Representing Black Britain: A History of Black and Asian Images
on British Television

Malik, Sarita

doi:10.4135/9781446220603

Cited by 167 publications

(18 citation statements)

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“…In the wake of the Stephen Lawrence murder, discussion began within BBC NCA about delivering a programme which could shift the dial on minority representation and show that the BBC recognised the legitimate concerns that all licence fee payers should be served effectively. Tony Hall, Head of NCA, in an internal letter, said at the time, ‘The BBC receives more than £200 m in licence fee from ethnic minority groups but we know from our research that this important audience is not tuning in to our output and that they do not feel that the BBC connects with their lives’ (cited in Malik, 2002: 80). The controller of BBC Two, Michael Jackson, asked for programme departments to come up with formats to cover African Caribbean issues.…”

Section: The Study Of Black Representation On British Televisionmentioning

confidence: 99%

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Putting the black in Britain back on the BBC

Barling

2022

Critical Studies in Television: The International Journal of Te

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One area where, along with other UK broadcasters, the BBC has been seen to consistently fail to make headway is in its inadequate representation of minority groups within British society. This study fills a gap in the literature understanding black programming on the BBC. It assesses this programming through a qualitative analysis of the views of 94% of those who produced the current affairs programme Black Britain. It reviews some of the material that Black Britain put on air in this assessment, what impact the programme had on broadcasting diversity and why lessons learned were seemingly lost.

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Section: The Study Of Black Representation On British Televisionmentioning

confidence: 99%

“…Academic inquiries exploring the processes which led to the output of programmes like Black Britain remain surprisingly limited with exceptions found in the work of Malik (2002) and Cottle (2000). The idea that a robustly cultivated archive ready to be plundered for historical insight into black programming is unfortunately not a reality.…”

Section: Introductionmentioning

confidence: 99%

Putting the black in Britain back on the BBC

Barling

2022

Critical Studies in Television: The International Journal of Te

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“…Unlike scholars who have analysed black British film (and similar forms of cultural representation) as a dialectic between art and political struggle (Bakari, 2000; Mercer, 1994), as responsive to the black British experience (Bourne, 2005; Hall, 1988; Malik, 2002; Ross, 1996) or as the unequal outcome of the protracted politics of racial diversity devised by cultural institutions, such as Channel 4, the BBC, the UK Film Council and the BFI (Alexander, 2000; Gilroy, 1983; Hesmondhalgh and Saha, 2013; Malik, 2008; MacCabe, 1988; Mercer, 1988; Nwonka, 2020; Nwonka and Malik, 2018; Saha, 2015). I would like to consider the conditions of contemporary black British cinema on the resurrection of blackness as a utility for ideas of counter-hegemony.…”

Section: Hall Hegemony and Black Representationmentioning

confidence: 99%

The black neoliberal aesthetic

Nwonka

2020

European Journal of Cultural Studies

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This article examines the BBC film NW as a locus for the emergence of a conditional aesthetic of black ‘convention’. I focus on its articulations about black identities to argue that such strategies are symptomatic of a hybridising of neoliberalism and themes of black consciousness in the UK screen industries. The black neoliberal aesthetic describes the mediated outcomes of the commodification of black images and popular narratives for the purpose of both black social engagement and public voyeurism. In identifying the co-opting of ideas of black cultural value by neoliberal hegemony, and accentuating the co-dependency between these in the narrating of the black British experience, I suggest that an influential dynamic constructing a particularly effective justification for black British film allows for a theorisation of the relationship between neoliberalism and mainstream representations of blackness, and how excessive articulations about black moral panic and casualty in NW map onto present-day social concerns over racial representation and cultural diversity.

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“…Two of the lead public service broadcasters in the UK, the BBC and Channel 4, contributed funds to New Cinema Fund productions. Malik (2002) has suggested that a key purpose of PSB drama in particular is its distinctive ability to represent and critique contemporary social life and link to issues of national identity. Channel 4, for example, 'played a critical role in boosting black British film practice and an independent commissioning structure, which broadly speaking, expanded the number of black film and television producers in the 1980s' (p. 156).…”

Section: Culture New Labour and The Ukfcmentioning

confidence: 99%

Cultural discourses and practices of institutionalised diversity in the UK film sector: ‘Just get something black made’

Nwonka

Malik

2018

The Sociological Review

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Diversity' is an evolving dimension of discursive debates within publicly funded parts of the UK media. This article considers how representations of racial diversity in cinema were articulated in a particular moment in recent history. It traces the relationship between the broader New Labour neoliberal agenda of the late 1990s and the UK Film Council's (UKFC) New Cinema Fund, the key funding mechanism for supporting black British cinema at the time. The authors suggest that the New Cinema Fund's 'institutional diversity' agenda represented a symbolic effort by both the UKFC and UK public service broadcasters to redevelop black British film vis-a-vis a plethora of cultural imperatives oriented around the notion of 'social inclusion'. The nature of this intervention, it is argued, was strongly influenced by the 1999 Macpherson Report, which identified 'institutional racism' within the fabric of the UK's organisations. The article examines how such an 'institutional diversity' agenda emerged within the production context of a BBC Film/ UKFC production, Bullet Boy (2005), thus generating a rearticulated black British cinema that was deeply imbricated in the highly politicised contexts outlined.

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Representing Black Britain: A History of Black and Asian Images on British Television

Cited by 167 publications

References 0 publications

Putting the black in Britain back on the BBC

Putting the black in Britain back on the BBC

The black neoliberal aesthetic

Cultural discourses and practices of institutionalised diversity in the UK film sector: ‘Just get something black made’

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