Opportunities greater for women and people of color on streaming platforms as compared to theatrically released movies
By Jake Coyle
NEW YORK (AP) --As Hollywood emerged from the pandemic, its biggest film productions dipped in diversity after years of incremental progress, according to a new study by UCLA researchers. Opportunities were notably greater for women and people of color on streaming platforms than in theatrically released films.
The annual UCLA Hollywood Diversity Report, published Thursday, presented one of the most detailed looks yet at how the film industry was shaped and, in many ways, set back during the pandemic. In analyzing 2022 movie releases, academics found that ethnic and gender inclusivity in theatrical films reverted back to 2019 or 2018 levels in many metrics, turning charts downward that had been slowly trending toward greater equity on screen and behind the camera.
As the film industry sought to claw back moviegoers in 2022, it did so by leaning more on films starring and directed by white men, despite considerable evidence that more diverse films attract larger audiences. Black, Latino and Asian American moviegoers make up nearly half of all frequent moviegoers, and for the biggest hits, often account for the majority of ticket buyers.
The film industry was still recovering in 2022, releasing fewer wide releases and seeing the box office return to about 67% of pre-pandemic levels. Though the 2022 movie year ended in triumph for Asian American representation at the Academy Awards with the best picture-winning "Everything Everywhere All at Once," researchers see a potential turning point where opportunity for women and people of color is usually reserved for lower-budgeted streaming movies.
"It definitely was not an industry that was back all the way. But I really think it gives a picture of a two-tiered system that's been created," says Ana-Christina Ramón, director of the Entertainment and Media Research Initiative at UCLA, which produces the report. "What will be interesting to see is what happens in 2023 if it continues to have this bifurcation."
"The fear is that diversity is something is temporary or could be easily cut at any point in either theatrical or streaming," says Ramón, noting that streaming services, after years of torrid growth, are now pulling back on original productions.
In theatrical releases, people of color accounted for 22% of lead actors, 17% of directors and 12% of writers. Women were 39% of lead actors and 15% of directors. While roughly double the percentages of a decade ago, the numbers are closer to those of five years ago, and still easily trail U.S. population demographics. Women have made gains in writing, composing 27% of writers in 2022 theatrical releases, up from 17% in 2019. Yet only one woman of color penned a top theatrical film in 2022.
At the same time, streaming releases are more inclusive, accounting for more films with diverse casts and more female leads. Sixty-four percent of original streaming releases in 2022 had casts that were more than 30% non-white, as opposed to 57% of theatrical releases. About a third of leads in top streaming films went to people of color — nearly 12% more than in theatrical films but still about 10% below population demographics. Leads for women in streaming films (49%) nearly reached parity with men in 2022.
But by considering budget levels, which tend to be higher in theatrical releases, researchers found some of the greatest disparities. Studios are overwhelmingly choosing white male directors for their biggest productions. They accounted for 73% of film directors in theatrical release, in films that usually (60%) had a budget above $30 million.
Budgets tended to be lower for female filmmakers and directors of color. Films directed by white women were usually (56%) budgeted less than $20 million. For directors of color, 76% of their streaming films had budgets below $20 million.
"With the industry unstable, what we could see was the culture that Hollywood has always relied on when in need of a surefire hit," says Ramón. "They think of surefire hits as a code for no diversity, for white-led. It's something that they're comfortable with."
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More