hugely criticised knocked on my council flat some pressure, we made for ‘attacking charities.’ Good, we replied, bring it on – door one day and asked me three episodes in six months. because those old-school disability charities had to change. if I would like to make a TV mini-series with her, based As the presenter, Sian was a After Poor Dear was broadcast on BBC1, Sian and I went our on the ideas in my book. I brilliant interviewer – separate ways into two separate independent production knew Sian a little from street constantly pushing those we companies for a while, before our work aligned again, and we protests by the disability interviewed – charity bosses, both became producer-directors at the BBC Community and Disability Programmes Unit, “the DPU”, to most of our people. By the time we joined it, in the mid-1990s, the DPU was . . . disabled people do not go regularly making films and programmes about how disabled around waiting for cures, they people saw the world. The DPU closed in 2000. For me, the most interesting thing about the DPU – staffed by do go around pushing for disabled people – was that many of the radicals from the disability movement were there in-house. It was people like barriers to be removed, and you me, Sian Vasey, Elspeth Morrison, and others. But there were would not be telling the also some ‘play it safe’ non-radicals, who just wanted to ‘be in telly’ and didn’t really care about changing disabled journalistic truth if you pushed representation or reflecting the movement, which Sian, this ‘crips want cures’ position. Elspeth and I very much cared about. Indeed, one of my early films there was Desperate Dan, for which I was the executive producer. It was a documentary movement, but did not know advertising execs, and so on about the Direct Action Network (DAN), a street-protest her well at that point. My flat – to justify their medical organisation, and it was very much a film supporting their was accessible, and in she model positions on camera. demands. We got around the calls for ‘BBC balance’ by came, proceeding to lay out Sian interviewed with great arguing that other more naff producers (we did say that, we how she wanted us to use rigour and great charm, were young!) in the BBC were making old-school ‘poor parts of my book to pitch a which disconcerted those cripple’ TV and we were showing the reality of the new, radical three-part series to the BBC charity bosses we social model approaches – and we were getting large in which we would take apart interviewed, who were very audiences with these new approaches. the very negative charity much unused to such a Sian brought her usual brilliant journalism and constant drive. models which dominated too ‘radical crip’ being so sharp, She would turn around stories faster than anyone else in the many disabled people’s lives. so shrewd, and so friendly, unit and, with her lived experience of disability, drive for rights It seemed such a worthwhile all at once, in each interview. and experience in television (she was one of the very early punt that I said, ”Fine”. Many were furious when the pioneers working on ITV’s Link disability programme, before About a month later, we were camera was off! And Sian working at the BBC), Sian became the formidable journalist of commissioned to make Poor just smiled her charming the DPU. While I made my landmark series, The Disabled Dear, a three-part series, for smile and never became Century, Sian drove much of From the Edge. For the first time, the BBC. engaged in the off-camera there was a superb disabled talent pool, both behind and in rows with them. Then came the inevitable front of camera at the DPU – and Sian was one of the stars commissioning meetings, from whom we all learned what are now considered to be the pressuring us to compromise tools of the trade. from our radical positions; So why was Sian such a pioneer? From being one of the few the BBC executives asked us disabled on-screen talents, she continued in television as a to work with this or that director, producer, presenter, journalist and writer, through non-disabled independent sheer tenacity – she would never let an interviewee off the

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hook, but her persistence David Hevey worked for the BBC’s Disability Programmes Unit during the 1990s and was always utterly charming. produced the landmark history series The Disabled Century (1999) However, she was much more than that. She was a stalwart of the fight for rights for disabled people, and she References and background easily bridged the space between being in the Books, Journals and Audio TV programmes 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 television. In other words, her Physically Impaired Against Presenters: Rosalie Wilkins debate; Producer-Director: head didn’t turn because she Segregation (1972-1990) A (1975-), John Sheppard David Hevey TX: BBC2. 10th was ‘in tele.’ If anything, it Public Record from Private (1975-1988), Niam McAleer June 1999, repeated 2012. gave her a platform from Files, Manchester, TBR (1979-); Kevin Mulhern • Modern Times, (2000) which to fight for more Imprint. Print and online. (1984-); Birmingham: ATV, Director: David Hevey, 10,000 then Central TV, then Coffers inclusion. And we all knew • Baldwinson, Tony. (2019) Le Private Eyes, TX: 22 March Court Film Unit: An Award- Bare Productions Ltd. 2000; Suicide, TX: 27 that if you could get the real Winning Disabled People’s (1982-1999); for the ITV UK September 2000. stories and tell them in Film Crew (1958-1969), network. • Children’s Hospital – innovative ways, then you Manchester, TBR Imprint. • Signs of Life, (1979), National Birmingham (2001), Producer: could get audiences in the Print and online. Union of the Deaf, in the Sian Vasey, TX: BBC1, 18 millions, as opposed to the • Finkelstein, Vic. (1987) community access slot Open July 2001. Door, BBC Community old style ‘poor old Harry is ‘Disabled People and Our • BSL Zone: I Want to Change Culture Development’. Programmes Unit, TX: BBC1, the World (2019), Director: wheelchair bound’ material, London Disability Arts Forum 10th May 1979. Sebastian Cunliffe, BSL with sad piano music, which (LDAF). Vol. 8. 1987. • Open Door, (1973-1983) BBC Broadcasting Trust / still dominates too much of • Finkelstein, Vic. (1996) Community Programmes Drummer TV Ltd, TX: Film4, the media, even though it no ‘Outside, ‘Inside Out’’, Unit, including: 8th March 2021, 08:00. longer draws large Coalition Journal, • Hidden Costs of Disability, Manchester: GMCDP, April Disablement Income Group audiences. 1996, pp. 30-36. (An edited (1981), Around 1999, and after version in, Disability Now, • Attitudes: The Second 1996.) several years in the DPU, I Handicap, Chris Davies • Hevey, David. (1992), The (1983). moved onto BBC’s Modern Creatures Time Forgot: • See Hear, (1981-current) Times to make more films, Photography and Disability BBC, monthly series on deaf and Sian moved on too, Imagery. Taylor & Francis. people’s issues. moving into the wider media • Vasey, Sian. (1989) ‘Disability • One in Four (1986-1992), … and for a while we lost Culture: It’s a Way of Life’, monthly disability issues touch. Feminist Arts News, vol 2 programme, Isobel Ward, issue 10, pp. 5-6. Simon Barnes, Chris Davies, To new generations, Sian • Vasey, Sian. (1997) ‘Sorry - I TX: BBC1 (1986), then BBC2 Vasey being an incredible TV Can’t Make the Tea!’ [a (1986-1992). pioneer and a role-model for chapter in the book] • Same Difference, (c.1987- - Framed: Interrogating 1991), Same Production Co. front-of-camera disabled Disability in the Media, Ann (1989–1991), for Channel 4. presenters, and for behind- Pointon & Chris Davies (eds.), • From the Edge, (1992-2000), camera disabled crews, was published by the Arts Council a disability current affairs all about the control of of England and the British programme, BBC Disability content. And it was not only Film Institute, pp. 135-140. Programmes Unit, TX: BBC2. • Vasey, Sian, et al. (2002) [two her control of TV content, but • Over the Edge (1993-1995) an audio programmes] also her pushing for a radical annual six-part disability Programme 1 - Disability and documentary series, BBC and rights-based approach Difference, Programme 2 Disability Programmes Unit. - Normal Lives, Different with which to create new • Poor Dear, (1994), Director: Lives, the publishers are the ways for TV to show and see David Hevey, Presenter: Sian BBC and the Open disabled people and our Vasey, Criptic Productions University, reference K202/ Ltd, TX: BBC1, 9, 16, 23rd allies, an approach which is CD2. January 1994. still fresh and authentic all • Vasey, Sian. (2004) ‘Disability • Desperate Dan, (1995), these years later. Culture: The Story So Far’, [a documentary in Over the chapter in the book] Edge slot, first episode of a If the BBC ever puts up - Disabling Barriers, Enabling six-part series, BBC statues, then I say that one Environments, John Swain et Disability Programmes Unit, al., pp. 106-110. should be of Sian Vasey, Executive Producer: David saying – She Led the Way in Hevey; TX: BBC2 28 June Radical Disability Television. 1995. And I’d place her at the BBC’s main gates.

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Why it’s not ok to call a female director ‘fluffy’:

48 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

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the screen that can have so Whilst acknowledging that female discrimination in the hegemonic norms of society, much impact on what we there does appear to be an TV industry, even before which are ingrained in daily see on the screen. For awareness and appetite for action can be taken to lives over a prolonged period example, a report by change in combating the overcome it. A useful of time. These patterns of Common Sense, in 2017, negative female stereotypes definition of what constitutes thinking are reflected in the demonstrates the power of in the television industry, this a stereotype is provided by meaning that people attach television in shaping how paper seeks to explore what Ashmore and Del Boca to various aspects of life, children learn about gender, we know about the female (1981), who suggest that and they are played out in influencing how boys and discrimination that is being stereotypes are “a set of the institutions of a society, girls look, think, and behave. experienced by those who beliefs about the personal such as workplaces. Common Sense (2017) work behind the television attributes of a group of According to Hofstede’s identified that the depictions screen. It then attempts to people” and, accordingly, cultural characteristics of gender roles in the media move beyond the problem female stereotypes are a set (2003), gender stereotypes affect children at all stages by discussing strategies that of beliefs about the are closely aligned with the of their development. are taking place to make attributes of women. This set culture of the country. The Through their analysis, change happen, and of beliefs has led to UK has been identified as media messages were seen considers what else could normalised views on the being a relatively highly to influence children in be done. In order to explore roles that should be masculine culture, scoring relation to a variety of this, we must first look at performed by women 66% on Hofstede’s aspects, including their own understanding what the (Haines, Deaux & Lofaro, masculinity dimension; feeling of self-worth and how female stereotype is, and 2016), for example, they see valuing attributes such as they value others, and to why it is problematic. that child care assertiveness and the drive what they think about career responsibilities are the for success. These cultural aspirations. If those behind responsibility of females, attributes can be deemed to the screen are influencing The Female and often lead to harmful or translate into the gender television content, and if the Stereotype: narrow perceptions of stereotypes that are gender stereotypes being woman. In the workplace, prevalent in the UK and in experienced by those Characteristics these female stereotypes are other societies, which are women are prohibiting and Harmful harmful if they limit or inhibit then transposed into women from progressing to professional careers workplaces that identify more influential roles, then Nature (Heilman 2012). The practice success and drive as male this negatively impacts on According to the United of ascribing specific characteristics. These them, and on society at Nations (2013), harmful attributes or roles that are ingrained characteristics, large. Negative female gender stereotypes and based only on an individual’s which together create a stereotypes behind the wrongful gender inclusion within a specific stereotype, make people screen in the UK television stereotyping are some of the group, is gender and society perceive the industry are holding us back root causes for stereotyping, and it is this stereotype to be normal, and — politically, economically, discrimination, and can lead practice which people are then categorised and socially. to violations of a wide array fundamentally leads to and judged accordingly. female discrimination in the Lester and Ross (2003) workplace (Cundiff & Vescio, argue that gender 2016). Harmful female stereotypes in society create These ingrained characteristics, stereotyping in the female discrimination in which together create a workplace can be both employment, as the hostile, e,g., seeing a female categorisation, inference and stereotype, make people and as irrational, or benign, e.g., judgment placed on females seeing females as caring. leads to an inability to see society perceive the stereotype Unfortunately, gender the individual beyond the as normal, and people are then stereotypes and the stereotype. discrimination that results, When looking at what are compounded by other categorised and judged constitutes the female stereotypes, for example, stereotype, research uses accordingly. those relating to religion or adjectives such as ‘weaker’, disability, which have a ‘timid’ and ‘passive’. Bernd disproportionately negative of human rights. By and Thomas (1991) state impact on women (United reflecting on female that the female stereotype is Nations, 2020). stereotypes, looking at how less assertive and less active they are formed and why These beliefs, and therefore than the male stereotype, yet they continue to prevail, this the stereotypical portrayals females are also more provides a starting point of women, are linked to the communal, understanding from which to understand cultural, social, and and caring when compared

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to men; so, the stereotyping potentially contributes to the This makes it harder for through all forms of female different treatments of males and females. The stereotypical females to reach the same discrimination is that women attributes defining masculine and feminine qualities can be professional levels as males, are treated as a body, an argued to be why more males are to be found in the more thus reinforcing the gender entity that is valued senior positions, if compared to females, as males are gap between males and predominantly for its use by associated with the managerial qualities of being assertive in females, and enhancing the others. their careers and thus are considered more prone to success. glass ceiling effect. The The focus on, and the The perception of females as the weaker and more Bournemouth University reinforcement of, these subservient sex reinforces the misconception that they are research identified that negative female stereotypes incapable of accessing more dominant roles in both society people are unconsciously has far reaching implications and the workplace. Females in senior roles face being further prioritising males over for those women who are undermined, as they are perceived to be ‘tokens’ (Kanter females, based on working behind the screen in 1997), rather than as having justifiably achieved the same stereotypes and their gender, the UK television industry, roles as their male counterparts. With fewer woman in more with the ingrained and for the influence of their senior roles, and those that are there often being viewed with perceptions of females work. mirth, then this symbolises the continued presence and creating explicit reinforcement of female discrimination. discrimination. In Sheryl Sandberg’s book, Lean In: Women, Work, and In addition, as well as not being perceived as being equally “People who work in the the Will to Lead, (2013), capable in the more powerful roles, the sexualised view of industry unconsciously females are identified as women has severe negative consequences. If woman are first have a set of beliefs or having lower self- and foremost seen as sexual beings then, in the workplace, ideas about women that confidence, and this is due women are being perceived as sex objects, even when they influence the way that they to female discrimination, and are successful in their careers (Thio &Taylor, 2012; Gill & treat them.” lower self-esteem creates Baker, 2019). What was also experienced further internal barriers, by those women who were which hold them back even Negative Female Stereotypes interviewed as part of the further from being Bournemouth University considered equal to their Behind the Television Screen: research, was that women male counterparts. The Type and Impact were seen as sexual beings, Bournemouth University 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 date that specifically explores the gender bias that exists persons, who just happen to that females who work behind the screen in the UK television industry. be female. behind the screen in the UK TV industry are emotionally Research conducted by Bournemouth University, in 2020, “I had a boss... he said, I into the experiences of women who work in production and had this dream about you impacted upon by female directing roles within UK television aimed to provide richer last night and you did this discrimination in a way insights into those females behind the screen. By interviewing and you did that, and all which lowers self-esteem and provokes negative a number of females in production, directing and writing this other stuff.” roles, more is understood about the gender stereotyping feelings about themselves which occurs and the impact this can have. The research has And the more subtle and their value as provided a rich understanding of the type of gender bias comments about professionals: appearance and the way a which occurs behind the TV screen due to negative female “I didn’t feel competent female looks: stereotypes, highlighting the explicit behaviour and feelings enough, even though I had that occur due to an unconscious bias. The women we spoke “Constant comments about that 30 years experience. I to experienced a lack of humanity and respect within the your appearance… I think still didn’t have the workplace. appearance is the first thing confidence.” people commented on. So “males have made comments about female directors, being that was the forefront of It is not only negative woolly-headed, or fluffy, or, scatty.” their mind… you wouldn’t emotional feelings that result “one of my nicknames was pedantic Pippa. I don’t think immediately comment on a from the continuous they’d have a pedantic Paul. discrimination caused by ” guy’s appearance.” female stereotypes, but there The women from the sample also identified that no matter This objectification are some very real financial what the quality of a female’s work was, women were demonstrates the and career implications. automatically remembered with negative stereotypical reinforcement of the Margolis et al. (2015) argue impressions. sexualised female negative that the most covert female “If a woman is making a lot of demands they are seen as stereotype, concurring with discrimination occurs when a being difficult, but for a man it’s not frowned upon.” Fredrickson and Roberts woman does not get a job, a (1997), who argued that a decision that is based purely universal theme running on her gender.

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This is also supported by the Bournemouth University girls becoming focused on reinforced by what is seen research: their appearance; more on TV. tolerant views of sexual “Males who aren’t as experienced, or who haven’t been It is clear that the harassment; and career there as long as women, have been given opportunities reinforcement of negative choices that are limited by over other females.” female stereotypes is a key gender norms. One of the problem for those working Females who work in what can be perceived to be ‘non- most consistent themes of within, and wanting to traditional’ jobs, such as those in the TV industry, are Western media is that progress in, the UK TV consistently looking for ways to overcome stereotypes that women are valued primarily industry, and for society as a define what females can and cannot do. According to for their bodies, and that whole. By furthering this Margolis et al. (2015), the glass ceiling for females exists, and they primarily exist as sexual understanding, we are it is extremely restrictive on the progression of women. objects for others’ sexual moving towards the Research by Ross and Padovani (2017), supported by a use (American Psychological strategies that might be comprehensive review of the American media industry by Association, 2007). It’s not adopted to change this cycle McKinsey (2020), provides evidence of this, highlighting that surprising, therefore, that of negativity.. although females hold many of the media-related careers, the older adolescents who powerful executive positions remain male-dominated. Women watch TV that is saturated who enter the media industry are leaving at a higher rate than with such themes agree with Strategies to their male counterparts, with every step on the career ladder this notion that women are having fewer and fewer women on it. This is neatly sexual objects. This can be Change the summarised in the McKinsey Report (2020), which states: seen in a study by Peter and Cycle of Valkenburg (2007), and their “A woman graduating with a degree in mass Negative communications or journalism will walk across a stage work with Dutch teens, where six out of every ten students are women. If she’s which identified that teens Female hired into the industry, her entry-level class will consist of who watched sexually five women in every ten hires. Further up the corporate explicit media endorsed Stereotyping views that women were ladder, at the transition from senior manager to vice There are many obstacles for sexual objects. Further president, one woman from this group, on average, will women who work behind the research looking at drop out of the pipeline. This gets even worse towards the screen in the UK television adolescent girls’ and top, with fewer than three of every ten executives being a industry, but the two biggest young-adult women’s woman.” challenges appear to be the exposure to sitcoms and culture of stereotypically The key reason that has been identified for this is the culture soap operas (Ex et al., 2002) biased behaviour and the of negative stereotypes, of biased behaviour that reinforced the traditional lack of female representation detrimentally affects women’s day-to-day experiences in the view of women as mothers, in senior positions. These workplace. The McKinsey Report also highlighted that 27% and the belief that a mother challenges negatively affect of the women surveyed say that gender has played a role in should devote herself to her women’s day-to-day their missing out on a rise in pay, a promotion, or a chance to family and her children. From experiences in the get ahead, as opposed to only 7% of men. What’s more, this insight, girls may workplace, leading to 35% of women identified that they expect their gender to therefore learn from detrimental personal and make it harder to get a pay rise or promotion in the future. television that women’s most career experiences, as well important job is as a mother, When we consider that what appears on television is greatly as worrying repercussions and to be a mother requires influenced by those from behind the screen, the impact of for society. Moving beyond an unrivalled focus on the negative female stereotypes within the TV industry can be felt the recognition of the family, rather than on a well beyond the workplace. If women are feeling problems that are associated career. discriminated against, and are either not able to have their with negative gender voice heard, or are choosing to leave the industry, then it will It appears that we are in a stereotyping leads to the be men who are in those senior positions which shape the circle of on-going need for meaningful content we see. Ofcom (2020) identified that people want discrimination. As we have progress in addressing these programmes that authentically portray life across the UK, but seen, cultural and societal harmful stereotypes and we cannot expect TV broadcasters to represent women norms lead to stereotypes negative practices. This authentically if women are not truly represented as and negative stereotypical requires commitment and employees in the TV industry. This leads to a further practices, which, in turn, action by legal bodies, the perpetuation of the female stereotype, instead of helping to lead to female discrimination TV regulator Ofcom, push boundaries by creating aspirational, non-stereotypical behind the screen in the TV campaigning organisations, characters, television too often falls back on tired gender industry, and, ultimately, this further and higher education, stereotypes. leads to dominant and the media and the TV negative norms being organisations themselves. Comprehensive research by Common Sense shows that portrayed on the screen, and Each needs to give this issue children who are exposed to gender stereotypes have their then the circle continues, as the serious attention it behaviour and attitudes shaped for years. The effects on the society’s beliefs are deserves. Until the time is children of these biased gendered portrayals include: reached when gender bias 52 ISSUE 02 SUMMER 2021

and inequality are eliminated ensure greater gender parity, measures that are intended and evolving insights which in the television industry, as they can help to draw up to drive diversity and explore the negative female there will still be the need for and implement visible inclusivity. ITV have also set stereotypes that occur campaign groups to diversity principles within a requirement for any behind the scenes in the advocate and fight for decision making, for returning series with more television industry, it is clear change. Campaigning example, by advocating than one writer to have that gender discrimination is groups, such as Directors gender targets in female representation. This still very much an issue that UK, who, in their 2014 recruitment. By making is in addition to initiatives to impacts upon the industry, report, identified both the gender diversity and support creative diversity, and on society as a whole. chronic lack of women inclusivity top level such as Comedy 50:50, The culture of gender biased directing UK programming commitments, change can which aims to increase the behaviour, and the lack of and the narrow range of happen. The BBC’s 50:50 numbers of female writing women behind the screen subgenres in which they Project provides a good talents across its comedy who are in senior positions, were getting the opportunity example of this. The BBC genre output. are receiving greater to direct, have been actively set a target of having at least attention and action, but it is Attitudes derived from campaigning to improve the 50% of contributions coming argued that much more still negative stereotypes may be gender balance across the from women. In April, 2018, needs to be done. Until it is, deeply held, so one-off industry. There are tangible only 36% of the teams we will continue to see initiatives will not be enough ways that UK TV companies associated with the 50:50 women creating their own to change behaviours can help to both tackle Project reported having at strategies in order to cope. around female stereotypes. discrimination and to level least 50% female There are those who work True change will require a the field for women’s contributors. By March, longer hours than their male structured and committed careers. If companies are 2021, the number of teams counterparts, or who create programme of diversity truly committed to diversity with 50% female work personas in order to training, communication, and gender parity, the issue contributors had increased avoid the stereotypes, so leadership modelling and needs to be a top priority for to 70% (BBC 2021). The females are doing what they support. Enveloping this in a senior leadership. Ofcom BBC also challenged the can to navigate female constant space for dialogue, recognises that for television teams involved in the 50:50 discrimination. Without allowing unacceptable broadcasting to truly project to maintain equal change leading to an end to behaviour to be called out resonate and provide representation over a longer female gender discrimination and dealt with, as well as genuine positive reflections period of time, in an attempt in the UK television industry, generating new ideas and of society, the programmes to really cause cultural the industry will continue to initiatives, are what may lead that are commissioned for change. For the six months fail its female workforce and to the cultural change broadcasting are crucial. As from October, 2020, to society. required. Ofcom recognises it is the commissioning team March, 2021, teams were this, and is encouraging the that plays a key role in asked to feature 50% Melanie Gray is Head of television broadcasters to deciding which programmes women contributors for at Communication and have systematic and explicit are made, the content that is least three months, and not Journalism at Bournemouth programmes and practices included, who makes it, and to drop below 45% women University. The author in place to tackle this gender who appears in it, then that contributors. 40% of the thanks students at bias. team, and the teams succeeded, an Bournemouth University for commissioning process, increase from 18% in March, By reflecting on current their input, in particular, need to genuinely include 2019. The 50:50 project research and looking at new Kristyana Papa-Adams. women and must avoid the began in London in 2017, negative stereotyping of but has now expanded to gender. Ofcom are therefore involve 670 BBC teams and Representology takeaways pushing for this to happen, more than 100 partner Challenging gender discrimination in television for the channel controllers, organisations in 26 commissioning editors and countries. All are committed plays an important role in encouraging wider their teams, to be more to continuing to improve societal change representative and inclusive women’s representation. • Senior leadership matters, and addressing of women. UK TV women’s significant under-representation at Likewise, ITV has adopted a broadcasters need to range of initiatives to commissioning editor and channel controller level commit to making cultural improve its inclusion and is of paramount importance change, to actively look at representation of women. • Regulatory and legal bodies should working with ways to increase the number For example, the new educational and campaigning institutions to tackle of women in powerful roles, diversity criteria in their as well as to address the workplace gender stereotyping commissioning strategy, underlying cultural bias. • Initiatives aimed at bringing more women into the which requires two on- Bringing more women into screen and off-screen industry behind the scenes need to be amplified senior positions can help to and praised.

53 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY PROTEST, RESEARCH and CAMPAIGN: Equal Opportunities Network 1985

Director and producer Debbie Christie considers the success of campaigns against racism and sexism at the BBC in the mid-1980s

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In 1985, I was working Did we achieve in a BBC building with over 1000 staff, and anything and 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 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 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 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 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 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 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 ‘Women and Power’ and the What started as a thought NUJ was actively became, for a few months, a campaigning for Equal shout, a protest and a Opportunities Officers in the campaign. workplace. We were fortunate with our noisy campaign, because it 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 management” and “the difficulties presented because the crew in the studio were pushed harder and looked child-bearing years from 25-35 coincide with those years routinely using the words for more evidence. We considered crucial in career terms”. ‘Darkies’ and ‘Winston missed the most significant Kdogos’. When challenged, abuse of young women in Sims wrote: “Real power, even in production departments they explained that they the building. We all used the where there are a number of women producers, was in the needed to ask if there were BBC canteen. It was a joke hands of men”. any ‘darkies’ in advance of a amongst some of us that When things got a little tough for our campaign, it was lighting set up, because if the Stuart Hall, the BBC North extraordinarily helpful that we not only had the statistics, but musicians were dark skinned West News presenter, who that this quietly spoken successful woman had explicitly it altered their lighting rig. We famously wore a pink shirt identified the problems. understood that, but we unbuttoned to show his asked them to modify their medallion, stood a little too Our campaign took anonymised testimony from a wide range language. They did. close to us in the queue, and of women. Now, post #MeToo, they read quite shockingly, sometimes rubbed into us ‘in but, at the time, we thought they were small things that made a jokey way’. We didn’t even life uncomfortable. Did our put that in our report. Now, Here are some of them from our document, which was sent to findings shock of course, we know that he the management on 12th July 1985: also invited school girls who • 2 women at job interviews had been asked whether they people at the were interested in working in planned to get married. time? television into his office, and • A woman had been asked by her male Colleague not to he indecently assaulted wear trousers at work because they were unfeminine Yes, they did. them. In January, 2013, he pleaded guilty to historic (these were smart trousers, not scruffy jeans). Some of our ambitions were charges of indecent assault • Women felt they were often ‘rewarded’ by being given a combative and probably involving a 16 year old, a 17 peck on the cheek or by being bought a drink. They ill-judged. We asked to turn year old, and a 9 year old in would have preferred to have been told more directly, as the subsidised bar, where 1983, and a 13 year old in their male colleagues had been, that they had done a people gathered to drink at 1984 .We didn’t suspect at good job. lunchtime and after work, the time that he was doing into a subsidised crèche. • A woman’s contract was terminated when she said she that. And we didn’t look for That certainly met with the was pregnant. it. wrath and ridicule of many of • We found that there were no women in production who the staff. We did meet some hostility. were combining TV production with bringing up children. • In TV production, there were only 2 women above the We demanded 5 years Many of the women in the grade of assistant producer. (unpaid) maternity leave, with building sent us information, the job being held open. but they didn’t want to be My own experiences echoed this patronising attitude to seen coming to the But we also asked, more women. During my initial job interview, the HR representative meetings, because they felt it realistically, for flexibility for asked whether I had a fiancé in Manchester, and whether I would damage their chances part time work and job would be lonely, as a girl moving to a new city? I had by that of employment and sharing, and for race time been to university, worked in Kenya, and had also promotion. awareness courses for all worked in a refugee camp in the Middle East. managers and editors. I was a researcher. I had no Our report highlighted that this bias was not only verbal, but responsibilities. I was on a Those should have been also that people declared it in print. We quoted from an article short-term contract. I was easy to achieve, but when I in the BBC’s in-house magazine, Peter Hill, the editor of ‘fired up’ and, with the zeal returned to the BBC 10 years Rough Justice, talks about the production team: “It’s an of youth, I just knew we were later, as an Executive all-male team. I’m not sexist, but situations can develop which right. I also had a decent Producer, they were still not a woman couldn’t handle. Even if I was prepared to expose boss, who I knew wouldn’t happening. one to the kind of risks we take, which I am not”. succumb to any pressure Our eagerness for change around the renewal of my did achieve something contract. He knew which I fear that a largely freelance important. Many women took direction society was strength from realising that travelling in, and he was short term industry, and a this wasn’t just their own, sympathetic. individual problem. It showed society that hasn’t improved One small story. One of my that discrimination was not sympathetic bosses just happening occasionally, statistically for young Black employed a secretary who but that it was a widescale, was Black British. I think he British people, will prove to be persistent and embedded managed to do this by problem. tough challenges. circumventing the BBC pool

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and going to a secretarial significant that there were and influential people as If you seek out different agency. She was not only already women in lower paid possible to go on record with voices, there is a richness of excellent at her job, but she jobs in BBC buildings in the their commitment; to collect content and creative energy brought a perspective. She ‘80s who knew they were ‘off the record’ testimony so which not only enhances the mentioned, in passing, that capable of doing the better as to look at the patterns offering to the audience, but her boyfriend, who had lived paid jobs. That wasn’t the that emerge; to shout and that also offers one route in Manchester all of his life, case for Black Asian and complain whenever you feel along which to broaden the was being deported. We Minority Ethnic people, who safe to do so. range of people who work in were shocked. These stories weren’t even in the building. TV. However, I don’t think we will were rarely reported. We did This societal lack of see significant shifts in an item on it. We asked confidence remains, I think, employment without clear, questions of the Home Debbie Christie is an Emmy an issue for all recruitment of targeted recruitment and Office. He got a reprieve. and RTS award winning diverse staff. It is now training, accompanied by 2 Television Director and We were challenging a particularly true for people year contracts for these new Producer culture, and perhaps that from low-income families. recruits. This should be a challenge was easier They don’t see themselves priority. because, in 1985, sexism being employed in TV. The TV industry needs to and racism were more overt. welcome not just the people, I think some of what helped What did I but the perspectives and me to navigate a culture that ideas that they bring. wasn’t welcoming to women learn? For Commissioners, I would was that I had grown up in a I wish we had pushed harder. suggest that the focus now family, and at a girl’s I wish we had done more. I needs to be on shifting the grammar school where it was am embarrassed that we lens. I have recently Exec’d a unthinkable that a woman didn’t seek out non-white series of monologues for wouldn’t be as clever as a voices outside the TV BBC 4 that is called ‘Crip man. I am very aware that industry, who could have Tales’, and that is written, people who have been informed our campaign. directed and performed brought up in disabled, entirely by disabled people. non-white, or low-income I have since been involved in As well as achieving critical households, have often not many campaigns and success, every one of our lived in a society that has initiatives as an executive, writers, who had previously given them those confident but I am still not sure what never written for TV, have messages. will create change in the TV industry. I fear that a largely been offered more work. We I was discussing our 1985 freelance short-term industry, have hopefully started them campaign with a friend who and a society that hasn’t on a career in TV. was involved at the time. She improved statistically for said that, in hindsight, she young Black British people, felt much more intimidated in will prove to be tough the BBC building by her challenges. working-class background and Mancunian accent than I have continued to by her gender. We weren’t sporadically campaign and Representology takeaways even asking questions then to seek to influence and The struggle for diversity in broadcasting has a about socio-economic improve recruitment as an long, rich history inclusion. Although, executive in TV. I am proud • Significant changes have been made over the past interestingly, her experience that evidence to a House of four decades - women in key positions helped was that she came in as a Commons Select Committee improve gender diversity and have other women’s secretary and has since identified my success in progressed to work as an recruiting a predominantly concerns listened to executive in a major Black Asian and Minority • Anonymous testimony can be a powerful tool in multinational media Ethnic production team, but highlighting problems, showing victims of company, she was at least in our industry has problems discrimination that they are not alone. the building back in 1985. that well-meaning executives cannot solve on their own • Pushes to increase gender representation have Within a few years of our each time they are recruiting often failed to recognise the intersectionality of report, the statistics on for a new series. race and class. Women in Television were shifting fast. They reflected My suggestions would be to huge societal changes for get the statistics, to 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 Guardian on staff, there many ways but primarily moment that crystallised because I was only twenty- some of these issues. It was were only a handful of five, which is quite young to just before the publication of Black journalists there. be calling correspondents the Macpherson Report in After about six months and saying ‘How’s that intro 1999, the result of the inquiry of shift work, I was coming on?’ So given my into institutional racism inexperience, it demanded a following the murder of the offered a staff job on the certain amount of humility. Black teenager Stephen Foreign Desk as the There were a handful of Lawrence, by which time I’d assistant foreign editor. colleagues who resisted been at the Guardian for a Staff vacancies there taking instruction from me few years. An Asian and I had to work really hard colleague, Vivek Chaudhary, are rare and coveted, so to earn their respect. had been racially abused in turnover is quite low. By the bar that was seen as the Race was an important ‘Guardian pub’. If we won an that time, I’d had some factor. Why wouldn’t it be? award, our management experience covering the There’s a lot of racism in would put a couple of grand British society and it would South African elections behind the bar and everyone be strange if the Guardian in 1994 having been would head down the pub. was immune. Generally The publican had spoken to introduced to the speaking, it was very a white friend of Vivek’s Guardian initially convivial: people were very about ‘Pakis’ moving in and pleasant and I was allowed through a bursary Vivek had gone up and to do quite a lot of stuff. But scheme aimed at racial challenged him and the there was a moment where, landlord had basically minorities and those in 1995, I edited a series on repeated it. Vivek saw in this who are otherwise ‘Black Britain’, which didn’t all the things that the paper endear me to some of my underrepresented in was writing about in terms of other Black colleagues who journalism and would Macpherson: canteen felt, not unreasonably, that culture, racist language and benefit from assistance. they had been overlooked. stereotyped assumptions. Nobody had me down The Guardian is actually for that job, and when it quite a culturally Vivek raised this at a union was announced there conservative institution meeting. I was travelling for – people are there for a long work at the time but from all were a few gasps in the time, and if someone comes accounts, his contribution office. in, then you’re expected to was met with a considerable wait your turn. But when I amount of scepticism and a was doing that series, I had degree of vilification. He some conversations with called for the chapel [the white colleagues and was NUJ branch] to boycott the shocked by what they had to pub. The motion was passed say about their Black but not without resistance colleagues. Many assumed and people saying, ‘Well, that they were all affirmative how do we know that what action hires and that none of you’re saying is true? The them were any good, which publican has a disabled was not true. They had daughter and we’re middle- effectively discounted them class journalists so why are being there for any other we beating up on him? We reason than that they were should set up a commission Black. I was actually of inquiry to find whether this shocked that they thought it is true or not.’ It felt as if and I was even more Vivek, and not racism, was shocked that they said it to in the dock. me.

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The motion was narrowly the biggest I’d ever been to, Just because you’re passed, but when I got back where the chapel voted to paranoid, doesn’t mean from my trip abroad, Seumas reaffirm its commitment to they’re not out to get you. Milne turned to me and said: the boycott which led to the There really was the danger ‘Look, we need you to resignation of all the chapel’s that someone would intervene here.’ I officers. I actually proposed pigeonhole you, and it took a appreciated his intervention the motion, which was while to navigate the and was keen to show seconded by Katharine situation. Of course, I always solidarity but initially bristled Viner, that we reaffirm the thought that race is at the notion that I had to boycott. Overall it was a important and interesting clear up a racist mess that I particularly noxious episode. and I wanted to write about had nothing to do with. My it: I wanted to write about Once I started in the initial response was: ‘This the American Black Skiers’ newsroom after my stint on isn’t my responsibility. I’ll Association going to a the Foreign Desk, I was boycott the pub, but why is fascist part of Austria, or advised (sometimes by the it down to me?’ But I did get about rap classes, or same people) either to write involved and it was whatever. But I also wanted a particular story because it incredibly exhausting and to write about Ireland and was about Black people and distressing. We had this fight about strikes and about a I had special knowledge, or on our hands and it was very range of things. So, there to stop writing about Black weird and ugly. Various was always this assumption people because otherwise colleagues would take me of a kind of expertise that people would think that was aside and talk in very was drawn through melanin, all you could do. The latter opaque terms about their for which there was no office suggestion, I think, often own views: ‘I don’t want to came from a genuinely get into my private life, but supportive and even you should know that I nurturing place. But it was couldn’t possibly be racist’, wrong-headed all the same. Race was an important factor. and then it would turn out ‘You will become pigeon- they had a Black wife or they holed’ I was told – always in Why wouldn’t it be? There’s a lot had Black kids by someone a passive voice, not realising who left them. It was as if it of racism in British society and that they were telling me not was my personal to write about something I it would be strange if the responsibility to fix this thing. knew a lot about, cared a lot And it was very rancorous, about and could write well Guardian was immune. because lots of people were about. not observing the boycott. This was a constant source Anyway, the Black journalists of tension. The first column I and no resources. It’s not ended up putting a note up ever wrote, which was about like it was established as a on the wall – a letter to our the Bosnian war, was specialism, but nevertheless colleagues within the returned to me with the you were expected to building – saying that ‘our question: ‘Can you add an understanding of the Union produce endless copy about ethnic sensibility to this?’ It is that you stand up for it when required, and to was made clear by the then each other and it’s keep it to yourself at other comment editor that my role disheartening to see people times. We never had a race was to write about ‘Black not showing solidarity. We correspondent as a stuff ’. So, it was a struggle just want you to know how specialist, which I lobbied for for a few years to make it really disappointed we are constantly, but there was clear that while I did want to in you and we will not be always at least one Black write about race, I also person in the office they going to that pub.’ The idea wanted to write about other would constantly go to for was that if you want to go to things. stories about race. They just a segregated pub, you go to never enjoyed the status or a segregated pub, but we the salary of a specialist won’t be there. This ended correspondent. 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 featured these spurious arguments about how Black people journalist there who didn’t have an Irish future, how Asian people have a Jewish future, have to navigate tricky and stupid bullshit like that. I was asked ‘maybe you know situations. But you also had some people that we can interview.’ And I remember to put it in context. Would thinking that I’m not actually paid to know Black people, or at you really be better off least I shouldn’t be. That happened a couple of times: ‘we’re somewhere else that didn’t doing a series on men of a certain age, but it turns out even publicly aspire to equal they’re all white, so do you know any Black ones we could opportunities and continually interview?’ That kind of thing. wrote reprehensible things about Black people? You In general, however, there wasn’t an awful lot of casual can resign from a job, but racism at the Guardian that was aimed at me. But there was you can’t resign from racism. one time when somebody used the phrase ‘nigger in a It’s out there. As I’ve already woodpile’ in our daily ten o’clock conference, and nobody said, the Guardian isn’t said anything. So, I wrote to a senior member of staff pointing immune. Where would you out that ‘we write leaders saying that if somebody uses go? The Telegraph or The language like that they should be fired.’ Now, I wasn’t Times? The Guardian had its suggesting for a second that the person who said that should problems, but compared to 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 retrospect, that it was offensive, then you should talk to mainstream newspaper was going to publish work by him. It shouldn’t come from me but from you.’ I was quite Black, left-wing writers? explicit about it: this stops here if I’m the only person Ultimately, I had a successful offended; otherwise, it has to come from their superior. career there for 27 or so Two minutes later, I get a call from this person who made the years, so whatever problems comment. ‘Oh, I’m such a cunt – I’m so sorry.’ And it then I did experience there were became my issue and my problem, because ‘Gary has navigable. But not everyone complained’. For me, that was a completely reprehensible was so fortunate: some piece of management. So, while the Guardian is almost people found it really hard certainly more honest than most mainstream British and at some moments it got newspapers, in terms of what is necessary, it’s nowhere near quite unpleasant. On honest enough. occasion it could be really draining. The Guardian is an expression of a particular patrician form of British liberalism, and, as such, the racism one experienced Any criticism had to be there was mostly benign. It only occasionally came overtly to coupled with a genuine 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. were the moments when you felt like a mask slipped and you That was an aspiration that were really being tolerated to a certain point. That didn’t was embraced from the top, happen often, but then it didn’t really have to. Whenever it did but was shaped, in no small take place, it was both shocking and unsurprising. part, by pressure from below. Joseph Harker was absolutely central to this work. Joseph thought that the Macpherson Report provided an opportunity, a moment, in which to address underlying problems of 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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We talked about making sure So, for the longest time, the that all posts should be discussion was mostly about advertised, because up to hiring and then things like that point, an awful lot of internships, where recruitment was run in a very traditionally people would cliquey way – ‘I met this give their niece, or their guy’ (and it was usually a godchild, or their friend’s guy), ‘I was on this trip’, or friend, some type of work ‘so and so is a good guy experience. The Black and gets a pint in’. These journalists got a work practices continue to experience scheme together mitigate against Black and that saw some quite Asian journalists, against impressive people, like Reni women, particularly those Eddo-Lodge and Bim with kids, or Muslims – there Adewunmi, come through it, were all sorts of things that and others who are doing were very wrong. So, it was very well. And then there important to establish some was also the bursary scheme transparency in hiring that I set up, which practices, and to look at continues to be a conduit for what we were publishing and a lot of talent, including to ask ourselves why, if Randeep Ramesh, who is a we’re organising panels, chief leader writer, Tania there are no Black people on Branigan, who is on the them. So, some of it was leader writing team, Charlie about how there needed to Brinkhurst-Cuff, who was be broader editorial head of editorial at gal-dem, responsibility and some of it and Hannah Azieb Pool, was around newsroom artistic director and CEO of culture. You could complain the Bernie Grant Centre. about the shortcomings of this approach, and of particular meetings, but at least they happened, and they probably wouldn’t have happened in most other newsrooms. Katharine Viner built on that and, in terms of recruitment, Gary Younge is a journalist, ramped it up. Sure enough, author, broadcaster and as the years went on, the Professor of Sociology at number of Black journalists the University of grew and became better Manchester. This is an organised. I found the extract from Capitalism’s younger generation more Conscience: 200 Years of politically sophisticated, The Guardian, edited by conscious and militant than Des Freedman, on Pluto my own, which was great to Press. 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 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 project, it can be all-consuming and may demand There is no system of using a for over thirty years and, in irregular hours. Trying to maintain a good work/life crèche or day care in order to that time, we have learned to balance in this competitive, freelance profession is help an actor, who is also a create the work we seek to difficult. parent, carry out their work. accomplish. This is especially The hours are too irregular true for Lolita, as a writer. 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, more than a month away, ourselves for this erratic nine-to-five to a few days of which could lead to a greater because work might industry. We both felt we twelve hour calls, and then sense of security for future materialise. On the odd were part of a new wave of into a period where you’ll work but, sometimes, we occasion, we have not even classically-trained actors who start work at 6.30 p.m. and have had to put the stability been able to properly plan needed to change the finish at 11 p.m. By the time of our children ahead of our celebrations for Christmas or industry from within. The role our second child was born personal ambitions. I have birthdays, which is especially models we saw in our we tried, as much as often taken something closer disappointing, particularly profession were unsung possible, to juggle our to home where I could see when our kids were small. heroes whose contributions opportunities for work the family more regularly. I were completely overlooked, In order to paint an accurate between us. We have both know Lolita has done the or who were mentioned as a picture, I had better describe turned away from work that same. Our principles as side note. what the balance means to we wanted to do because we parents have no doubt cost us, though it’s going to be We left drama school and, knew that the other’s us money, but at least they different for everyone. luckily, began to get theatre opportunity was more have left us with peace of work up and down the important. mind, so far . . . country. Before we had In the past, like many actors, children, it was relatively easy we found that some of the for us to see each other work we had been offered wherever we were working. looked at the world with an We would travel regularly, ignorant eye, and was best visiting each other as much avoided, while, at other Adrian Lester CBE is an as we could, and would see times, we jumped through award-winning actor, director each other’s shows. We hoops to chase the smallest and writer. Adrian Lester and performed Shakespeare all chance of being involved in a Lolita Chakrabarti: A Working over the world, and we project, only to have the Diary is available on Methuen worked with some great opportunity disappear. Drama. international artists. While Lolita was pregnant with our first child, she was on a two-month tour in the U.S. A few months later, our first child was born while I was in the middle of a year-long world tour. Once the jobs were over, we made an agreement not to tour anymore! We needed to put down some roots and rules for our new family. We were aware that we were going to have to create a sense of stability from a profession where there is none.

66 ISSUE 02 SUMMER 2021 RAISING FILMS Dr So Mayer When, in 2015, Raising Films was formed as a community and as a campaign for parents and carers in the UK screen industries, we had a clear aim: to make parents and carers visible and audible throughout the industry. In 2020-21, we have seen just how high the stakes are for incorporating caregiving and work – yet we have also seen how far there is to go before employers, contractors and the government understand and respect caregiving.

As we reported in our wholly or partly self- At their best, freelancing and COVID-19 study ‘Back from employed, with many failing being self-employed provide the Brink’, across the board to qualify for SEISS, the freedom and agency that in the UK, severely disabled frequently due to maternity are compelling to parents people (37%) and parents leave, which is why Raising and carers, particularly where and carers (39%) were most Films’ current survey takes a creative work is concerned. at risk of redundancy during close and urgent look at In order that freedom and the 2020 COVID-19 ‘How We Work Now’. agency be available to all, restrictions (Citizens Advice substantive support As Adrian Lester’s piece Bureau), while mothers were mechanisms such as an HR reflects and details so 47% more likely than fathers hub are needed (Creative carefully, when we think and to have lost their jobs, or to Industries PEC). What we’ve research about working have resigned from their jobs, learned from our community parents and carers in the and they were 14% more is that the best practices are screen and cultural sectors, likely to have been already happening, across so we are looking at what it furloughed (Mayor of many families and means to be freelance, often London’s Office). This has workplaces: we just need to facing unlawful employment exacerbated existing amplify them, which is why legislation and practices, as inequalities at the we have centred interviews reported by Dr. Tamsyn Dent intersections of gender, class, and testimonials since Day in our 2017 study, ‘Raising ethnicity and disability. One, even though 79% of Our Game’. These are parents and carers told us Yet the majority of research exacerbated by legislative that their caregiving into the impact of COVID-19 issues, such as the responsibilities had a on work focuses on people in extraordinary cost of negative impact on their work permanent employment, childcare in the UK compared in the screen industries. As rather than those who are in to the cost in most other Lester’s and Chakrabarti’s precarious labour. Raising European countries; the lack story exemplifies, even Films’ 2016 survey, ‘Making of support for professional though parents are out there It Possible’, showed that carers, leading to the ‘Making It Possible’, it could parents and carers in the formation of the worker and certainly be made easier. screen industries are twice as migrant-led Nanny Solidarity likely as non-parents and Network, the UK’s first nanny carers to be freelancers – and union; the inability of people working across the freelancers to declare screen industries are already childcare as a tax-deductible twice as likely to freelance as expense; and a broken those in other industries. As benefits system that, among our sister organisation, other punitive issues, Parents in Performing Arts, militates against freelancers reported, 80% of taking short-term contracts. respondents to their 2020 COVID-19 survey were

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68 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 officially designated UK ago, were forthright of reverence and foreboding assertions of trans and queer Born in Russian Empire- throughout. LGBT+ History Month, rights; of our community’s controlled Poland in 1891, Elsewhere, his nuanced and June is recognised humanity and refusal to be Chawa Zloczewer (a.k.a. Eve sometimes elaborate surveilled and brutalised by worldwide as the month Adams, among variations of portraits of the supporting the state and society. Similar of lesbian, gay, bisexual, both names) was a working- cast flesh out the bones of a struggles continue today, all class, single Jewish woman story that is pieced together trans and queer (LGBTQ) over the world. Meanwhile, a who emigrated to the United from a fragmented archive. Pride. The date is commodified, corporatized States in 1912. After a few By getting to know the many and de-politicised sense of significant: June 28 years of factory work, Eve and varied people who left Pride has meant that police marks the anniversary joined up with the socialists, indelible marks on Eve – forces and immigration anarchists and bohemians of whether they crossed paths of the 1969 uprising at agencies now sport rainbow- Greenwich Village and for fleeting moments or the Stonewall Inn, and of covered logos for one month became a saleswoman of remained intertwined for each summer, even as they the first Christopher radical publications, before decades – Katz constructs continue to harass LGBTQ Street Liberation Day later running tea rooms in an affectionate, and people year-round. March that Chicago and New York. ultimately affecting, image of commemorated it the The Daring Life and Her friends and associates, a potential everyday icon. Dangerous Times of Eve including Emma Goldman The author’s skill and following year. Adams is a welcome and Ben Reitman, were at experience as a historian intervention into this scene the forefront of a “sex-love” comes to the fore in his and delivers a potent revolution that, despite scene-setting passages and reminder that queer liberation naturalising heterosexuality, in his asides, which are has always been intertwined challenged dominant ideas almost always relevant. His with other struggles: for the about monogamy, deep knowledge of LGBTQ rights of immigrants, women, procreation, and desire. history and culture is further ethnic and racial minorities, Against this backdrop, Eve’s highlighted by astute workers, all marginalised own daring counter-cultural readings between the lines peoples. In focusing attentively on an individual who has largely been overlooked in the history As Katz notes in his convincing books to date, the author Jonathan Ned Katz also and layered analysis of Adams’ underscores how all of the “groundbreaking” and aforementioned struggles have been propelled forward “troublemaking” work, Lesbian by countless unrecognised and under-appreciated Love “paved the way” towards figures, whose lives greater acceptance of gay and undoubtedly merit attention. His book marks an important lesbian lives. corrective to a common recurrence. ideas and activities had the and dissections of the scope to flourish – placing euphemisms, slurs, her firmly on the radar of US encodings and selective authorities who were out to omissions found buried in quash “deviants” and the varied set of dissidents of any stripe. correspondences, courtroom Katz weaves a complex transcripts and newspaper picture of a complex woman, clippings he cites. set against a richly textured It is, however, impossible to canvas of the multiple and disguise the obvious overlapping ‘dangerous difficulty Katz has faced in times’ in which Eve lived. amassing sources, and his While the threats that she need to draw upon unreliable encountered are clearly narrators (Eve included) is discussed, Katz manages to keenly felt. It is a challenge

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Katz manoeuvres ably by biographer’s portrait of her, carefully noting his own and more fully to life. others’ speculations and alternative possibilities, and his refusal to attribute The bigger particular qualities to picture relationships without As his title implies, however, supporting evidence. Katz has not only focused on The cumulative effect is to Eve. His book is also highlight how histories of explicitly concerned with people who were detailing and exposing the marginalised or persecuted knotted ways in which the in their own times are powerful conspire to frequently omitted, erased or maintain and tighten their distorted in the archive – and grip on society. The therefore demand judicious deportation hearing that review. Katz’s own opens the book is, for painstaking work has, over example, carefully exposed five decades, helped us to as having been prompted (re)construct and expand and justified by a confluence that archive, and this book is of dangerous forces: state another welcome addition to agencies’ crusades against it, not least because it multiple spectral threats; the includes the full text of fragile masculinity and petty Adam’s own publication, jealousies of aspirational Lesbian Love. men; and the simple greed of Given Eve’s intersecting real estate brokers. subjectivities – most keenly Later, as fascism spreads her class, religion, politics, across Europe, we find Eve and immigrant status – is it cornered by poverty and also painfully clear why her xenophobia, while being work has been so unfairly imperilled by virulent overlooked. In namechecking antisemitism. Here, Katz Adams’ celebrated near- does not hesitate to name norms that have long Siobhán McGuirk is an contemporaries Gale the “respectable” high structured US society with anthropologist at Wilhelm, Radclyffe Hall and society lesbians whose only its latest ideologue. Goldsmiths, University of Lillian Helman, Katz names are already writ large London, and is the co-editor underscores the classed, in the annals – Gertrude Thankfully, Katz elaborates of Asylum for Sale: Profit racialised and otherwise Stein, Natalie Barney – and on his initial framing in the and Protest in the Migration uneven ways in which some who would have shunned (or Epilogue, where he offers Industry (PM Press, 2020). people become icons while worse) a Jewish, working- readers a forceful and The Daring Life and others fade from view. class, unabashedly sexual compelling argument for Dangerous Times of Eve woman, like Eve. continuing to fight – in Eve’s For a project that intends to Adams by Jonathan Ned spirit – for a radically more restore prominence to a As Katz makes clear in his Katz is out now on Chicago just world. His sense of name that had previously Introduction, his researching Review Press. anger and urgency over the been relegated to footnotes, and writing of this book was alternative is palpable it is therefore jarring that compelled in part by the throughout, with a closing Eve’s work is not the presence of Donald J. Trump rallying cry that will centrepiece it could and in the White House and the reverberate among all who should have been. The far-right forces that were continue to fight for an decision to include Lesbian amassing under the long inclusive, anti-capitalist and Love in the ‘Appendix’ that shadow he cast. While there anti-racist, queer liberation. follows Katz’s biography are, of course, parallels to be feels counter-productive, at drawn between the best. While not solving this “dangerous times” of Eve politically inconsistent Adams and today, it would, editorial choice, I suggest however, be short-sighted to that readers turn to it associate the white between Chapters 8 and 9. supremacist, Doing so brings Eve, and her heteropatriarchal, capitalist

71 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY The Audacity

72 ISSUE 02 SUMMER 2021 The Audacity

Selina Nwulu

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I II What does it Matter? Hostile, a definition:

Bitter; “...you don’t worry about dirt in the windrush citizen: here until your skin is no longer needed garden because it belongs in the garden, Cold; but the moment you see dirt in the migrants sleeping rough will be deported bedroom you have to do something about Militant; it because it symbolically doesn’t belong charter flights, expulsion as a brutal secret in handcuffs there. And what you do with dirt in the Unwilling; women charged for giving birth after the trafficking, bedroom is to cleanse it, you sweep it out, after the rape you restore order, you police boundaries, Malicious; you know the hard and fast boundaries Yarl’s Wood is locking away too many hearts, around what belongs and what doesn’t. will not let them heal Inside/Outside. Cultured/Uncivilised. Warlike; landlords, doctors, teachers conscripted for border control Barbarous/Cultivated, and so on.” Argumentative; Stuart Hall discussing anthropologist Mary Douglas and her hard Brexit, soft Brexit, Brexit means Brexit ‘matter out of place’ theory.1 Standoffish; do not fall in love with the wrong passport I remember an empty seat next to me on a crowded train, Resentful; my breath a plague. I remember walking easy in a quaint French village before being interrupted by the wrinkled nose Black and Brown forced to prove their right to free health care of a passerby; tu viens d’où, alors? reminding me that foreign Unwelcoming; follows me like an old cloak lugging around my neck. the number of refugees dying to reach you I remember the breeze in Kerry’s voice telling me, I don’t like Afraid; the really dark Black people, but you’re alright, the way horror grew in my chest like ivy that day (its leaves have still not Afraid; withered). I remember Year 6, the way my teacher shuddered Afraid; at a picture of my profile. How I first understood revulsion without knowing its name, tucking my lips into themselves to how long must we make a case for migration? recount the make them smaller, if only for a little while. I remember the times it has carried this country on its neck so this nation pointing, questions of whether I could read whilst holding a could bask in the glory of its so called greatness? how loud book, being looked at too intently to be thought beautiful but should we chant our stories of beauty of struggle of grit? 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 have been warned to run from. It owns a gun, yet will not before we become a hymn sheet singing of desperation? 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 bloom of my nose, the peaks and troughs of my breath. lie on the grass in the park and spot clouds whose shapes 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 You’ve already made up your mind, haven’t you? get back?

1 http://www.mediaed.org/transcripts/Stuart-Hall-Race-the- Floating-Signifier-Transcript.pdf

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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. Yes, there are some people whose clothes will never start a riot, those who will never know the grief of having a face made synonymous with a thug (the trauma of this deserves 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 who we are, down to our most intimate core, aren’t we all just a bit lonely, a little scared? Asking questions no one truly has answers for? Consider this; many of us did not want to get up this morning, some of us couldn’t. There is that dazed place we all inhabit seconds before fully waking that has no border, needs no passport. When the temperature drops to a chill, a body becomes its own shelter, shoulders round into a cave protecting itself. Some of our worse fears will come true, others won’t. We are all still chewing on words we wish we’d said to someone, somewhere, and longing to swallow back the ones we’ve said in temper. A first love will make our bodies speak languages we didn’t know we were fluent in and we all carry the heaviness of loss. How did we forget that we’re all deeply connected on some level? Revealed only in IIII moments like when a stranger falls ill in public; the way most of us will flock to help them, to remember ourselves. What words have Every day my computer scrolls through a news feed of angry people drunk on their ability to put others back in their place. been left for us? There is a growing army of the righteous who tell us that there 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 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 top deck of a bus screaming at another with a boiled kettle way we interact with one another. The words Black and White rage. He is all fist, spit in your face, my-grand-dad-didn’t- are at their heart nonsensical, artificially packed with history 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 sure it matters who the person on the receiving end of this labels are seared onto our backs. You’ll find this no better rage is. In the video he is a chilling quiet, the kind many than in the language of terrorism, filled with a cruel rage people of colour will recognise. It is a calculated silence, the reserved for people of colour, whilst the more noble and kind where you are bargaining for your survival (and this too redemptive words, such as lone wolf and misunderstood, for needs its own word). It does not matter whether he has a job white acts of violence. How we ourselves are living in a 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 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 Racism does not look for nuance, only the audacity of our pain and apparent innate knowledge of rap and knife crime skin. I wonder if with a different lens these two could be and squalor embedded under its skin, stands with its back to lovers, could be sitting next to each other as strangers on the whiteness, which in turn, knows fresh air and the best same top deck. They’d realise they were listening to the same schools to get into. How boring this, but these terms of music and how this one track makes them each feel a reference are as scorched in our minds as a national anthem. particular kind of giddy as the bass drops, how as the bus How then, should we come to understand ourselves with the jolts a headphone would fall from each ear and they would language we’ve been given? To find meaning and truth in 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 Tate Exchange in 2018.

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Ciaran Thapar, youth worker and author of Cut Short: Youth Violence, Loss and 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

EDITOR REPRESENTOLOGY CO-FOUNDERS

K Biswas Dr David Dunkley Diane Kemp Marcus Ryder Critic, Broadcaster, Gyimah Professor of Head of External and Chair of The Senior Lecturer, Broadcast Consultancies, Race Beat School of Journalism at Sir Lenny Henry Journalism, Media Birmingham City Centre for Media and Culture, Cardiff University and Diversity, University Director of the Sir Birmingham City Lenny Henry Centre University for Media Diversity

EDITORIAL BOARD NEW BOARD DESIGN MEMBERS Lucy Brown Alison Wilde Dr Wanda Wyporska

Aaqil Ahmed Marverine Duffy Dr Paul Dwyer Barry Diamond Professor of Media, Senior Lecturer and Director of Student Senior Designer and University of Bolton Director of Enterprise, Brand Manager at 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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