Examining the Issue: Class Stratification in the UK's Film and Television Industries
In a recent study, the PEC, with support from ScreenSkills and the British Film Institute (BFI), has shed light on the migrant and skills needs of creative businesses in the UK. The focus of the report, however, is not on diversity, class imbalances, or socio-economic diversity within the screen sector, but rather on the needs of creative businesses in the UK.
The report underscores the need for an industry-wide approach to measurement and targets for socio-economic diversity, collaboration among industry leaders, and stronger targeting of careers activities towards social mobility 'coldspots'. The Screen Industries, which contribute over £20bn in Gross Value Added (GVA) and employ over 200,000 people in the UK, face challenges, particularly related to diversity, with widespread and persistent class imbalances across all sub-sectors.
These class imbalances are particularly pronounced in creative roles, including Writers, Producers, Arts Officers, and Directors. The report highlights that people from working-class backgrounds are significantly under-represented in UK Screen, with only one in four of the Screen workforce from lower socio-economic backgrounds, compared to 38% of people across the economy.
The research, commissioned by the Creative Industries Council, reveals 12 points at which people from a working-class background are at a severe disadvantage when it comes to entering and progressing in work in the screen sector. However, the specific details of these 12 points are not provided in the search results.
Common themes from related research into working-class disadvantages in creative industries and screen sectors include lack of social and professional networks, financial barriers, mental health challenges, power imbalances, limited access to training, mentoring, and career development, stereotypes and gatekeeping based on perceived social class, the absence of institutional support or structured HR in project-based work, challenges balancing family or care responsibilities with work demands, overwork, burnout, and bullying pressures within workplace cultures.
If you wish to find the exact 12 points from the PEC report, we recommend consulting the original report or summaries from BFI or ScreenSkills directly, as these are not contained within the search results provided. The report also does not call for an industry-wide approach, collaboration among industry leaders, or stronger targeting of careers activities towards social mobility 'coldspots', contrary to some media reports.
The report emphasises the importance of a long-term commitment to effect real change in the Screen sector. Heather Carey, Director of Work Advance, and Professor Dave O'Brien, Professor of Cultural and Creative Industries at The School of Arts, Languages and Cultures at The University of Manchester, are among the key figures involved in the research.
The UK's international exports of creative goods exceeded $500 billion USD in 2015, with a 150% increase since 2000. With the Screen Industries playing such a significant role in the UK economy, addressing these class imbalances is crucial for ensuring a diverse and inclusive workforce that can drive innovation and growth.
- The PEC report, supported by ScreenSkills and the BFI, advocates for an industry-wide analytical approach to set up measurement and targets for socio-economic diversity within the screen sector.
- The creative industries in the UK, contributing over £20bn in Gross Value Added (GVA) and employing over 200,000 people, are facing challenges related to diversity and persistent class imbalances across all sub-sectors.
- The class imbalances are especially noticeable in creative roles such as Writers, Producers, Arts Officers, and Directors, where individuals from working-class backgrounds are under-represented, constituting only one fourth of the screen workforce.
- The research commissioned by the Creative Industries Council reveals 12 points where individuals from working-class backgrounds encounter severe disadvantages in entering and progressing within the screen sector, although the specific details of these 12 points are not provided in the search results.
- Common themes from related studies on working-class disadvantages in creative industries and screen sectors include the lack of social and professional networks, financial barriers, mental health challenges, power imbalances, limited access to training, mentoring, and career development, stereotypes and gatekeeping based on perceived social class, the absence of institutional support or structured HR in project-based work, challenges balancing family or care responsibilities with work demands, overwork, burnout, and bullying pressures within workplace cultures.
- To find the exact 12 points from the PEC report, consulting the original report or summaries from BFI or ScreenSkills directly is recommended, as these are not contained within the search results provided.
- The report stresses the importance of a sustained commitment to drive meaningful change in the Screen sector, with Heather Carey and Professor Dave O'Brien serving as key figures in the research.
- With the UK's international exports of creative goods exceeding $500 billion USD in 2015 and a 150% increase since 2000, addressing these class imbalances in the Screen Industries is critical for ensuring a diverse and inclusive workforce that can foster innovation and economic growth, contributing to sustainable living, home-and-garden, arts, culture, lifestyle, and various industries.
