#Representation in film

[biglisbonnews]

Report Shows Hollywood Still Is Struggling With Diversity A week after a GLAAD report warned that nearly a quarter of queer characters are set to disappear from television in the coming year, UCLA’s annual Hollywood Diversity Report has appears to show that the industry is making strides towards being more inclusive on the small screen, while representation on the big screen seems to be falling behind.Separating out their findings between films made for streaming services and those made for theatrical release for the first time ever, representation for people of color in films that premiered on streaming services consistently outpaced those that appeared in box offices. Out of the top 100 streaming films in 2022, 64% had casts that had at least 30% actors of color, compared to 57% for theatrical films. Similarly, out of the top 200 highest grossing box office releases in North America, only 22% of lead actors, 17% of directors and 12% of writers were people of color, all which are below record-high numbers that were recorded by the study before the COVID-19 pandemic hit.As for women in theatrical releases, representation for female actors in lead roles dropped from 44% in 2019 to 39% in 2022, while the share of directors and overall cast members remained relatively consistent with 15% and 41% respectively in 2022 as opposed to 15% and 41% in 2019. By comparison, streaming films saw almost equal representation for women, who made up 49% of the lead roles. Streaming also outshined theatrical when it came to directors, with 25% being women and 23% POC, and writers, 36% of which were women and 20% POC. “As the film industry continues to face unprecedented uncertainty, this report identifies a path forward,” co-author of the report Michael Tran, a PhD Candidate in the UCLA sociology department, said. “The pandemic has normalized diversity on screen, not just in theaters but at home. Audiences tuned in. If Hollywood reverses course on diversity in the theaters, they’ll lose audiences to streaming and to international offerings.”The report also found that audiences have an appetite for more diverse stories and will show up to prove it. Both theatrical and streaming films that featured more than 30% minority casts consistently did better in both the box office and Nielsen ratings overall. Six out the ten top theatrical release last year had a majority minority audience while all of the top ten streaming films had an overrepresentation of audiences of color.The report pointed to films like Disney's Encanto and Pixar's Turning Red as examples of diverse stories can still have mass appeal. “These films were culturally specific yet universally relatable,” said Ana-Christina Ramon, director of the Entertainment and Media Research Initiative at UCLA. “With more than half of the current population under the age of 18 belonging to communities of color, these young people will grow up and demand films with protagonists who look like them and who live like them.”However, despite the data showing otherwise, UCLA found that a majority of Hollywood's big budget project are still disproportionately going to white men. The report found that 60% of projects that had budgets of $30 million or more were directed by white men, while 56% of films directed by white women and 76% of films from directors of color had budgets of less than $20 million.There is perhaps no better illustration of this than A24's Everything Everywhere All At Once, which, despite having a budget under $30 million, swept award shows and took home the Oscar for Best Picture. Lead Michelle Yeoh also made history as the first Asian woman to win an Oscar for a leading role.“People of color saved the theatrical industry during the pandemic, and they are key to bringing the theatrical business back to its pre-pandemic levels,” Ramón said.Photo via Getty/Frederic J. Brown / AFP https://www.papermag.com/ucla-hollywood-diversity-report-2659695379.html

[shesnake]

Early on in Saltburn, Emerald Fennell’s sophomore feature, Barry Keoghan’s Oliver Quick bickers with an Oxford classmate. “You’re picking apart the style of my essay instead of the substance?” he retorts. “That’s kind of... lazy.” It’s a valid point. Unfortunately, it’s one that is impossible to apply to Saltburn, a film consisting of only style and no substance.

Saltburn follows in a very new, increasingly boring-as-hell lineage – the ‘eat the rich’ satire. From Succession to Triangle of Sadness to You, raising the highly controversial suggestion that rich people might not be great has become a gauchely-named genre in and of itself. Saltburn is the first aggressively British entry into this canon, and the potential was there – Britain is a country with a vigilantly stratified class system that dictates our lives, after all. There’s so much to say. But can Emerald Fennell, an Oxford-educated daughter of a high society jeweller who attended the same boarding school as Kate Middleton, be the director to say it? Well…

[motziedapul]

HEY ANIMATION FANS

Do you want a mainstream animated movie that is EXPLICITLY QUEER and not Disney coward background queer?

Do you want a movie where queer characters literally say they're in love and kiss on screen?

Do you want a movie that's visually stylish, hilariously and charmingly animated, with a mix of modern and medieval fantasy tropes?

Do you want a movie created by a trans person that is an OVERT TRANS ALLEGORY that also deals with themes of STATE PROPAGANDA, ANARCHY, and INHERITED/GENERATIONAL PRIVILEGE as well as the OTHERING AND DEMONISATION OF MINORITIES and CLASSISM all packaged in a PG all ages film about a pink teen what turns into a shark?

Then please watch NIMONA when it comes out on Netflix on June 30! You will not regret it.

[eastasiansonwesternscreen]

Everything Everywhere All at Once Passes Return of the King as Most-Awarded Movie Ever

Everything Everywhere All at Once can add another historic win to its list.

According to IGN’s calculations, the multiversal hit is now the most-awarded film ever with 158 accolades to date from major critics organizations and awards bodies. This spot was previously held by The Lord of the Rings: The Return of the King, which earned 101 major awards by IGN’s math. (via IGN)

[picturejasper20]

I heard that some people were worried about animated shows with LGBT+ themes being cancelled so i want to remind you all that the Nimona film is coming this summer to Netflix

This film was originally produced by Blue Sky studios and was later pushed back by Disney because of the LGBT+ themes. The production was taken later by other studio unrelated to Disney. The film is an adaptation of the comic "Nimona".

The premise goes like this:

"Nimona, a teenager with the power to shapeshift, is targeted by a knight for assassination. The knight's mission to kill Nimona becomes complicated when he is accused of a crime, and learns that Nimona may be able to exonerate him."

So, if you happen to have Netflix and are interested, please check this movie out. Specially considering how it was treated by Disney.

Source:

https://en.m.wikipedia.org/wiki/Nimona_(film)

[my-autism-adhd-blog]

Autism Representation in Films and TV Shows

Neurodivergent_lou

[onyx-collective]

The most unique Jane Austen adaptation film has ever seen 👏🏾👏🏾👏🏾

[the-mother-of-lions]

CALENDAR REQUEST FROM MOM: 2 P.M. WEST WING FIRST FLOOR, INTERNATIONAL ETHICS & SEXUAL IDENTITY DEBRIEF

[rotnread]

Twink death Dilf birth

[elysiarte]

something, something, something, we win!🤘🏻

[not-so-rosyyy]

my actual favorite characters in Challengers are the older gay couple in the motel where one was crushing on Patrick and the other was like, "eww he's such a loser" (i'm on his side) and then proceeded to the reception desk to throw shade at how the motel doesn't look like the one they booked and that maybe they should update the picture on their website

[shesnake]

Christopher Cote, an Osage language consultant on the project and one of many Osage members who attended its Los Angeles premiere Monday, told THR he was “nervous about the release of the film; now that I’ve seen it, I have some strong opinions.

“As an Osage, I really wanted this to be from the perspective of Mollie and what her family experienced, but I think it would take an Osage to do that,” Cote said, referencing Lily Gladstone’s character in the movie. (Historical spoilers from the film ahead.) “Martin Scorsese, not being Osage, I think he did a great job representing our people, but this history is being told almost from the perspective of Ernest Burkhart [played by Leonardo DiCaprio] and they kind of give him this conscience and kind of depict that there’s love. But when somebody conspires to murder your entire family, that’s not love. That’s not love, that’s just beyond abuse.”

He continued, “I think in the end, the question that you can be left with is: How long will you be complacent with racism? How long will you go along with something and not say something, not speak up, how long will you be complacent? I think that’s because this film isn’t made for an Osage audience, it was made for everybody, not Osage. For those that have been disenfranchised, they can relate, but for other countries that have their acts and their history of repression, this is an opportunity for them to ask themselves this question of morality, and that’s how I feel about this film.”

[placeinsideyou]

every day i’m not sitting in the movie theater watching dev patel’s feature film directorial debut monkey man where he fights shirtless with a gang of badass trans women is a day wasted!

[daisiesonafield-blog]

[selfieignite]

Representation matters. #StarringJohnCho posters by William Yu started in 2016. This began a discussion about Asian Americans in leading roles in Hollywood, which inspired others to create their own stories and will continue to inspire future generations.

Jon M. Chu: #StarringJohnCho Movement Pushed Me To Make 'Crazy Rich Asians'

‘Everything Everywhere’ Star Ke Huy Quan on How ‘Crazy Rich Asians’ Gave Him FOMO and Inspired His Return to Movies

Oscar Wins By Film: ‘EEAAO’ Leads With 7 Statues (11 Oscar nominations)

[x]

[strangertheories]

riley inside out 2 is already the most relatable protagonist in the history of cinema as i really understand the experience of having new emotions surrounding cool women introduced to me by maya hawke

important edit: FORGOT TO MENTION!!! i am boycotting disney atm so please do not watch this film legally!