On the margins: black directors and the persistence of racial inequality in twenty-first century Hollywood

Erigha, Maryann

doi:10.1080/01419870.2017.1281984

Cited by 14 publications

(8 citation statements)

References 27 publications

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“…Second, the exposure intervention is expected to be more effective at weakening implicit biases against facial anomalies than POC. Although both groups are underrepresented and marginalized in American popular culture (Erigha, 2018), exposure to facial anomalies is nevertheless expected be more effective. The odds are stacked against encountering people with facial anomalies-as a consequence, the impressions we form about them often derive from little more than superficial information.…”

Section: Introductionmentioning

confidence: 99%

Normalizing Anomalies with Mobile Exposure (NAME): Reducing implicit biases against people with facial anomalies

Bilici¹,

Workman²,

Humphries³

et al. 2022

Preprint

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This pre-registered study (https://osf.io/b9g6v) tested the hypothesis that implicit biases towards people with visible facial differences, like scars and palsies, can be reduced through routine exposure to faces bearing such anomalous features. Participants’ implicit biases were measured before and after they completed one of two exposure interventions—to people with facial anomalies, or to people of color (POC). The interventions were delivered remotely using a custom mobile phone application and consisted of two sessions per day over 5 consecutive days. Each session began with exposure to 10 face photographs (anomalous or POC) followed by another person’s face (anomalous or POC) presented alongside a moral exemplar story ostensibly about them. After receiving the anomalous faces intervention, implicit biases against anomalous faces were significantly reduced but implicit biases against POC were not affected. The POC intervention did not have a targeted effect on bias against people of color, instead reducing biases against both people with visible differences and POC. Reductions in implicit biases were positively associated with perspective taking ratings made during the intervention. These findings suggest that exposure to people with facial anomalies, especially exposure that elicits perspective taking, can reduce implicit biases towards them in a targeted fashion.

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Section: Introductionmentioning

confidence: 99%

Normalizing Anomalies with Mobile Exposure (NAME): Reducing implicit biases against people with facial anomalies

Bilici¹,

Workman²,

Humphries³

et al. 2022

Preprint

View full text Add to dashboard Cite

show abstract

“…She repeatedly finds that despite clear and persistent evidence that a strong female audience exists for comics and comics-based transmedia adaptations, producers continue to delegitimate female characters and fans to focus their attention on cultivating male fan audiences. A similar dichotomy on diversity within production can be found in the work of Erigha, who once wrote in 2015 that digital media would decrease representational inequalities; yet only a few years later in (Erigha, 2018) in an article titled "On the Margins," Erigha finds that although the number of black directors has increased in Hollywood, they remain disproportionately on the margins of the industry and almost never lead core blockbuster projects. Such research indicates that longstanding hierarchies within the mainstream media industry remain difficult to crack, largely because the riskiest big-budget projects remain the province of white directors and lead characters, partly due to an irrational attribution of success and failure; as in the botched Invasion movie, when projects with a diverse cast fail, industry professionals may attribute the failure to diversity, not to their own lack of investment, or numerous other production decisions.…”

Section: Profit Attribution and Taboo: Economic Stories The Media Ind...mentioning

confidence: 61%

Transmediating difference: Fictional filter bubbles and transmedia storytelling

Kustritz

2021

Convergence: The International Journal of Research into New Med

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Transmedia storyworlds often stem from a blockbuster “anchor property” that connects numerous extensions in multiple media forms. Consequently, transmedia can potentially diversify the media industry’s narratives since each medium may follow a different character whose perspective reinterprets the storyworld’s central themes and events. However, this article argues that a narrative strategy has emerged for “transmediating difference,” wherein politically contested storylines, LGBTQ characters, and the perspectives of women and people of color are sectioned off in low-budget transmedia extensions while blockbuster narratives remain primarily the domain of straight, able-bodied, white male protagonists. This story structure reveals the resiliency of industry assumptions about marketability while also isolating the experience of transmedia audiences, allowing companies to profit from inclusive and sanitized versions of the same narrative world. Like algorithmic “filter bubbles,” transmediating difference undermines cultural pluralism, and ushers in a paradoxical new form of invisibility despite increasingly diverse representation.

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“…2 Other creative industries scholarship focuses on valuations of race. For example, racebased judgements about the economic worth of a given film or actor can influence export distribution strategies, whereby majority-Black films are held back by expectations of failure (Erigha 2018(Erigha , 2019(Erigha , 2020. In fiction publishing, cultural intermediaries are given autonomy in decision-making, such that their preference for stories and authors that approximate their own socio-cultural background goes unchecked, leading to an underrepresentation of non-white authors more broadly (Childress and Nault 2019).…”

Section: A Racism and Diversity Initiatives In Creative Industriesmentioning

confidence: 99%

Valuations of diversity: The role of marquee quotas in creative industries (Working Paper)

Stuart¹,

Laat²

2021

Preprint

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We examine how creative industry workers engage with diversity, absent a formal organizational mandate to do so. Through in-depth interviews with independent music industry personnel (N=50), we find that marquee quotas -- racially diverse representation on rosters and festival bills -- guide how diversity is sought and implemented. Such quotas are justified via four distinct valuations of diversity: aesthetic, economic, reputational, and moral. Both racialized and white participants justify the importance of diversity on moralistic grounds. By contrast, white participants more often justify the value of diversity by making claims about the aesthetic, economic and reputational benefits of marquee quotas. The deployment of these more self-serving valuations has consequences for the extent to which people of colour can be authentically included. Our analysis contributes to critiques of the socio-economic role and consequences of diversity initiatives, within the context of a creative industry.

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On the margins: black directors and the persistence of racial inequality in twenty-first century Hollywood

Cited by 14 publications

References 27 publications

Normalizing Anomalies with Mobile Exposure (NAME): Reducing implicit biases against people with facial anomalies

Normalizing Anomalies with Mobile Exposure (NAME): Reducing implicit biases against people with facial anomalies

Transmediating difference: Fictional filter bubbles and transmedia storytelling

Valuations of diversity: The role of marquee quotas in creative industries (Working Paper)

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