Film education and industry representation: Is film-making just for the privileged?

James Blunt's open argument with shadow culture secretary Chris Bryant debating talent vs. privilege hit the headlines on Tuesday, rubbing salt into the wound of the "#OscarsSoWhite" media firestorm about the lack of diversity in this years Academy Award nominees. Suffice it to say, both incidents have not done much to rebut the feeling that film-making (or in Bryant's argument, the arts in general) is still overwhelmingly a wealthy white man's game. 

Image:  #Oscarssowhite they “don't see color” Illustration by Victoria Courtney 

Without wanting to dig too far into the politics of under-respresentation in the film industry, which merits a whole study in itself, we might apply Bryant's arguments about privilege to film education. He says in reply to Blunt; 

 “I’m delighted you’ve done well for yourself. But it is really tough forging a career in the arts if you can’t afford the enormous fees for drama school, if you don’t know anybody who can give you a leg-up, if your parents can’t subsidise you for a few years whilst you make your name, and if you can’t afford to take on an unpaid internship." 

Bryant argues not against talented individuals from privileged backgrounds, but instead called for a more level playing field to allow talent from all backgrounds the opportunity to be nurtured. 

In the run up to the general election, this argument is particularly pertinent. In 2010, a low point of the economic downturn, the government spending review announced a cut of almost 30% to the Arts Council England budget, and in 2012, further cuts to the budget amounting to £11.6m before 2015. Only the next few years will reveal the effects that these cuts have had on the arts world, but it does serve as a good reminder to those who support the arts to keep a close eye on culture manifestos in the run up to the general election. 

As the future for arts funding, and the role film and media might take in formal education is completely unknown, it falls upon organisations finding other means of funding if they desire a sense of stability. One such organisation is Creative Scotland's 'CashBack for creativity' scheme, which sees profits raised from criminal activity re-channeled into funding for their scheme 'Xpress Yourself,'  for those who otherwise might not have had the opportunity to explore or learn about the medium.

Schemes such as 'Cashback' serve as an incredibly positive framework for other projects in the UK, both to widen access to arts education but also to create awareness around the importance of self sustainability in this area. 

Cashback for Creativity is just one of Creative Scotland's various initiatives that attempts to improve access to various art forms for young people in "communities where there is an identified and demonstrated need."

As per the Cashback website; 

"The CashBack for Creativity Strategic Fund will deliver a programme of learning and developmental activities which improve skills and confidence, but also raise aspirations and provide pathways for further learning, training, education and employment."

Speaking with members of staff at both the BFI and Creative Scotland, it is clear that the two organisations, among others, seem to be tirelessly dedicated to improving access to film education, and providing more a comprehensive education with as much emphasis on arts, including film, as on maths and the sciences. 

It must be made clear, however, that these organisations are not working towards this goal for the benefit of the industry, but for the benefit of those children receiving a more dynamic and well rounded education and set of opportunities than those currently available. Movement from this type of education into the industry, for these initiatives, is almost a by-product of the work they're trying to do. 

This idea is key to understand the underlying issue with film education, and does directly affect the media industry. If media education was offered comprehensively in schools, introduced as a basic form of literacy from a young age, it may raise the profile and opinion of media education in higher learning. In turn, this could offer a wider demographic the opportunity to explore and nurture talents which they never before considered might develop into careers, along with creating a different perception of film for everyone - not just those in the industry. Once we are able to do that, perhaps we might start seeing more true and organic diversity among the Academy nominees. 

Footnotes
1) Full article outlining the debate between James Blunt and Chris Bryant avialable at: http://www.theguardian.com/music/2015/jan/19/james-blunts-letter-chris-bryant-in-full

2) Information on arts funding cuts: http://www.bbc.co.uk/news/entertainment-arts-20664137
3) Cashback for Creativity website: http://www.creativescotland.com/funding/funding-programmes/targeted-funding/cashback-for-creativity