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HVID MAND søges til - Et studie i mangfoldighed på film eller mangel på samme Dorte Palmund Vejleder: Mikkel Fugl Eskjær Fie Pedersen Kandidat i Kommunikation, AAU, 4. semester. Juni 2021 Stine Nørgaard Brauer 482.972 tegn = 201 ns Titelblad Kandidat i Kommunikation Forår 2021 Vejleder: Mikkel Fugl Eskjær Gruppenr.: 9 Semester: 4. semester Retning: Kommunikation Fulde for –og efternavn for alle gruppens medlemmer samt studienummer Dorte Palmund 20165768 Fie Pedersen 20165575 Stine Nørgaard Brauer 20191483 Anslag og sidetal: 482.972 tegn = 201,24 ns Dato for aflevering 01.06.2021 Abstract Films create an image of the world, and society is now gradually demanding more inclusion from the film industry, which can be seen in campaigns such as #MeToo, Black Lives Matter and #OscarsSoWhite. Among other things, this has resulted in the Oscar Academy’s new inclusion standard which attempts to regulate the diversity on and behind the camera. The aim of this master’s thesis is therefore to explore whether these demands have any justification. This is done by examining how ethnicity, gender and sexuality have been portrayed on film from 2010 to 2019. The thesis begins by reviewing scientific research within the fields of ethnicity, gender and sexuality in the film industry. This research is then the basis for a coding manual and schedule used in a quantitative content analysis of 164 films. The films are selected using purposive sampling based on popularity in Danish cinemas and Oscar-nominations in the category ‘Best Motion Picture’. The quantitative content analysis provides an overview of e.g., characters with regard to gender, ethnicity, sexuality, occupation, marital status etc. A quantitative content analysis, however, does not provide in-depth nuances, but primarily detects frequencies. Therefore, this thesis also includes a qualitative analysis of three films that stand out in relation to diversity: 'Jumanji: Welcome to the Jungle' (Kasdan, 2017), 'Black Panther' (Coogler, 2018) and 'The Shape of Water' (del Toro, 2018). This thesis concludes that the film industry is still dominated by a white, male hegemony, which privileges films about white men. Hence, male stories seem more important than films about women or other ethnicities than white. Furthermore, the analysis shows that ethnicity and gender are often portrayed through stereotypes and traditional gender roles. Films still primarily place women in the private sphere and men in the public sphere. Moreover, heteronormativity permeates Hollywood, and it is primarily women whose marital status we must know, while it can go unsaid for men. However, the portrayal of sexual stereotypes on film no longer exists to the same extent. On a general level, this thesis concludes that several films today work with different forms of diversity, and this is especially true of the Oscar-nominated films as these films typically deal with socially relevant topics. Despite this tendency, there has only been a small improvement in the portrayal of ethnicity over the past decade, and female characters have decreased in favour of male characters. Based on this thesis, it appears that the critique of the film industry with regard to the lack of diversity is justifiable. However, the jury is still out with regard to whether the film industry is obligated to be politically correct, or whether it compromises on film as art for art’s sake. Indholdsfortegnelse 1. Indledning .................................................................................................................................. 9 1.1. Problemfelt og afgrænsning ................................................................................................ 11 1.2. Hvad og hvem er Oscar-akademiet? .................................................................................. 12 2. Læsevejledning og begrebsafklaring .................................................................................... 14 2.1. Selvrefleksion ..................................................................................................................... 16 2.2. Betegnelse for etniciteter og LGBT+ ................................................................................... 16 3. Litteraturreview ....................................................................................................................... 18 3.1. Søgestrategi ....................................................................................................................... 19 3.2. Medier og film ..................................................................................................................... 20 Hvad er film? ................................................................................................................... 21 3.3. Etnicitet på film ................................................................................................................... 22 Etnicitet og identitet ......................................................................................................... 23 Populærkultur skaber virkeligheden ................................................................................ 24 Bag kameraet ................................................................................................................. 25 Publikum ......................................................................................................................... 26 Colourblind vs. colour-conscious ..................................................................................... 27 Etnicitet og rollefordeling i Hollywood .............................................................................. 29 Etniske stereotyper ......................................................................................................... 31 3.4. Køn på film ......................................................................................................................... 39 Kvindefilm gennem tiden ................................................................................................. 40 Kvinder i mandsdominerede genrer ................................................................................. 42 Fremstillingen af kønsroller ............................................................................................. 43 Intersektionalitet .............................................................................................................. 44 3.5. Seksualitet på film .............................................................................................................. 46 Interetniske par ............................................................................................................... 48 4. Metode ..................................................................................................................................... 50 4.1. Kvantitativ indholdsanalyse................................................................................................. 51 Udvælgelse af stikprøve .................................................................................................. 52 Udarbejdelse af kodningsmanual .................................................................................... 54 Analyse af data ............................................................................................................... 64 4.2. Kvalitativ indholdsanalyse ................................................................................................... 64 Filmanalyse som metode ................................................................................................ 65 4.3. Reliabilitet, validitet og replikabilitet .................................................................................... 67 5. Videnskabsteori ...................................................................................................................... 69 6. Analyse .................................................................................................................................... 73 6.1. Kvantitativ analyse .............................................................................................................. 74 Instruktører ...................................................................................................................... 74 Instruktørernes etnicitet og køn ................................................................................... 74 Instruktører og Oscar-film ........................................................................................... 77 Instruktører og genre................................................................................................... 78 Etnicitet ........................................................................................................................... 80 Frekvensen af etnicitet på film ..................................................................................... 81 Oscar-nominerede vs. populære film .......................................................................... 88 Oplevelsen af AALMMO-karakterer ............................................................................. 90 Rollefordeling og etnicitet ............................................................................................ 93 Etnicitet og genre ........................................................................................................ 97 Etnicitet, forlæg og tid ............................................................................................... 102 Etnicitet, erhverv