First Nations People, The Disableity sector and people with Asian and African ancestors remain under -represented in the screen industry, finds a report.
Exclusive:
- First Nations people remain well represented in roles on the screen, but underrepresented in rolls outside the screen.
- Disabled people remain enormously under -represented compared to the population benchmark both on the screen and behind the camera.
- LGBQA+ people continue to have a strong representation compared to the population benchmark, both on the screen and on the screen.
- People with Asian and African ancestors / ethnic groups remain under -represented compared to population benchmarks.
- People with European and Anglo-Celtic ancestors / ethnic groups remain over-represented.
The temperature of industrial diversity, both on and off the screen, is measured in a study, everyone counts 2.0, performed for the screen diversity inclusion network.
The research of the voluntary industry is intended to document the diversity of all roles on TV and film projects in Australia-from extras to leads on the screen; producers to runners; and hair and makeup to visual effects; Working on productions ranging from reality TV to feature films.
The results are based on 12,900 on and off-screen employees filled by 6,976 unique individuals in 395 Australian TV and film projects from July 2021 to June 2024.
The report reveals representation, both on and off-screen of women, first nations, people with disabilities, LGBQA+, transgender, intersex and gender certificate, primary carers, primary carers, people over 55 years of age, the ethnicity and socio-economic status of respondents and people who speak other languages.
These were the most important findings in the 3 -year survey:
• 3.4%are first nations, with a higher percentage of disability in this group (13%) than in the talent pool in general (8.2%)
• 8.2%is disabled, where this group has a higher representation of women (54%), sexual mates of gender (9.5%) and first Nations people (4.2%) (4.2%) then has the talent pool in general (50%, 2.4%and 3.4%respectively)
• 20%is LGBQA+, where this group has a higher representation of women (57%) and various people (12%) than the talent pool in general (50%and 2.4%respectively)
• 2.0% is transgender and 0.8% is intersekse with another 1.6% that ‘uncertain/does not know’ whether they are ‘born with intersex variation (s)’
• 2.4% is gender diverse and 50% is women, although we know from other research that many roles of the screen industry are gender and that women are more likely to respond to surveys
• 26% are primary carers and another 5.8% incidental primary carers
• 20% is 55 years or older, a similar rate if the aging workforce of Australia
• 8.9% speaks languages other than English at home (or next to English)
• 54% have an Anglo-Celtic origin/ethnicity, 36% European, 11% Asian, 2.8% Middle East, 2.3% Pacific Islander, 1.6% central or South American and 2.0% Afrikaans
• 15% record their socio-economic status that grows up as below the average or least found (given the work, the wealth and education of their families), 44% on average and 39% above average or the most favored. (2% selected ‘other status’ or ‘rather not say’)
Counting diversity in industrial roles 2021–24
Significant were the productions that participated in 70% and 30% unwritten, dominated by Free to Air Television.
This means that the results would vary if the distribution is better represented production output in Australia.
Now in the eighth year of operation, the SDIN was launched in 2017 under the original host Australian Film and Television Radio School, before moving to the South Australian Film Corporation in 2022.
From July 1, 2025, SDIN is organized by the everyone -project under a model focused on practical involvement in industry.
In the new hosting scheme, the executive functions of the SDIN are managed by agreement of affiliated organizations, whereby the everyone -project continues to operate independently.
The SDIN recognized departing co-presidents, head of film, screen and culture at the Monash University Olivia Khoo and independent producer Loani Arman and thanked the departing SDIN project officer Anita Kimber, who has been offering administration since August 2023.
Founder of the everyone -project Adam Smith said: “While the everyone’s project continues to grow and evolve, we are delighted to notice a continuous increase in participation in the last three years, which shows that SDIN members are committed to increasing diversity and inclusion at all levels.
“With a clear coordination in our values and the goal, everyone’s project is pleased to take on a new role to support the administration of the SDIN, and we are dedicated to evolving the everyone -project to guarantee improved results for industry.”
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