Tag: diversity

The Toronto Film Festival had “its blackest edition ever”

As we saw at this weekend’s Emmy Awards, we’re finally seeing what happens when diversity in film goes from being a challenge to an asset. Diversity expands the possibilities of storytelling and filmmaking, and NPR saw that in effect at this year’s Toronto International Film Festival. Normally, the author Bilal Qureshi points out, film festival … Continue reading “The Toronto Film Festival had “its blackest edition ever””

As we saw at this weekend’s Emmy Awards, we’re finally seeing what happens when diversity in film goes from being a challenge to an asset. Diversity expands the possibilities of storytelling and filmmaking, and NPR saw that in effect at this year’s Toronto International Film Festival.

Normally, the author Bilal Qureshi points out, film festival narratives tend to be dominated by one black film that has to stand in for the entire black experience, as Nate Parker’s Birth of a Nation seemed poised to this year. But this year, TIFF had what Qureshi calls “its blackest edition ever” that “[pushed] back against the idea that Hollywood can only absorb one black story at a time.” In fact, the filmmakers and organizers have shied away from labeling films “diverse” because, with the lineup they’ve assembled, there’s no reason to pigeonhole non-white filmmakers.

We hope this becomes the new normal for film festivals. Hopefully we can expand the conversation about diversity in film past just its absence to what it looks like in practice.

What last night’s Emmys mean for diversity on screen

via Yahoo Last night’s Emmy Awards highlighted the diversity of the nominees and winners, especially in contrast to this year’s widely derided Oscars. The 2016 Emmys featured shows, stories, and artists from a wide spectrum of race, gender identity, and disability. Plus, we’re happy any time Key & Peele wins an award. Nooice! The Chicago … Continue reading “What last night’s Emmys mean for diversity on screen”

via Yahoo

Last night’s Emmy Awards highlighted the diversity of the nominees and winners, especially in contrast to this year’s widely derided Oscars. The 2016 Emmys featured shows, stories, and artists from a wide spectrum of race, gender identity, and disability. Plus, we’re happy any time Key & Peele wins an award. Nooice!

The Chicago Tribune published a great summary of why this year’s ceremonies were different and how that different mattered creatively. Featuring an increasingly higher numbers of non-white nominees doesn’t just capture the country more accurately; it also leads to greater diversity in subject matter, and the huge range of shows at the Emmys – including Master of None, Mr. Robot, and Orphan Black – reflects how media changes when you bring in new perspectives and voices. (There’s also the added benefit that diverse representation may help ratings.)

If the Emmys are a sign of the general direction television is heading, diversity in perspective, representation, and talent are intertwined and growing. Take note, film!

Television directing is still not very diverse

Behind the scenes of Empire, one of the few shows with a strong track record for diversity in directing talent Much ink has been spilled about the changing face of television, with new shows (and their showrunners) finally expanding the diversity of experiences and characters on television. But even at a time with different people … Continue reading “Television directing is still not very diverse”

Behind the scenes of Empire, one of the few shows with a strong track record for diversity in directing talent

Much ink has been spilled about the changing face of television, with new shows (and their showrunners) finally expanding the diversity of experiences and characters on television. But even at a time with different people represented on screen in growing numbers, the picture behind-the-scenes has often still not caught up.

In analysis for Variety, Maureen Ryan discovered that white men directed about three-quarters of all television episodes over the past several years across all networks, including streaming platforms. Even at Netflix – often an incubator for new voices and perspectives – no woman of color directed any episode of their shows last season. As Ryan notes, this is in contrast to elsewhere in television production, where writers’ rooms have become increasingly diverse. The article partially points fingers at the exhausting television production process, where only trusted, experienced directors land major jobs… and few of those established names are women or people of color.

The article is an insightful read, particularly for the anecdotes from television industry professionals. Ryan even hints at a few solutions, such as expanding mentorship programs cultivated by the studios and guilds. There’s room for practical progress, even if it’s coming too slowly.