2021年欧洲视听行业多样性和包容性报告（英）-118页_1mb

Summary of "Diversity and inclusion in the European audiovisual sector"

Core Content

This document explores the concept of diversity and inclusion (D&I) within the European audiovisual sector, analyzing both off-screen and on-screen representation, as well as the legal and industry measures aimed at promoting equality and reducing discrimination. It highlights the progress made and the remaining challenges in achieving a truly inclusive and representative media landscape.

Main Points

1. Diversity and Inclusion Defined

• Diversity refers to the inclusion of various types of people or ideas in a given context. In the audiovisual sector, it is understood as the fair representation of society in both the workforce and media content.
• Inclusion involves the active participation and integration of individuals from underrepresented groups into the media ecosystem, ensuring that all people can access and engage with media content.
• The document distinguishes between off-screen (workforce and decision-making roles) and on-screen (representation of characters and content) diversity and inclusion.

2. Off-screen Diversity and Inclusion

• Off-screen D&I focuses on equitable access to the workforce, including fair pay, career development, and training opportunities.
• There is a lack of uniform data across Europe, but several countries have taken steps to collect and analyze workforce diversity.
  • Female directors and screenwriters in European theatrical productions accounted for only 22% (2015–2018).
  • In the UK, women represented 36.7% of the creative workforce in 2015, while BAME individuals made up just 11%.
  • In Denmark, immigrants accounted for 7.8% of the film industry workforce in 2015, which is lower than their 11% share in the population.
  • In Sweden, gender equality was reported in 2013–2016, but higher-budget productions showed a 27% share of female directors, indicating a disparity in representation based on project size.
• The document argues that off-screen diversity is essential for achieving on-screen diversity, as it ensures that stories reflect the lived experiences of a broader range of people.

3. On-screen Diversity and Inclusion

• On-screen D&I refers to the accurate and fair portrayal of society in media content, including ethnicity, gender, and disability.
• There is a traditional gap between societal diversity and media content in both quantitative (underrepresentation) and qualitative (stereotyping or misrepresentation) terms.
• In the US, white characters made up 67.3% of theatrical films (2019), which is above their demographic share (60.1%). However, in broadcast scripted shows, white characters were slightly underrepresented (59%).
• Black characters were slightly overrepresented in both formats, while Asian characters were underrepresented in theatrical films but not in broadcast shows. Native Americans and Hispanics remain clearly underrepresented.
• In France, non-white characters accounted for 15% of on-screen roles in 2019, down from 17% in 2018, aligning with the 5-year average.
• Women made up 39% of on-screen characters in France, despite comprising 52% of the population.
• Disabled characters were represented at only 0.7% in French TV in 2019, even though a higher share of the population has some kind of disability.
• Age diversity is also underrepresented, especially in French content. In the US, only 11.8% of speaking characters in Best Picture-nominated films (2014–2016) were over 60, despite this age group comprising 18.5% of the population.

4. Legal and Policy Framework

• International frameworks such as the United Nations and the Council of Europe have set standards to combat discrimination based on various grounds.
• The European Union has implemented policies and initiatives to promote equality, including:
  • Non-discrimination and equality principles.
  • Gender diversity in the audiovisual sector.
  • EU programmes that support D&I efforts.
• Sectoral initiatives have also emerged, such as:
  • EFAD (European Film and Audiovisual Directors Association) promoting D&I.
  • EPRA (European Public Audiovisual Observatory) and ERGA (European Regulatory Group for Audiovisual Services) providing guidance and tools.
• National legislation in countries like the UK, France, Spain, and Belgium has introduced measures to ensure diversity in broadcasting and video-on-demand (VOD) content.

5. Industry Best Practices

• The audiovisual sector has adopted various strategies and tools to promote D&I, including:
  • Sectoral recommendations and diversity charters.
  • Monitoring and data collection to assess representation.
  • Action plans and guidelines for improving inclusion.
• Awareness-raising initiatives are also crucial, such as:
  • Campaigns and events to highlight underrepresentation.
  • Networks and alliances to support marginalized groups.
  • NGOs playing a key role in advocating for change.

6. Case Law and Legal Challenges

• The European Court of Human Rights (ECtHR) and the Court of Justice of the European Union (CJEU) have addressed various aspects of D&I, including:
  • Direct and indirect discrimination.
  • Harassment in the workplace.
  • Protected grounds such as gender, ethnicity, and disability.
• These legal frameworks provide a basis for challenging discriminatory practices and ensuring that media content reflects the diversity of society.

7. State of Play and Future Challenges

• While progress has been made, many challenges remain, including:
  • Persistent underrepresentation of women, minorities, and disabled individuals.
  • Lack of regulation on multiple screens (e.g., streaming platforms).
  • Ethical and practical concerns regarding the use of AI for content moderation.
• The "Implement and Explain" approach used in the Dutch Diversity & Inclusion Code is highlighted as a model for promoting transparency and accountability in D&I efforts.

Key Information

• Diversity and inclusion are critical for reflecting the true composition of society in media.
• Legal frameworks at the international, EU, and national levels have played a key role in promoting D&I.
• Industry initiatives and awareness campaigns are increasingly being used to address underrepresentation.
• Intersectionality is an important concept, as individuals may belong to multiple underrepresented groups.
• The document is not comprehensive, but it provides a broad overview of the current state of D&I in the European audiovisual sector and outlines areas for future improvement.

Conclusion

The European audiovisual sector has made strides in promoting diversity and inclusion, but significant challenges remain. The document emphasizes the need for continued efforts to ensure that both the workforce and media content reflect the true diversity of society, and that legal and industry mechanisms are effectively implemented to support this goal.