Beruflich Dokumente
Kultur Dokumente
Chris Winton-Burnette
Kelsey Satalino
ENC 2135
5 November 2015
Film and television have been scrutinized since the inception of the two mediums,
particularly in the case of specific use of persons and their respective talent to contribute to the
art form. The controversy stemming from every facet of the industry, from casting to
storyboarding, has concerned those yearning for an accurate depiction of ethnic and cultural
diversity and its implicit effect on positive societal growth. The current status of diversity, both
behind and in front of the camera, perniciously impacts both the medium and the production
process. Some may ask, Who cares? and proceed to defend the status quo of the talent brought
to the scene. Exploring the history, economy, and behavior of broadcasting media diversity will
offer a better look into the inner machinations of both Hollywood and its attempt in catching up
to an evolving medium.
One does not need to look far to see how endemic the issue has become in American
culture. For the last few years, the Ralph J. Bunche Center for African American Studies at
UCLA has released a compilation of infographics and charts reporting the annual status of
minority representation in the entire film and television population. Despite the fact that over
half of frequent moviegoers are represented by minorities, according to the report, senior
employees. Typifying the outstanding disproportion of race and gender, the director remarks, If
you look at every level in the industry, women and minorities come out at the bottom (Hunt).
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Clearly, when looking back on the timeline of mainstream film, one would quickly recognize that
earlier pictures showed no sensitivity towards incorporating culturally expansive talent. The
litany of prestige pictures showcased at various film festivals all portrayed white, male
protagonists, whilst the foil character with no depth or dimension, usually played to comic effect,
were typified by minorities. The concept has come to be known as whitewashing, denoting the
monopolization of white actors (and to a lesser extent, actresses). The history of American
cinema has seen those not included in the white actor category caricatured as a device or obstacle
that the again- white actor interacts with to advance the plot.
The inundation of race relations into modern culture has oversimplified the mainstream
American perspective, discussing sup-topics with supposed easy answers when the most
obvious concept coming to mind is the black-versus-white debate. The superficial nature of
discourse pertaining to progress has to be altered to become more inclusive of other cultures as
well. Gerald Sim writes in his journal Orientalism's Relationship to Film Studies and Race,
Caucasians is a generalization widely ignoring the Middle Eastern and Oriental cultures. The
bias can be traced back to ancient literature, and remains intact with those seemingly pragmatic
values through contemporary media. Sim criticizes the assumption that America is the only
melting pot of religion and ethnicity in the world, and while it is less common in the Eastern
Hemisphere, it still exists as a defiance of stereotypes. Hollywood seems to have maintained the
several facets of life, from daily encounters to pre-mature judgments based on perceptions of
behavior and temperament. Other research has been performed on the specific uses of prejudice
against women, the LGBT community, Muslims, and other minorities, but the notion that
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resolving the issue of diversity is not easy has been clearly defined in the history of
entertainment.
As the industry evolved, particularly in the transition to the twenty-first century, more
and more attempts have made to resolve any disparities in question. Some have been mostly
successful, but we still dont know how to identify what is actually hindering progress of
bringing communities separated by fears of being different together. Anyone who is engaged in
the discussion of race and gender in film will likely point to movies about the heritage of a
minority, such as the film Selma, a biopic on the life of civil rights activist Martin Luther King Jr.
flaw that underlies the essence of why the medium is important. We connect to characters as they
develop and relate to their experiences, values, and choices. Labeling events and people by their
ethnic origins is a clear indicator that our culture has refrained from learning the fundamental
concept of treating someone as they are, not as their heritage dictates. Hollywood is very aware
of this prospect, indicated by their choice to continue the cycle and appropriate more funds to all-
white leads.
Evidence in film economics suggests that Hollywood sticking to their guns may not be
the best option, however. Author and pundit Ana-Christina Ramon comments that the highest
median global box office receipts occur in movies that have a forty-one to fifty percent
composition of non-white leads or co-leads (Racial Realities in the Twenty First Century, pg.4).
The study extends to the television market as well. If the media market is more inclined to see
pictures with half of the cast comprised of minorities, then a question arises why we have not
been seeing a sharp influx of culturally progressive movies or television shows. Hollywood is
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most certainly classified as a business, and it is consistently pursuing new methods to make their
The most difficult concern with a transition to more diverse employment is that change
in the status quo is risky, especially for a properties as ubiquitous as the movies and all the
auxiliary industries that come with it. The high-risk mentality is the largest barrier to achieving
that diversity gap. The power to make these decisions also comes from positions heavily
dominated by white males, with executives of major movie studios designated as 94% white and
a full 100% male, according to a report by NPR. Ramon comments that this situation could also
be blamed on the human condition, and the capitalistic tendencies that come along with it. A
perception of success still stems from the fellow white males that correlate with progress with a
On the television front, diverse shows have meteorically risen to the challenge. Several
featuring an all-black family cast. The presence of these shows gives a more normalized
perception of good entertainment. The perceived low-risk factor of television can be seen in the
budgets of the average show as opposed to the average movie. Many more shows are produced
with lower costs than studio film. All that is necessary is a few successful television programs
that elite companies want to replicate as a business model and formula for the future of the
medium.
Although the problem of diversity hasnt been completely silenced, the past couple of
years has seen a decline in interest among the American population. However, in 2015, events
associated with race relations have reached audiences with a staggering response. Acclaimed
actress Viola Davis recently received an Emmy for her work in How to Get Away with Murder in
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the Best Leading Actress category. The significance of her win is that a woman of color winning
this award was unprecedented. Award recipients primarily take their time to thank all those who
contributed to her work and their families, but she decided to utilize the power of the stage and
all those who were watching to voice her own story. The only things that separates women of
color from anyone else is opportunity (Davis). Acknowledging her black female friends in the
field provides a glimpse into the wide array of talent available to the domain of the television
industry, and instigates a movement to bring new, original content that provides an outlet for
non-specific characters to be auditioned for from any cultural perspective. With other women of
color, like Gina Rodriguez winning a Golden Globe for her titular part in Jane the Virgin, shows
can prove that high-quality performances can succeed through subtle discrimination without
need of resorting to established uses of underdeveloped characters that the national audience is
used to seeing.
While the television industry is surging with shows like Black-ish, Transparent, and
Scandal scoring critical acclaim and audience appeal, the on-screen assortment of marginalized
groups is being represented at a level never seen before. When it comes to the decision-making
teams behind the scenes, a different story comes into play. When considering the executive
producers, screenwriters, and story editors of the three network cable channels ABC, NBC, and
CBS, 5.5 percent of workers in those positions were people of color (Writers Guild of America).
Several networks have developed plans to get minorities jobs in the Editing, Writing, and Media
category, such as NBCs Diverse Staff Writing Initiative, essentially employing an additional
subsidy to their own shows as long as they employ an ethnically diverse faculty member every
season. Although the act has good intentions, shows take advantage of the offer by claiming that
the one writer they get paid for is all that is necessary to enact diversity in the storyline,
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perspective, etc. Amy Aniobi from the HBO comedy Brothers in Atlanta remarks that Everyone
knows who the diversity writer is. Youre the one whos the only one (Slate). At a time when
competition is so high to even obtain a position in the field, being labeled as an economic
incentive as opposed to a human being wants to construct great storylines and contribute to
American culture.
In terms of a solution, a small amount of accomplishment has already taken place, but a
wider variety of producers, directors, editors, and every other vocation in the film and television
industry needs to be instigated. The largest challenge is figuring out how to incentivize those
already in power to encourage the most diverse team possible, without producing any negative or
unintended consequences. The underlying challenge within that challenge is that the media
production industry is still a corporate ladder; you have to start out an entry-level position and
then work you way up to a senior staff member, just as you would at any other job. The British
Film Institute is doing a great job dealing with this issue, allotting a majority of their funds to
development deals with high-tier producers already in the field to transfer to larger networks.
This will produce a trickle-down effect, of sorts, and the casting process of writers will be
determined by those already keeping those initiatives in mind because of the opportunity given to
them by a similar process. After considering all that has taken place to imbue a lack of diversity
and all the measures taken to fix the problem, many individuals that are traditionally
discriminated against today seek out the next project or the next pitch to make them more
marketable in the cutthroat environment that is media production. They are already at a
disadvantage walking into the arena to fight for what they are passionate, but they can only hope
for the day when those looking for more talent see being inclusive as an entity with universal
Work Cited
Hunt, Darnell, Ana-Christina Ramon, and Zachary Price. "Hollywood Diversity Report:
Making Sense of the Disconnect." Los Angeles, CA: Ralph J. Bunche Center for African
Gold, Michael. "Viola Davis Made Emmys History and Spoke Truth to Power in Her
Speech." New York Times. New York Times, 20 Sept. 2015. Web.
Bielby, Denise D., and William T. Bielby. "Hollywood dreams, harsh realities: writing for
"The State of Diversity in Writing for Television - TV Writer Access Project Honorees."
Harris, Aisha. "TV Is More Diverse than Everon Screen. Why Not in the Writers
Rony, Fatimah Tobing. The third eye: Race, cinema, and ethnographic spectacle. Duke