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Rosalind Eleazar and Dev Patel in The Personal History of David Copperfield, directed by Armando Iannucci. Photograph: Allstar/FILMNATION ENTERTAINMENT Kobna Holdbrook-Smith, right, with Adrienne Warren in Tina at the Aldwych theatre. Photograph: Manuel Harlan Sylvia Darkwa-Ohemeng (stage manager)

The other issue with casting is that the ethnic roles that are available are monolithic and grounded in stereotypes of a particular race, Adachi says. Typecasting is a pervasive issue that still runs deep in the industry. It’s also the reason that Julie Tamiko Manning, an actress from Montreal, quit auditioning for movies early in her career. The Personal History of David Copperfield is released in the UK on 24 January and in the US on 8 May. Whatever casting decisions are made and however they are reached, the sociopolitical milieu of the audiences will undoubtedly shape how the viewers receive characters’ visual identity and categorize them according to the local paradigms of racecraft. Both film and TV still have very little minority representation among top management and boards; film in particular is less diverse than relatively homogenous sectors such as energy, finance, and transport.Johnston, Sarah Iles. The Story of Myth. 1st ed., U of Harvard P, 2018. [Crossref] , [Google Scholar] I had never truly experienced period drama in the way that I believe it is supposed to be experienced, because I had never seen someone who looked like me be truly involved in the romance of it. These changes will not take place overnight, but our research has revealed a set of four measures that we believe industry leaders can take—together—to begin to increase diversity and representation in film and TV. 1. Ensure diverse representation, especially among off-screen talent and executives

Davies, Jude, and Carol R. Smith. Gender, Ethnicity and Sexuality in Contemporary American Film. 1st ed., Keele UP, 1997. [Google Scholar] Schedeen, Jesse. “Marvel’s Thor and Moon Knight Dilemma: Does the MCU Have Actual Gods?” Imagine Games Network, 9 July 2022, www.ign.com/articles/thor-love-thunder-moon-knight-khonshu-mcu-gods-asgard. Accessed 27 Jul. 2022. [Google Scholar] Great Expectations was published in 1861, but the story of Pip and the people who encourage then disappoint his expectations takes place over 30 or so years, beginning around 1810. Bashy says his casting as Jaggers is realistic and, looking at this period, it is.Job Description: Casting directors are now casting actors to work on scenes filming in the United Kingdom. While a certain amount of progress has been made with on-screen talent in recent years, and although several entertainment companies are starting to make strides toward diversity and inclusion, our new analysis shows that inequity persists and is deeply entrenched across the film and TV ecosystem. Data on the levels of diversity and representation on-screen have been available for several years. But those numbers alone, as important as they are, tell only one part of the story. We examined in detail the racial complexities and challenges of this dynamic workplace, analyzing the entire film and TV ecosystem—including studios, networks, production and streaming companies, and distributors—through the lens of the individuals who must navigate it: on-screen talent, as well as off-screen writers, producers, directors, executives, agents, crew members, and beyond.

Murphy is best known to audiences for being “a little bit Alexis” in her Emmy Award–winning role as Alexis Rose on Schitt’s Creek. The Canadian native is also recognized for her work in Kevin Can F**k Himself, Russian Doll, Crank Yankers, Fairfax, American Dad!, Murderville, Beauty and the Beast, Rookie Blue, Story of Jen, Lethal Obsession and creating and starring in The Plateaus web series. This realisation was something that jumped up and walloped me in the face. A stark revelation that all this time I hadn't been enjoying these dramas in the way that I thought I had. In fact - worse than that, other people had been enjoying it notched up at full capacity, lavishly cloaked in the ardour of it all while I had been served a counterfeit substitute. I know this now because I have experienced the intimate connection, the emotional swell, that comes with a piece of storytelling in which you see yourself. Only now do I understand that I was never truly able to engage with the stories in a romantically involved way - in the way that I have now come to understand other people who see themselves depicted do. I tried to view it as a business transaction,” Tynan says. As a young actor in Vancouver, image has a major impact on the opportunities that he can access. With red hair and a pale complexion, he’s predominantly called in for Caucasian roles; roles that he’ll take on but that aren’t always fulfilling. Tynan is mixed-race. His father is second-generation Chinese-Canadian and Tynan identifies with both sides of his heritage. However, this isn’t easily communicated through a headshot. Tired of being overlooked for culturally relevant roles, he resolved to dye his hair in the hopes of appearing “more Asian.”

Casting directors are now casting actors, models, and influencers to work on scenes filmed in the United Kingdom. In television, film and theatre, ethnic minorities are represented better than ever, which is something that most actors and directors of colour feel should be celebrated. While the conversation around casting processes might sound like hair-splitting, it does seem important to interrogate the results they produce – particularly in TV, where there is a significant discrepancy between representation behind the camera and representation in front of it.

Years later, with more acting experience on stage but a longing for creative fulfillment, Manning decided to produce the mixed-race representation she didn’t see in the industry. After combining forces with Adrienne Wong, another mixed-race actress, the two wrote Mixie and the Half-Breeds, a play exploring two women’s struggles to negotiate their Asian-Canadian heritage. It premiered in Vancouver in 2009 and most recently ran in Toronto in April 2018. Although writing the play was a vulnerable process, Manning says that she felt she had a responsibility to show other mixed-race people that they aren’t alone in their experiences.In some ways, I am loath to admit that it was not until I watched Bridgerton that I realised that I had never truly experienced period drama in the way that I believe it is supposed to be experienced, because I had never seen someone who looked like me be truly involved in the romance of it. I have always had a rich imagination, and yet, I had never been able to transport myself into one of these scenes. In my mind's eye I was always watching the characters from the other side of the glass. Tomasso, Vincenzo. “The Twilight of Olympus: Deicide and the End of the Greek Gods.” Classical Myth on Screen, edited by Monica Cyrino and Meredith Safran, Palgrave Macmillan, 2015, pp. 147–57. [Crossref] , [Google Scholar] Fields, Karen E., and Barbara J. Fields. Racecraft: The Soul of Inequality in American Life. 1st ed., Verso, 2014. [Google Scholar] Any attempt to uncouple Whiteness and Greco-Roman culture in audiovisual media provokes outbursts of dismay and cultural policing. West, Thomas J. “Mourning the De-Queering of the Disney Villain.” Medium, 11 Feb. 2020, https://tjwest3.medium.com/mourning-the-de-queering-of-the-disney-villain-230964cf8a13. Accessed 27 Jul. 2022. [Google Scholar]