Representation: the position of women in the media industries

SUMMARY Watching or listening to a news broadcast might give the impression that there are plenty of women involved in news and current affairs broadcasting. On the surface women appear to be well represented. However, a closer look at the statistics shows that, despite making up 51 per cent of the population and a larger proportion of the TV and radio audience, women are severely underrepresented both on and off air in news and current affairs broadcasting. A recent study showed that, in the UK, there were three male reporters on flagship news programmes for every female one. The situation is even worse for women as experts: in a 2010 study, women made up only 26 per cent of experts or commentators. We are particularly concerned about the representation of women in news and current affairs broadcasting because of the genre’s wide reach and role in shaping public perceptions about society. In our view, news and current affairs broadcasters have a particular responsibility to reflect society by ensuring a gender balance. This is especially incumbent on the BBC and other Public Service Broadcasters which receive statutory benefits. There are a number of obstacles to the progression of female employees in the industry. The fast-paced, responsive nature of news and current affairs broadcasting presents difficulties for those with caring responsibilities, largely women. Broadcasters could address this by doing more to promote flexible working. We were also told that sexist bullying still exists in the industry, and that older women in the sector have experienced particular discrimination. We have not been able to test fully all of these allegations, but condemn any such attitudes and practices. We urge broadcasters to take further steps to ensure they are eradicated. We also recommend that job and promotion opportunities are awarded on the basis of fair and open competition. We believe the current situation is unsatisfactory, and needs to be addressed. This cannot be done without a robust body of data. The current monitoring system, where data are not collected routinely or in comparable formats, is insufficient. Ofcom should require broadcasters to collect annual, comparable gender equality data on permanent and freelance staff, categorised by age, role and genre. Ofcom should also require broadcasters to set their own short, medium and long term targets for the use of experts, which should be monitored. This proactive use of Ofcom’s powers should be reviewed in one year. If the situation has not improved, Ofcom should consider delegating its powers to promote gender equality to a new body with this as its focus. Gone are the days when women were seldom heard or seen in news and current affairs broadcasts. Nevertheless, in this era of equality we were surprised and disappointed at how much further broadcasters, Ofcom and the Government have to go to achieve genuine gender balance

Tragic blondes, Hollywood, and the “radical sixties’ myth: Seberg and once upon a time in Hollywood as revisionist and reparative biopic

In this essay I explore two recent ‘reparative biopics,’ Once Upon a Time in Hollywood (Quentin Tarantino, 2019) and Seberg (Benedict Andrews, 2019), which share features found in the resurgent cycle of 1960s-set ‘back studio’ films that have appeared in the wake of feminist criticism of mainstream Hollywood. Although positioned very differently in terms of genre (as biopic and counterfactual history respectively) and in their creative engagement with the cultural and political history of the late 1960s, both are notable for the way they deal with the real female stars at the centre of their stories, Sharon Tate and Jean Seberg. While each film seems to be seeking reparation for the past, their approach ultimately recuperates the women into a mythic discourse of the ‘radical sixties’ in which masculine agency and homosocial bonds are privileged. I argue that these films rehearse familiar biopic conventions to depict the blonde female star as tragic victim, not only of history but also of her own inherent frailty

Representation: the position of women in the media industries

SUMMARY Watching or listening to a news broadcast might give the impression that there are plenty of women involved in news and current affairs broadcasting. On the surface women appear to be well represented. However, a closer look at the statistics shows that, despite making up 51 per cent of the population and a larger proportion of the TV and radio audience, women are severely underrepresented both on and off air in news and current affairs broadcasting. A recent study showed that, in the UK, there were three male reporters on flagship news programmes for every female one. The situation is even worse for women as experts: in a 2010 study, women made up only 26 per cent of experts or commentators. We are particularly concerned about the representation of women in news and current affairs broadcasting because of the genre’s wide reach and role in shaping public perceptions about society. In our view, news and current affairs broadcasters have a particular responsibility to reflect society by ensuring a gender balance. This is especially incumbent on the BBC and other Public Service Broadcasters which receive statutory benefits. There are a number of obstacles to the progression of female employees in the industry. The fast-paced, responsive nature of news and current affairs broadcasting presents difficulties for those with caring responsibilities, largely women. Broadcasters could address this by doing more to promote flexible working. We were also told that sexist bullying still exists in the industry, and that older women in the sector have experienced particular discrimination. We have not been able to test fully all of these allegations, but condemn any such attitudes and practices. We urge broadcasters to take further steps to ensure they are eradicated. We also recommend that job and promotion opportunities are awarded on the basis of fair and open competition. We believe the current situation is unsatisfactory, and needs to be addressed. This cannot be done without a robust body of data. The current monitoring system, where data are not collected routinely or in comparable formats, is insufficient. Ofcom should require broadcasters to collect annual, comparable gender equality data on permanent and freelance staff, categorised by age, role and genre. Ofcom should also require broadcasters to set their own short, medium and long term targets for the use of experts, which should be monitored. This proactive use of Ofcom’s powers should be reviewed in one year. If the situation has not improved, Ofcom should consider delegating its powers to promote gender equality to a new body with this as its focus. Gone are the days when women were seldom heard or seen in news and current affairs broadcasts. Nevertheless, in this era of equality we were surprised and disappointed at how much further broadcasters, Ofcom and the Government have to go to achieve genuine gender balance

Big Brother: Reconfiguring the 'active' audience of cultural studies?

The emergence of a relatively new genre, `reality television', has helped to break down the division between text and audience in significant ways, and this presents us with interesting questions for cultural studies. In this article we consider one such text, the enormously successful `reality gameshow' Big Brother, and explore the extent to which it challenges or helps to reconfigure current conceptualizations of the audience and the `television text'. We outline some of the issues involved in analyzing Big Brother and situate the program within the context of the complex history of cultural studies' attempts to `think the audience' for popular media

Dowagers, debs, nuns and babies: The politics of Nostalgia and the older woman in the British sunday night television serial

The extensive commercial success of two well-made popular television drama serials screened in the UK at prime time on Sunday evenings during the winter of 2011-12, Downton Abbey (ITV, 2010-) and Call the Midwife (BBC, 2012-), has appeared to consolidate the recent resurgence of the period drama during the 1990s and 2000s, as well as reassembling something like a mass audience for woman-centred realist narratives at a time when the fracturing and disassembling of such audiences seemed axiomatic. While ostensibly different in content, style and focus, the two programmes share a number of distinctive features, including a range of mature female characters who are sufficiently well drawn and socially diverse as to offer a profoundly pleasurable experience for the female viewer seeking representations of aging femininity that go beyond the sexualised body of the 'successful ager'. Equally importantly, these two programmes present compelling examples of the 'conjunctural text', which appears at a moment of intense political polarisation, marking struggles over consent to a contemporary political position by re-presenting the past. Because both programmes foreground older women as crucial figures in their respective communities, but offer very different versions of the social role and ideological positioning that this entails, the underlying politics of such nostalgia becomes apparent. A critical analysis of these two versions of Britain's past thus highlights the ideological investments involved in period drama and the extent to which this 'cosy' genre may legitimate or challenge contemporary political claims. © Journal of British Cinema and Television

Monstrous Aunties: the Rabelaisian older Asian woman in British cinema and television comedy

© 2019, © 2019 Informa UK Limited, trading as Taylor & Francis Group. Representations of older women of South Asian heritage in British cinema are often assumed to do little more than reiterate familiar stereotypes. Yet some British comedy films and TV shows have carved out a space for more transgressive representations of aging Asian women. From Gurinder Chadha’s debut feature, Bhaji on the Beach (1993) to the ground-breaking sketch show, Goodness, Gracious Me and The Kumars at Number 42, a range of comic older female figures haveoverturned the conventional discourses around race, gender and age. Here, the dominant tropes are of the carnivalesque and the grotesque rather than the submissive and repressed. The confined and conventional Indian “Auntie” is thus transformed into a Rabelaisian figure of excess–a “jester” whose ritualistic violations of norms through “clownishness” forces laughter in response. This essay explores the intersectional relationships between British popular culture and comedy, British-Asian and diasporic identities, and the forging of new and potentially subversive tropes of ageing femininity. Arising from research undertaken through the Women, Ageing, Media network, the essay seeks to reframe and re-contextualise both the politics of gendered representation and the politics of ageing