British Film Policy in an Age of Austerity

Newsinger, Jack

doi:10.3366/jbctv.2012.0065

Cited by 12 publications

(14 citation statements)

References 5 publications

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“…Thus, while public funding increased during the New Labour period, this was part of a process of the stripping back of social democratic values and practices, transferring cultural authority and material power ever increasingly to commercial markets and corporate interests. This interpretation helps to explain the continuation and extension of creative industries policy and practice after New Labour and its seamless continuity with a renewed Conservatism and financial austerity (for a more detailed version of this argument, see Newsinger, 2012aNewsinger, , 2014.…”

Section: Commercial Subsidymentioning

confidence: 99%

United Kingdom: Film Funding, the “Corporate Welfare System” and Its Discontents

Newsinger

Presence

2018

Handbook of State Aid for Film

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His work focusses upon policy and labour in the cultural and creative industries. His research has been funded by the British Academy, the Arts and Humanities Research Council and the British Film Institute. He is a convener of the Screen Industries Special Interest Group of the British Association of Film, Television and Screen Studies, an associate researcher of the Cultural and Media Economies (CAMEo) Research Institute and a member of the Radical Film Network.

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Section: Commercial Subsidymentioning

confidence: 99%

United Kingdom: Film Funding, the “Corporate Welfare System” and Its Discontents

Newsinger

Presence

2018

Handbook of State Aid for Film

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“…Comprising film, TV, animation, video games and special effects production (VFX), the screen sector constitutes a major share of the UK's creative industries and has been at the forefront of the creative industries policy agenda (Newsinger, ). Broadcasters and sector organizations such as the British Film Institute (BFI), Creative Skillset, Women in Film and Television, Directors UK or the Broadcasting, Entertainment, Communications and Theatre Union (BECTU) have for some time engaged in pro‐diversity policy and initiatives and interventions aimed especially at women, ethnic minorities and disabled people.…”

Section: Gender Workforce Diversity and The Uk Screen Sectormentioning

confidence: 99%

“…Comprising film, TV, animation, video games and special effects production (VFX), the screen sector constitutes a major share of the UK's creative industries and has been at the forefront of the creative industries policy agenda (Newsinger, 2012 Nwonka & Malik, 2018). Gender inequalities in screen work are part of this established broader diversity agenda, but also distinctly visible within it.…”

Section: Funding Information British Film Institutementioning

confidence: 99%

And … action? Gender, knowledge and inequalities in the UK screen industries

Eikhof

Newsinger

Luchinskaya

et al. 2018

Gender Work & Organization

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This article explores how a knowledge ecology framework can help us better understand the production of gender knowledge, especially in relation to improving gender equality. Drawing on Law, Ruppert, and Savage, it analyses what knowledge of gender inequality is made visible and actionable in the case of the UK screen sector. We show: (i) that the gender knowledge production for the UK screen sector operated with reductionist understandings of gender and gender inequality, and presented gender inequality as something that needed evidencing rather than changing; and (ii) that gender knowledge was circulated in two relatively distinct circuits, a policy‐ and practice‐facing one focused on workforce statistics and a more heterogeneous and critical academic one. We then discuss which aspects of gender inequality in the UK screen industry remained invisible and thus less actionable. The article concludes with a critical appreciation of how the knowledge ecology framework might help better understand gender knowledge production, in relation to social change in the UK screen sector and beyond.

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“…And yet, there remain today deep inequalities in the film sector (Newsinger, 2012;Nwonka, 2015) including around levels of participation and engagement, revealing a disconnect from the diverse sociopolitical reality that exists in the fabric of UK society. Therefore, one of the persistent challenges for the mainstream film sector has been of how to diversify representation and production and bring about a more socially inclusive film industry.…”

Section: Cultural Diversity and Community Filmmaking In Contextmentioning

confidence: 99%

“…This filmmaker whose work focuses on the class and race community dynamic suggests that 'as far as I can see, very often it is your class that ends up deciding whether the subject of the film is on the other side of the camera' (I-10). Class conditions are a recurrent feature in creative industries literature including around how inequalities are sustained and not adequately addressed in official, quota-led diversity strategy-making (Newsinger, 2012;Nwonka, 2015). In these ways, discussions around representation are framed as 'political talk', both evaluating historical and current approaches and recognising what community filmmaking can and cannot do when limited access, funding and other social structures remain a problem, a point that resonates with the more critical literature on the topic.…”

Section: Community Filmmakers and Cultural Diversity: Representation mentioning

confidence: 99%

Rethinking cultural diversity in the UK film sector: Practices in community filmmaking

2017

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Academic, policy and industry debates have tended to focus on the mainstream film sector when discussing cultural diversity. One of the persistent challenges for the sector has been how to diversify cultural representation and participation. This article suggests that participatory modes of community filmmaking make an important contribution to cultural diversity. Drawing on an evidence base derived from qualitative research conducted in three English regions, the article shifts the spotlight away from the mainstream and onto the margins of the film sector in order to explore more 'bottom-up' approaches to cultural diversity. It examines how community filmmakers interpret and engage with questions of cultural diversity and how this connects to the participatory and business practices that they adopt. The findings highlight the significance of processes of practice in how mediated cultural diversity manifests itself and the value of community filmmaking in contributing to wider cultural diversity debates and practices.

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British Film Policy in an Age of Austerity

Cited by 12 publications

References 5 publications

United Kingdom: Film Funding, the “Corporate Welfare System” and Its Discontents

United Kingdom: Film Funding, the “Corporate Welfare System” and Its Discontents

And … action? Gender, knowledge and inequalities in the UK screen industries

Rethinking cultural diversity in the UK film sector: Practices in community filmmaking

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