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1、1 2 2 About us About us Work Advance undertakes research,analysis and evaluation to advance our understanding of developments in the world of work.We drive practical improvements in policies,programmes and practices that support inclusive and sustainable growth;productive businesses and better manag

2、ement practices;a skilled,agile and healthy workforce;and stronger more vibrant and cohesive local communities.Through our strong networks,we provide research,policy and consultancy services to a range of partners,including businesses large and small,trade unions,professional bodies,policy-makers an

3、d wider practitioners.Work Advance adopts an approach that is client-centred.We aim to secure practical solutions,through blended research and consultancy services,and strong stakeholder engagement and partnership working,which brings value through evidence-based and expert insights of what works.We

4、 design and support the delivery of tailored programmes and initiatives to test and trial new innovations,including help with monitoring and evaluation to track results and impact.For further information please visit:www.workadvance.co.uk If you have any questions about this research,please contact:

5、Heather CareyHeather Carey Director,Work Advance T:T:+44(0)7703 735 614 E:E:hcareyworkadvance.co.uk Research supported by:3 Table of Contents Table of Contents 4 Introduction 6 Good careers in Screen and Games 18 Barriers to access and progression 29 Mapping the landscape of support 44 Recommendatio

6、ns for enhancing the industrys approach to EDI 48 References Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 4 4 1.1.IntroductionIntroduction 1.1 Background to the researchYoung people can face significant barriers to achieving their full potent

7、ial in UK society.Too often,where a young person starts out in life,their ethnic or socio-economic background and their experiences growing up determines their future success how well they do at school,the job they get,their health and even their life expectancy.Disparities in educational and employ

8、ment outcomes between disadvantaged young people and their peers are well-evidenced and striking.Three quarters of children who have persistently experienced poverty in their early years start school with below average language development(Gascoigne&Gross,2017).By the time they complete their GCSEs,

9、young people from disadvantaged backgrounds are 18 months of learning behind their peers(Cardim-Dias&Sibieta,2022).They are less likely to progress to university(Department for Education,2022)and more likely to be Not in Education,Employment or Training(NEET)for a long period of time(Department for

10、Education,2018).Rates of youth unemployment in the UK are poor in comparison to other developed nations(OECD,2022)and a recent House of Lords Committee concluded that some sectors of the economy are“impenetrable”to young people from disadvantaged backgrounds(House of Lords,2021).There is substantial

11、 variation in the picture for different groups of young people.For instance,educational underachievement and rates of unemployment are particularly high amongst young black people and those from Bangladeshi or Pakistani backgrounds(Powell&Francis-Devine,2023).The educational and employment outcomes

12、of those who have experienced the care system are particularly striking,with just 7%of looked-after-children achieving a good pass in English and Maths GCSEs;41%of 19-21 year old care leavers Not in Education,Employment or Training;and a 6,000 average pay gap when they are in work(House of Commons,2

13、022).Despite these being longstanding challenges,on many metrics the picture is worsening,not least given the disproportionate impact of the Covid 19 pandemic on the most vulnerable young people in society(House of Lords,2021;House of Commons,2022).Changing the fortunes of these young people is a cr

14、itical challenge for the UK.As the economy returns to a growth trajectory,we need much sharper focus on ensuring the related benefits wealth,opportunities,prospects are spread more equitably.This is not just across different places,cities and regions,as is the focus of the Governments Levelling Up a

15、genda,but also amongst people from all backgrounds,promoting social justice.A key concern is how we can better support young people from disadvantaged backgrounds to access good jobs and career opportunities in growing parts of the UK economy.This research funded by the Creative Industries Policy an

16、d Evidence Centre(PEC)and Mission 44 looks specifically at the UK Film,TV,Radio and Games Industries,as a part of the economy that might offer exciting careers that enable young people to progress in society and reach their full potential.1.2 Our Aims and Approach The research has sought to explore

17、the definition of good jobs within the Screen Industries;the extent to which disadvantaged young people are able to access these opportunities and progress in work;and the key barriers they face in doing so.This provided a basis to review the institutions and activities currently working to enhance

18、diversity and inclusion and identify scope to enhance the landscape of support.The research progressed around three main strands:1.Rapid evidence assessment:to collate and examine academic and grey literature concerning good career pathways in Screen;5 workforce diversity;and barriers to access and

19、progression in the sector.2.Fieldwork interviews:to provide new insights from young people on their perceptions of work in the Screen Industries;the challenges they face in finding employment and progressing in work in Film,TV and Games and the interventions or levers for promoting access and inclus

20、ion.3.Landscape mapping and targeted stakeholder and employer interviews to examine the current landscape of funders,delivery partners,and initiatives across the UK Creative Industries.For this piece of work,we have focussed on young people(aged 16-24)from low-income backgrounds;young people of colo

21、ur;care experienced young people;and young people excluded from school.Throughout the research we use the DCMS definition of the Screen Industries and the Games Industry.Please refer to Annex A for further details.This report summarises the findings from each stage of the research.In the pages that

22、follow we explore opportunities for good careers in Screen and Games(Chapter 2);examine barriers to access and progression(Chapter 3);map the landscape of support(Chapter 4);and identify opportunities to enhance the approach in future(Chapter 5).Improving young peoples access and progression in work

23、 in Film,TV and Games,Final Report,November 2023 6 6 2.2.G Good careerood careers s in in ScreenScreen and Gamesand Games The Screen Industries are one of the UKs greatest success stories.A rapidly growing and innovative part of the economy and,as part of the wider Creative Industries,one of five pr

24、iority sectors identified by UK Government.This chapter explores where within the sector growth and employment opportunities will be concentrated and which parts of the Film,TV and Games industry are most likely to offer good career paths for underserved young people.2.1 Introduction to the UK Scree

25、n and Games IndustriesThe Creative Industries are undoubtedly one of the UKs greatest success stories.Between 2011 and 2019,the sector expanded at more than double the rate of the UK economy(DCMS,2021)and latest estimates suggest Creative sectors have rebounded strongly post-Covid(DCMS,2023).Employm

26、ent in the Creative Industries has also grown rapidly over the past decade,with the number of jobs in the Creative sector increasing by 650,000 since 2011(DCMS,2021).The Screen Industries are a distinct part of the UK Creative Industries.Encompassing the production,post-production and distribution o

27、f film and television programmes;motion picture projection in cinemas;TV and radio broadcasting;and photography,the Screen Industries supported over 278,000 jobs in 2022 a significant and growing part of the UK economy.An aligned sector,which we have also included in this research,is the UK Computer

28、 Games Industry a fast-growing part of the Creative Industries,offering a growing number of employment opportunities(42,350 jobs in 2022)and to which young people can often easily relate.Together the UK Screen and Games sectors offer over 320,000 jobs in the UK.FigureFigure.2.12.1:The different part

29、s of the UK Screen and Games IndustriesThe different parts of the UK Screen and Games Industries Film&TV ProductionFilm&TV Production The production of motion pictures,videos,television programmes or television advertisements.101,000 jobs101,000 jobs Post-production activities such as editing,(sub)t

30、itling,credits,computer-produced graphics,animation and special effects.16,900 jobs16,900 jobs Film&TV PostFilm&TV Post-ProductionProduction Acquiring distribution rights and distributing film,videos and tv programmes to cinemas,television networks and stations.8,200 jobs8,200 jobs Film&TV Distribut

31、ionFilm&TV Distribution Motion picture projection in cinemas,in the open air and at cine-clubs.14,500 jobs14,500 jobs Film&TV Exhibition Film&TV Exhibition(Cinema)(Cinema)Radio BroadcastingRadio Broadcasting Creating and broadcasting aural programmes,through radio studios,networks and over the inter

32、net.20,000 jobs20,000 jobs TV BroadcastingTV Broadcasting 61,000 jobs61,000 jobs Creating and broadcasting a complete television programme,including through satellite and video-on-demand channels.PhotographyPhotography 56,000 jobs56,000 jobs Computer GamesComputer Games The development and publishin

33、g of interactive leisure and entertainment software across any format,including games consoles,the internet and mobile phones.42,500 jobs42,500 jobs A wide range of photography,including portrait,aerial,scenic and wedding photography;developing photographs;and photography for commercials,publishing,

34、fashion,tourism etc.7 2.2 Growth prospects of Film,TV and GamesLooking ahead,the Screen and wider Creative Industries are expected to continue to grow rapidly over the next decade,creating 300,000 additional jobs over the next five years alone(Creative UK/Oxford Economics,2021).The Creative Industri

35、es were identified as one of five growth sectors in the Chancellors Spring Budget(HM Treasury,2023)and measures announced,including reforms to the audio-visual tax relief,are expected to support further expansion of the Screen Industries.However,growth will not be felt equally in all parts of the UK

36、 Screen sector.Over the past decade,there has been a mixed picture of performance,which if continued,will see strong expansion and job creation in:Film and TV Production(c.25,000 additional jobs by 2030)Film and TV Post-production(c.22,000)TV Broadcasting(c.16,000)Computer Games(c.42,000)While these

37、 figures are based on the assumption of the continuation of past trends and hence should be treated with caution,they align with wider research.Research by ScreenSkills,for example,suggests Film and High-End TV(HETV)production could attract up to 2bn in additional production spending per annum by 20

38、25,creating a need for around 20,000 additional workers,on top of the 52,300 workers already employed in this part of the Screen Industries(Nordicity/Saffery Champness,2022).Expansion of film and HETV would also be expected to drive growth across the value chain,including post-production,animation a

39、nd VFX.Further,research by TIGA suggests that employment in the UK games development industry has been expanding at an annualised rate of 14.7%in recent years,driven by strong consumer demand;inward investment;and the launch of new games consoles by Sony and Microsoft(TIGA,2022).Figure Figure 2.2.2

40、2:TrendTrend-based projections of jobs growth in Screen and Gamesbased projections of jobs growth in Screen and Games Source:Analysis based on(DCMS,2021)Notes:Trend-based job projections are purely indicative and should be treated with caution.Improving young peoples access and progression in work i

41、n Film,TV and Games,Final Report,November 2023 8 8 2.3 Skills shortages in Screen and GamesIn addition to growing demand for workers,there is evidence of acute skills shortages in parts of the UK Screen and Games Industry(House of Lords Communications and Digital Committee,2023;BFI,2022;ScreenSkills

42、,2023;UKIE,2023).The Migration Advisory Committee Shortage Occupation List features several roles from the Screen and Games sector.ScreenSkills reports that 87%of employers in the Screen Industries saw recruitment difficulties due to a lack of relevant skills as a problem.36%suggested such recruitme

43、nt difficulties always or very often limited their business activities(ScreenSkills,2021)and this was echoed through our employer and stakeholder consultations.Research points to a wide range of roles for which Screen employers were finding it difficult to recruit(see Figure 2.3).Evidence submitted

44、to the BFI Skills Review also highlighted additional challenges in props,set decorating,supervising art directors,graphics,sparks,construction,costume supervisors,on-set VFX,grips,and focus pullers(BFI,2022).Figure Figure 2.2.3 3 Job roles that are hard to recruit in UK Screen and GamesJob roles tha

45、t are hard to recruit in UK Screen and Games Screen employers reporting skill shortages as a problem Source:(ScreenSkills,2021)%employers who found it difficult to recruit 87%87%Film(Production)Film(Production)Production Coordinator;Production Manager;Hair&make-up artist;Producer;Editor;Line produce

46、r;Location assistant;Runner;Costume designer;Storyboard artist;Edit assistant;Accounts assistant;Assistant location manager;Location manager;Production assistant;First&second assistant camera;Camera operator;Art department coordinator;Art director;Assistant art director;Costume assistant;Costume sup

47、ervisor;Hair&makeup trainee;Production designer;Accommodation coordinator;Assistant stunt coordinator;First assistant director;Assistant production coordinator;Production accountant;Production trainee;Unit production manager;Sales director;Data wrangler;Camera trainee;Digital imaging technician assi

48、stant;DoP;Electrician;Grip;Sound assistants/cable runner;Sound recordist Childrens TV(Production)Childrens TV(Production)Production manager;First assistant director;Art director;Camera op;Line producer;Production coordinator Other scripted TV(Production)Other scripted TV(Production)First assistant d

49、irector;Director;Hair and make-up artist;Location manager;Unit manager;Art department coordinator;Buyer;Camera trainee;Costume designer;Edit assistant;Location assistant;Make-up assistant;Production accountant;Production coordinator;Production manager;Script supervisor.Unscripted TV(Production)Unscr

50、ipted TV(Production)Editor;Production coordinator;Production manager;Development AP;Series producer;Shooting PD;Development producer;Edit producer;Executive producer;Researcher;Shooting AP HighHigh-End TV(Production)End TV(Production)Production coordinator;Costume designer;First assistant director;A

51、ssistant production coordinator;Location manager;Art department coordinator;Costume supervisor;Hair and make-up trainee;Hair and make-up artist;Standby props;Director;Assistant producer;Account assistant;Line producer;Location assistant;Production accountant;Production manager;Production secretary;U

52、nit production manager;Camera trainee;Electrician AnimationAnimation 2D animator;Production manager;2D designer;Background designer;Storyboard artist;2D and 3D rigger;3D animator;Animation editor;Art director;Colour concept artist;Director;FX supervisor;Key animator;Lead FX artist;Line producer;Prod

53、ucer;Real-time developer;Technical artist;Toon boom animator VFXVFX Facial modeller;Real-time engine coder(for virtual production);VFX producer Post Post-productionproduction Colourist;Dubbing mixer;High-end tech ops(MCR pipeline);Post-production producer 3D programmer;Animator;Artist;Back-end progr

54、ammer;Game designer;Network programmer;Technical artist directors;Technical artist;UI designer Computer GamesComputer Games Source:(ScreenSkills,2021)Notes:Excludes Covid-related roles 9 2.4 Assessing job quality in the Screen IndustriesA key concern for the research is determining which parts of th

55、e Screen Industries,and job roles within them,could offer good work and career prospects for young people from disadvantaged backgrounds.Despite strong focus on job quality in the research literature and policy discourse,there is no singular,widely adopted definition.We use as a starting point the d

56、efinition developed by the PEC Good Work Review,which features six main dimensions(see Figure 2.4)The weight attached to different facets of good work varies between individuals and across the life course.Hence,our work must consider which features are most important for young people from disadvanta

57、ged backgrounds.Research for the Youth Futures Foundation,involving considerable consultation with young people,highlights the importance of the following aspects(Youth Futures Foundation,2019;Newton,et al.,2020;Williams,et al.,2021):Pay Young people need jobs that enable them to support themselves,

58、with pay at the Real Living Wage rate or higher.Security a regular,reliable income is vital to promote independence,financial security and long-term planning.This was associated with full-time work,a permanent contract,regular working hours and sick pay.Evidence also suggests that young people shoul

59、d remain in work 6-12 months after starting a job.Starting a business can provide a good career path and enhanced flexibility,where it is a positive,well-informed choice and generates sufficient income.Flexibility and autonomy young people seek flexible hours,that they can control,in order to achiev

60、e work-life balance.Recognition and support-young people say they want to feel valued in their role and a supportive work environment is key to promoting the retention and progression of disadvantaged young people in work.Professional development and progression with weight given to opportunities to

61、 participate in high quality training and benefit from wider career support.This was seen as vital to foster opportunities for progression,in terms of pay,skills and responsibility.A final consideration in the context of empowering young people as change-makers,is whether roles have creative control

62、,so to enhance the diversity of those that determine the stories that get told through creative media.Figure Figure 2.2.4 4:Defining Good Work in the Creative IndustriesDefining Good Work in the Creative Industries Source:(Carey,H;Giles,L;OBrien,D,2023)Improving young peoples access and progression

63、in work in Film,TV and Games,Final Report,November 2023 1010 In many respects,the Screen Industries offer good jobs for workers.Average rates of pay outstrip those on offer in other parts of the economy,with full-time employees earning on average 673 per week,compared to the average of 538 across al

64、l industries.Workers in the Screen Industries also benefit from considerable autonomy having greater control over the tasks they do,in which order,the way and pace at which they work.Creative roles in the Screen sector can also provide meaning and purpose,offering an opportunity for creative express

65、ion,to pursue ones passion and to make a positive difference in the world by telling stories and providing a platform for marginalised voices(Carey,et al.,2023).However,in other regards work in the Screen Industries can be more challenging.This can relate to the very structure of work in the sector,

66、with more than one-third(36%)of workers in the Screen Industries being self-employed double the rate across the economy of(15%).This propensity for contract or freelance work on short-term projects creates insecure work,with more limited rights and benefits,fluctuating income and financial insecurit

67、y.While freelance work can present enhanced flexibility,the need to work to production schedules in parts of the sector means Screen workers can have less control over their work hours.Working days can also be extremely long,often beyond contracted hours,with few breaks and long commutes(Swords,et a

68、l.,2022).In parts of the Screen sector,there is also evidence of challenging work environments,including a lack of respect and dignity,bullying and harassment.Together these factors can negatively impact the mental health and wellbeing of the Creative workforce,with higher rates of stress,anxiety,an

69、d depression(Wilkes,Carey,&Florisson,2020).Finally,investment in training is more limited in Screen,where employers are less likely to have formal processes for nurturing talent and workers are less likely to have participated in training(Carey,et al.,2023).It is important to note,however,that the p

70、icture of work can vary considerably within the Screen and Games Industries,and hence it is important to explore job quality at this more granular level.Figure Figure 2.2.5 5:Measures of job quality:Screen Industries vs All IndustriesMeasures of job quality:Screen Industries vs All Industries Notes:

71、1 Mean Score of Happiness,derived from the question:How happy did you feel yesterday?(where nought is not at all happy and 10 is completely happy)2 Mean Score of Anxiety,derived from the question:How anxious did you feel yesterday?(where nought is not at all anxious and 10 is completely anxious)Sour

72、ce:Data drawn from (Carey,H;Giles,L;OBrien,D,2023)11 2.5 Examining job quality within the sectorPay:Pay:Employees in Film and TV Production,Post-Production(inc.Animation and VFX)and Distribution;in TV Broadcasting;and Computer Games all benefit from relatively high annual salaries(DCMS,2022;UKSA,201

73、7).However,this is not the case in other parts of the Screen Industries,and annual earnings in Film&TV Exhibition(cinemas);Photography;and Radio broadcasting are actually below the UK average(26,280).Security:Security:Levels of job security also vary considerably across the Screen and Games Industri

74、es.In Film&TV Production freelance work is much more common and a much smaller share of employed staff are on permanent contracts(ONS,2018),echoing wider research reporting greater financial insecurity in Film and TV production and development(Wilkes,et al.,2020).Atypical working is also more preval

75、ent in Film and TV Post-Production(including Animation),albeit research by the UK Screen Alliance suggests permanent employment is more common in VFX than in other parts of the film&TV industry(UKSA,2017).Other parts of the sector also offer greater employment security,notably high pay sectors such

76、as TV broadcasting and Computer Games(Taylor,2022).Autonomy&flexibility:Autonomy&flexibility:while we lack data on autonomy experienced by workers in different parts of the Screen and Games Industries,wider evidence suggests that autonomy afforded to Creative workers tends to increase with age,as mi

77、ght be expected(Carey,et al.,2023).While workers across the Screen Industries are less likely to have formal flexible working arrangements in place,those employed in Film and TV Post-Production;Film and TV Exhibition and Radio Broadcasting are more likely to benefit from such arrangements including

78、Flexi-time,annualised hours,term-time working and job-share.Figure Figure 2.2.6 6a a:Measures of job quality:within the Screen Measures of job quality:within the Screen and Games Industriesand Games Industries Average annual earnings(employees only)%employees on permanent contracts%workers that are

79、self-employed Sources:(DCMS,2022)(ONS,2018)%workers with flexible working arrangements Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1212 Working conditions:Working conditions:work hours can be particularly long in Film&TV Production,where wor

80、kers are often working to tight production schedules (Swords,Mayne,Boardman,&Ozimek,2022;Carey,H;Giles,L;OBrien,D,2023).In Radio and TV broadcasting;Film and TV Exhibition;and Computer Games,work intensity is more in line with other sectors(ONS,2018)(Taylor,2022).High pressure work environments,as s

81、een in parts of the Screen sector,can drive poor workplace poor workplace practicespractices.Past research points to a lack of dignity and respect,bullying and harassment in parts of UK Screen,particularly pronounced in Production and development and Broadcasting,where over 85%of workers in these se

82、ctors reported having witnessed and/or experienced workplace bullying(Wilkes,et al.,2020;Film and TV Charity,2022).While we lack comparable data for the Games Industry,evidence from the UK Games Census suggests a significant minority(22%)of workers in the sector do not believe bullying and harassmen

83、t is taken seriously in the UK Games Industry.Professional development&progression:Professional development&progression:rates of training in the Screen Industries are amongst the lowest in the economy and are particularly limited in Film and TV Production and Post-Production and Photography,though i

84、t is noteworthy that freelance work is more prevalent in these sectors and professional development more limited amongst the self-employed(Carey,H;Giles,L;OBrien,D,2023).Rates of professional development are however more in line with the all-industry average in Radio&TV broadcasting;Film&TV Exhibiti

85、on;and Computer Games.Sources:(ONS,2018)(Wilkes,et al.,2020)Figure Figure 2.2.6 6b b:Measures of job quality:within the Screen and Games IndustriesMeasures of job quality:within the Screen and Games Industries%workers working 50+hours per week%workers witnessed/experienced bullying or harassment%wor

86、kers participating in training 13 2.6 Identifying good career pathways in Screen and Games Figure 2.7 provides a summary of our analysis of job quality within the Screen and Games Industries and suggests that the parts most likely to offer good career paths are:Film&TV Post-Production(particularly V

87、FX and Animation);TV Broadcasting;Computer Games;and Film and TV Production,but in the case of the latter,with additional provisions to mitigate risk in some production environments and offer sustained employment opportunities.In the pages that follow we explore some of the career pathways within th

88、ese sub-sectors.Understanding at greater depth the types of job roles and career pathways on offer within these parts of the Screen and Games Industries will be important in targeting interventions and supporting sustained employment outcomes for disadvantaged young people.In the Screen Industries,S

89、creenSkills,supported by National Lottery funded awarded by the British Film Institute,has developed detailed job profiles and career maps for different parts of the sector.These provide the basis to understand good career pathways,including more detailed information on job roles,progression pathway

90、s and routes into these jobs.In the pages that follow,we provide examples of potential career pathways within Film and TV Production;Post-production,VFX and Animation;and Games.Figure Figure 2.2.7:7:Summary characteristics of different Screen and Games sectorsSummary characteristics of different Scr

91、een and Games sectors Notes:Cell highlighting reflects positive performance,above the Screen sector and/or all industry average.Figure 2.7 should be considered as indicative,in some cases using proxies or subjective judgement.For instance,permanent employment contracts are used as a proxy for job se

92、curity;work intensity and workplace bullying is considered indicative of the work environment.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1414 Film and TV ProductionFilm and TV Production It is not necessary to go to university to get in to

93、Film and TV Production,although the majority(77%)of the workforce are qualified to degree-level.There are a growing range of Apprenticeships available,including for Broadcast Production Assistant;Creative Industries Production Manager;and Junior Content Producer.Many broadcasters and production comp

94、anies offer work experience,internships and training programmes.PostPost-ProductionProduction It is not essential to go to university to get into post-production greater weight is given to evidence of technical and craft skills.Some post-production companies offer Apprenticeships as a Post-Productio

95、n Technical Operator or similar.15 AnimationAnimation The vast majority(93%)of those working in Animation are degree qualified.Animation requires a blend of art and technical skills,so courses that combine Art and Design with Physics,Maths or Computer programming provide the basis for a good career.

96、Apprenticeships for Junior Animators and Storyboard Artists are in development,but wider Apprenticeships for some roles in Production,Post-Production and VFX will be relevant.Visual EffectsVisual Effects The VFX workforce is also highly qualified(83%workers hold a degree-level qualification).Some wo

97、rkers have Creative Media degrees,but Physics,Maths and Computer Science are relevant.Apprenticeships are relatively new,though NextGen Skills Academy has supported the development of apprenticeship standards for Junior 2D Artists and Assistant Technical Directors.It is possible to transfer into VFX

98、 from data wrangling roles in other sectors and roles that require a blend of STEM and Art in Animation.TV BroadcastingTV Broadcasting It is not essential to go to university to get into TV Broadcasting,unless pursuing a more technical route which may require a degree in Broadcast engineering.TV Bro

99、adcasters often offer trainee or Apprenticeship programmes including as a Technical Operator or Software Developer.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1616 Computer GamesComputer Games The Games Industry is highly qualified,with 86%w

100、orkers holding a degree.A large number of universities and colleges offer Video Games courses and Computer Programming/Science,Physics,Maths,Animation,VFX,Art and Design are also relevant.There are a range of vocational applied general qualifications of relevance such as BTECs,and Diplomas offered b

101、y Aim Awards in Games Design and Development.Games Industry Apprenticeships are in development,but Apprenticeships in Creative Digital Media,Visual Effects or Digital Technology with a Games company can provide a viable route in.Employers will look for a portfolio of work or examples of code.SubSub-

102、sectorsector E.g.,pathwayE.g.,pathways s E.g.,entry rolesE.g.,entry roles SubSub-sectorsector E.g.,pathwayE.g.,pathways s E.g.,entry rolesE.g.,entry roles Film&TV Production Development Personal Assistant/Researcher Visual Effects Artist Junior Artist Production Production Assistant/Runner Programme

103、r Data Technician Editorial Researcher/Runner TV Broadcasting Editorial Researcher Craft Art Dept Runner Floor Floor Runner Post-Production Post-production Post-production Assistant/Runner Computer Games Design Level Designer Edit Edit Assistant Programmer Generalist Programmer Animation Animator Ju

104、nior Animator Story Storyboard Artist Figure Figure 2.82.8:Summary:Summary:14 14 potential pathways to good careers in Screen and Gamespotential pathways to good careers in Screen and Games 17 Good careers in Screen and Games:Key TakeawaysGood careers in Screen and Games:Key Takeaways The Film,TV an

105、d Games industries are one of the UKs greatest success stories growing at double the rate of the UK economy prior to the pandemic.As part of the wider Creative Industries,they are one of five priority sectors identified by UK Government.Looking to the future,the sector is expected to expand rapidly.

106、If its impressive growth performance continues,the Film,TV and Games industries could create an additional 84,000 jobs by 2030.However,not all parts of the Screen Industries are expanding at the same pace.Nor will all jobs offer the good pay,job security,flexibility and opportunities for professiona

107、l development and progression that disadvantaged young people seek.Our analysis suggests the parts of the Screen and Games Industries most likely to offer good career paths could be:Film&TV Post-Production(particularly VFX and Animation);TV Broadcasting;Computer Games;and(in some cases and with addi

108、tional provisions)Film and TV Production.To support the targeting of interventions,we identify 14 career pathways within these sub-sectors.This includes entry level roles such as production assistants(also referred to as runners),post-production and editorial assistants;junior artists and animators;

109、and data technicians and programmers,that offer progression routes into key creative roles in the Screen and Games industries.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1818 3.3.B Barriers to arriers to access aaccess and progressionnd prog

110、ression Having identified potential pathways into good jobs in the UK Screen and Games industries,we now turn to consider the extent to which young people are currently able to secure employment in these roles.Further,in shaping the design of interventions,it is key to understand the barriers those

111、from disadvantaged backgrounds face in getting in and getting on in the Film,TV and Games Industries.3.1 Diversity and inclusion in the UK Screen and Games IndustriesTracking the employment outcomes of the cohorts of young people the research focusses on is challenging.While data exists that allows

112、us to identify young people,people of colour and those from socio-economically disadvantaged backgrounds,the main surveys used to inform Governments labour market statistics do not include questions exploring respondents experience of the care system or exclusion from school.Further,given the Screen

113、 industries represent a small share of the UK economy(1%),a very small number of young people working in Screen are surveyed each year.Given this,new primary research could be viewed an important priority.For now,we can explore the representation of younger people in the Screen Industries.Figure 3.1

114、 suggests that the age profile of those working in Screen and Games is generally younger than in other industries,but that this tends to manifest in a higher representation of those aged between 25 and 39.Slightly more than one in ten(11%)workers in Screen and Games are aged under 25:in line with th

115、e all industry average.However,the average across the Screen and Games Industry masks significant variation within these sectors.Nearly half(48%)of all workers in Film and TV Exhibition(cinemas)are under the age of 25.In contrast,in all other parts of the sector,the presence of young people aged bet

116、ween 16-24 falls below the all-industry average.This is particularly true in Radio and TV Broadcasting,Film and TV Post Production and Computer Games.This is likely to reflect the fact the majority of the workforce in these sectors are degree-educated,and that it can take time for young people to de

117、velop a Creative portfolio,which(as we saw earlier)is often a pre-requisite to access these roles.Figure Figure 3 3.1.1 The age profile of the Screen Industries workforceThe age profile of the Screen Industries workforce Figure Figure 3 3.2.2 Proportion of the workforce aged under 25Proportion of th

118、e workforce aged under 25 Source:Annual Population Survey 2020 Source:(ONS,2018)Young people from marginalised backgrounds may face additional challenges in securing and progressing in work.A lack of diversity and inclusion remains a critical challenge for the Screen Industries with disparities in a

119、ccess,pay and progression evident for women,those from working-class backgrounds,disabled people,people of colour and those that are not degree educated.Despite the Screen and Games sectors being heavily concentrated in more ethnically diverse urban centres(particularly in and around London),those w

120、hose ethnicity is either Mixed/multiple,Black,Asian,or Other are no more represented in the sector than in other parts of the economy(ONS,2020).In Film and TV Production,those from ethnically diverse backgrounds are underrepresented,comprising just 6%of the workforce,compared to 12%across all indust

121、ries(ONS,2018).Research suggests a proportionate representation of ethnically diverse talent in Post-production,VFX and Animation,but finds workers from Black,Asian,Mixed/multiple or Other backgrounds tend to be more likely to be working in technical and administrative roles and are under-represente

122、d in senior management(UK Screen Alliance,2019).The UKIE Census finds that workers whose ethnicity is either Mixed/multiple,Black,Asian,or Other are also under-represented in UK Games(Taylor,2022).When it comes to socio-economic background*,the Screen Industries are one of the least diverse,and most

123、 elite,parts of the UK economy.Just one in four(28%)workers in the Screen Industries are from socio-economically disadvantaged backgrounds compared to 40%of the UK workforce(Carey,H;Giles,L;OBrien,D,2023).Those from working-class backgrounds are also underrepresented in the Games industry,where 61%o

124、f jobs are held by those from privileged backgrounds,compared to 37%of the general population(Taylor,2022).What this means is that,while the Screen and Games Industries will create many thousands of good quality,highly-paid jobs in the years ahead,without intervention,these might be out of reach for

125、 young people from under-served backgrounds.Figure Figure 3.3.3 3:Ethnicity of workers in different Ethnicity of workers in different departments in Post production,VFX and Animationdepartments in Post production,VFX and Animation Figure Figure 3.3.4 4:Percentage of the workforce that are from socio

126、Percentage of the workforce that are from socio-economically disadvantaged backgrounds economically disadvantaged backgrounds Source:(Carey,H;Giles,L;OBrien,D,2023)based on the Labour Force Survey 2017-2019 Source:(UK Screen Alliance,2019)*Please refer to Annex A for definitions Improving young peop

127、les access and progression in work in Film,TV and Games,Final Report,November 2023 2020 3.2 Exploring disadvantage in the Screen and Games IndustriesThe causes of inequality in the Screen Industries are relatively well-documented,and often rooted in the structure,practices,informality,and culture th

128、at dominates work in these sectors.Past work undertaken by the PEC has sought to map points of disadvantage across the life-course.While the focus of the PECs work to date has been class-based disadvantage,the findings have wider relevance for other marginalised groups and echo other in-depth studie

129、s of workforce diversity and inclusion in the UK Screen Industries.The evidence base points to complex multi-faceted and inter-related barriers,that are rooted in early in life experiences;continue into further education;inhibit transition to work;and undermine opportunity for progression and advanc

130、ement throughout ones career.The underlying causes of many of these issues lies in disparity in the financial,social and cultural capital of individuals and the structural features,spatial pattens of employment,recruitment and working practices which are distinct to the Screen Industries.In the page

131、s that follow,we provide further detail on the factors that inhibit disadvantaged young people from getting in and getting on in the UK Screen and Games Industries.This draws together evidence from the literature review,stories of lived experience of disadvantage from our fieldwork interviews with y

132、oung people,and consultations with industry stakeholders and employers.Where relevant,we include quotes from the fieldwork interviews to help bring to life these issues.We use pseudonyms throughout to preserve anonymity and have removed any information that could identify the participant.Figure Figu

133、re 3.3.5 5:Barriers to getting in and getting on to the UK Screen and Games IndustryBarriers to getting in and getting on to the UK Screen and Games Industry Sources:(Carey,et al.,2021)EarlyEarly-life barrierslife barriers 1.Access to Culture Cultural experiences available to children can have a las

134、ting impact on future success,yet access to culture is highly unequal(Reeves&de Vries,2019;Davies&Rizk,2018).Research suggests that pupils in high-deprivation schools have fewer opportunities for out-of-classroom education and that some extracurricular activities(particularly music)remain largely th

135、e preserve of the wealthy,in part because of the financial cost of participation(Crenna-Jennings,2018;Donnelly,et al.,2019).This was echoed in our fieldwork interviews with young people,where a lack of access to culture meant they had a limited understanding of the Screen and wider Creative sector.T

136、his is illustrated by River a research participant who had little experience of the Screen Industries,given they grew up in a household that didnt have a TV license.Further,research suggests that the patterns of cultural consumption of privileged youths are much more closely aligned to those who wor

137、k in the Creative Industries than youths from socio-economically disadvantaged backgrounds(Carey,et al.,2022).This then affects the accumulation of cultural capital amongst these young people,setting them at a disadvantage later in life,when cultural matching can influence hiring decisions(see point

138、 8 below).2.Participation&achievement in cultural education Alongside well-evidenced educational attainment gaps for disadvantaged students(overall),there exists disparities in cultural education participation and achievement(Crenna-Jennings,2018;Hutchinson,et al.,2020).Ofsted have voiced concerns t

139、hat lower-attaining students can be filtered into a different pathway and creative subjects“sometimes marginalised”(Hutchinson,et al.,2020).Disadvantaged students are considerably less likely to participate in most creative subjects at GCSE-level,and there also exists significant gaps in attainment(

140、Spielman,2017;Ofsted,2018).Disparities are particularly pronounced for Music(38%relative participation gap;20 months disadvantage gap);Drama(16%and 16 months)and Media,Film and TV studies(9%and 13 months)(Hutchinson,J;Reader,M;Akhal,A).Further,there are significant concerns about the impact of the d

141、eprioritisation of creative education in England on the awareness and appetite of young people to pursue creative careers.This was something highlighted by one of the young people we spoke to,who emphasised how this would disadvantage those without the financial means to pay for cultural activities

142、outside of school.3.Careers education and role models A significant barrier to access highlighted by the literature review,fieldwork interviews and consultations is a lack of awareness of the broad range of job roles available in the Screen Industries and how best to go about accessing them.“We neve

143、r had a TV license at all really.Its probably about six months to a year in the entire life that Ive had a TV license.So very little experience with Film and TV.”RiverRiver“I think when arts programs are being cut,youre not necessarily going to find your interest in that at 11,12,13 unless youre pay

144、ing for it privately or doing extracurricular activities.”MayaMaya Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 2222 Parental influence was a recurring theme.For some young people,having a family member working in the industry was a key deter

145、minant for pursuing a similar career.But others suggested parents or wider role models tended to encourage them towards more traditional trade,service or professional roles or to pursue more academic routes.Young people of colour we interviewed also suggested there were cultural factors at play,with

146、 parental expectations deterring them from pursuing a creative career.Often this reflected the perception of creative activities as a hobby and creative careers as insecure or unachievable.This wasnt limited to parents.Careers educators are widely reported to lack information on the Screen Industrie

147、s(ERIC/BFI,2022),with a number of our interviewees suggesting they received unhelpful advice and guidance and were actively steered towards alternative paths.Research suggests that students from disadvantaged backgrounds can also deprioritise career support given a need to focus on basic needs(pover

148、ty,trauma,crime,wellbeing)(Hunt,et al.,2021).Further,with key creative and senior roles in the Screen Industries dominated by white males from privileged backgrounds,there are significant concerns that those from marginalised backgrounds may lack visible role models and connections with those who wo

149、rk in the industry.This reinforces the lack of awareness of career opportunities and instils a sense that these jobs are not for people like me(Brook,et al.,2020;Eikhof&Warhurst,2013;ERIC/BFI,2022).This came through strongly in the fieldwork interviews,where the young people we interviewed suggested

150、 they do not see themselves reflected in the Screen workforce and questioned the authenticity of industry efforts to enhance diversity and inclusion.PostPost-16 Education16 Education 4.Access&achievement in Higher Education The Screen Industries depend heavily on highly-qualified talent,where over 7

151、 in 10 workers are qualified to degree level or above(Giles,et al.,2020).There is also evidence of credentialism,where higher education,particularly from a prestigious institution,is used as an indicator of a candidates skills and capabilities when hiring,when,in many cases,a degree is not necessary

152、,nor a good signaller of creative talent,technical ability or soft skills(Carey,et al.,2021).Given the significant and persistent gap in the progression rate to higher education(HE)between Free School Meal and non-Free School Meal pupils(19 percentage points)and Looked after Children and other pupil

153、s(32 pp),this will pose a significant barrier for young people from disadvantaged backgrounds(Department for Education,2022).“.we are very academic as a family,its straight school kind of thing.Film,TV and Games has never been thought of as a career:its been like a hobby growing up in my household.”

154、AmnaAmna“.I think because I havent met anybody who works in the screen industries,one,and then when you do see people maybe on TV or at awards ceremonies,theyre not necessarily people that you would think maybe have the same background as you or have had the same experiences.It comes across that the

155、 industry isnt diverse or inclusive.”AmelieAmelie Further,past research has found that changes to the funding landscape for HE-including the introduction of tuition fees and the removal of government grants for art and design training,have made it harder for those from low-income backgrounds to stud

156、y creative higher education(Banks&Oakley,2016).This emphasises the importance of university outreach or access schemes,which several of the young people we interviewed suggested had been pivotal in them progressing careers in the Screen Industries.5.Technical education pathways5.Technical education

157、pathways Other interviewees stressed the importance of the Screen Industries being more open to those who havent come through university,recruiting young people from school and further education.Technical education can offer a more inclusive route into professional occupations to those unable to bea

158、r the cost of higher education(Battiston,et al.,2020).Indeed,several of the young people we spoke to emphasised the role of their local college in helping them develop skills relevant to the Screen Industries.The link between colleges and employers was seen as particularly valuable in building caree

159、rs awareness and work readiness.For other young people we interviewed,the opportunity to earn while you learn,through an Apprenticeship,offered a valued route in to the industry.Yet a wide range of research suggests fractured and flawed technical education pathways into the Screen Industries can und

160、ermine this potential.There has been a dramatic reduction in the take-up of Arts,Media and Publishing courses in Further Education(FE)(Cultural Learning Alliance,2019).And despite investment in new Apprenticeship Standards and Flexi-Apprenticeships pilots,a range of industry-specific implementation

161、challenges remain,relating to the 12 month minimum term,salary costs,supervisory requirements and parity of esteem with academic routes(Carey,et al.,2019).Further,evidence suggests disadvantaged young people face additional challenges in accessing Apprenticeships,particularly linked to minimum entry

162、 requirements and an inability to cope on an Apprenticeship salary(Buzzeo,et al.,2016).6.Work readiness,soft skills&polish6.Work readiness,soft skills&polish Alongside schooling,further and higher education,there is a growing focus on work-readiness and soft skills(such as communication,problem-solv

163、ing,time management)in aiding a smooth transition from education to the world of work(Giles,et al.,2020).Research has found that educational and socio-economic background influences the soft skills of education leavers,and their polish;and that this in-turn impacts their likelihood of getting in,and

164、 getting on,in the Creative Industries(Rivera,2015;Friedman&Laurison,2020).Further,disadvantaged young people have been found to require additional support from staff that understand their distinct circumstances,in order to support work transitions and mitigate the risk of“the reason I ended up real

165、ly even applying to Oxford was because Oxford did a program at my sixth form college they invited lecturers and speakers every few weeks to come to the college and then theyd give a talk and at the end we had the graduation ceremony at Christ Church.And I was like,Oh,this is quite nice.So I applied.

166、”EdenEden“I was torn between whether I go to university or whether I do an apprenticeship.I did an apprenticeship instead,for a company,because in my head I thought itd be great to just study and qualify,and get paid.”JoveeJovee Improving young peoples access and progression in work in Film,TV and G

167、ames,Final Report,November 2023 2424 attrition(Buzzeo,et al.,2016).The importance of pastoral care for disadvantaged young people while they learn was also emphasised during our fieldwork interviews as illustrated by Saanvi(below)who had experience of the care system.Transition to WorkTransition to

168、Work 7.Informal recruitment 7.Informal recruitment practicespractices&networks&networks Many employers in the Screen Industries,particularly in Film and TV production and post-production,recruit through informal channels,via personal connections and word of mouth(ScreenSkills,2021;BFI,2022;Carey,et

169、al.,2017).While professional networks are a common source of candidates across many areas of the economy,the project-based,freelance nature of work can mean significant proportions of jobs,and sometimes entire teams of workers,are hired without the use of any formal recruitment practices(Carey,et al

170、.,2017).This can act as a significant barrier to entry for those from less advantaged backgrounds,who tend to have more limited social networks(Hunt,et al.,2021;Brook,et al.,2020;Brook,et al.,2018).Several of our interviewees pointed to the advantages afforded to those with friends or family working

171、 in the Screen and Games Industries and felt that not having anyone within their wider network working in the sector significantly impacted their ability to secure a foothold in the industry.8.Cultural matching8.Cultural matching Even when those from minority groups do have sight of and pursue oppor

172、tunities in the Screen Industries,there is growing evidence of unconscious bias in the recruitment process and cultural matching where those hiring are drawn to candidates that share their tastes,interests and leisure pursuits,reinforcing existing exclusions.This means that success is often more ass

173、ociated with having the right hobbies and interests or dressing in the right way,than anything connected with ability or performance.(Eikhof&Warhurst,2013)(Carey,et al.,2021)(Brook,et al.,2020)(Friedman&Laurison,2020).9.First steps 9.First steps-internships,placements&payinternships,placements&pay O

174、ne of the most frequently critiqued but still present barriers to entry for many aspiring Film and TV workers is the need to work for low or no pay in order to establish and sustain a career in the Screen Industries.Research for Create London found that 87%of cultural workers surveyed had reported w

175、orking for free in some way(Brook,et al.,2018)and our stakeholder consultations suggest that while there have been improvements,internships(or similar)and jobs such as runners were often unpaid.Further,even when paid,research suggests that few opportunities offered sufficient pay to offset costs of

176、travel and accommodation,which poses a significant barrier to those without financial backing from parents/guardians or a place to stay“They were really good because I was in care.The teachers made it quite easy for me to come to them and say,Do you know what?Like my social worker,You know what?Im n

177、ot understanding this.Would it be okay if you guys got me a tutor or something?And that helped a lot because I did really well in my English.I got six and seven,and that was because I got a tutor,so that helped.”SaanviSaanvi“.if you dont have people in those industries like myself,because I dont kno

178、w anybody that works in any kind of technology or screen industries.So I think its just hard to get your foot in if you dont have those.”.FrankieFrankie with friends or family.This issue is exacerbated by the spatial concentration of the Screen Industries in London and the South East(Allen,et al.,20

179、13)and will be felt more acutely by young people from low-income backgrounds and by young people transitioning from care,who face substantial financial and emotional barriers to relocation(Ellis&Johnston,2020).Indeed,several of the young people we interviewed that had experience of working in the Sc

180、reen Industries told of the financial struggles they faced meeting travel costs and living expenses,given low pay in entry level roles and delays in getting paid.Others highlighted how project-based,insecure work acted as a substantial barrier for those without the financial backing of family or fri

181、ends.In work progression and advancementIn work progression and advancement 10.Organisational culture&fit10.Organisational culture&fit Organisational culture can play a considerable role in influencing ones experience of work and sense of belonging and mastering behavioural codes can be vital to get

182、ting on at work.Knowledge of this code can act as barrier to those from marginalised backgrounds(Friedman&Laurison,2020)In parts of the Screen Industries,where you went to school or what university you attended has been shown to open doors and help one fit in(Randle,et al.,2015).Further,there is evi

183、dence that in parts of the sector,non-standard work environments and a lack of formalised HR processes and accountability can normalise workplace practices and behaviours that would be unacceptable elsewhere(Wilkes,et al.,2020).This includes discrimination,bullying and harassment(as discussed earlie

184、r),as well as micro aggressions in the workplace,often characterised as banter about accents or cultural knowledge,which can leave people feeling like they cannot bring their whole self to work(Carey,et al.,2021).This was evident in the narrative of those young people we interviewed working in the S

185、creen Industries,who spoke of how work culture and a lack of the diversity made them feel marginalised,or,as Ivy puts it,as an outsider,instilling a sense that they dont belong in the industry.This contrasts strongly with the supportive work environments that have been shown to support sustained emp

186、loyment outcomes for disadvantaged young people,which feature ongoing moral support,financial aid and nurturing peer communities(Furey&Harris-Evans,2020;Newton,et al.,2020).11.11.Progression pathways&professional Progression pathways&professional developmentdevelopment Some parts of the Screen Indus

187、tries lack formal job structures and careers pathways.For some workers,progression might be defined not by a change in job title,but by having more creative“the friends that I have who have made it in that industry are people who are funded by their parents in a sense of you have to be able to take

188、three months unpaid or take X amount of time off work to go and interview for this or go and do that And as well the way that she got in was doing a lot of daily type stuff.So its a case of,okay,well I have money this week but I dont know about next week.And thats quite a heavy cross to bear not kno

189、wing if youre going to have money from one week to the next.”MayaMaya Everyone with a higher job title were all either white men or white women.And it was quite disheartening because being in a place like that and being the only outsider,it just feels really like,am I meant to be here?”IvyIvy Improv

190、ing young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 2626 control,access to larger budgets or the chance to work with higher profile teams and creatives(Carey,et al.,2017)(Carey,et al.,2021).A lack of professional development or workplace training,often li

191、nked to non-standard workplaces,presents additional challenge,particularly for those from low-income backgrounds(BFI,2022).Those from working-class backgrounds are slightly less likely to have participated in training in the past three months.(Carey,et al.,2020).Further,past research suggests those

192、that are marginalised can struggle to speak up and be heard in some Creative work environments and without financial security,workers can find it harder to take risks,which in the Screen Industries can undermine career success(Carey,et al.,2021).12.Leadership role models&sponsorship12.Leadership rol

193、e models&sponsorship Research suggests that those from diverse backgrounds remain under-represented in key leadership roles in the Screen Industries(Directors UK,2018;UK Screen Alliance,2019).This has important implications for company culture and for the presence of diverse and visible role models

194、in leadership positions.This was evident from our interviews with young people,who questioned what it took to progress into senior positions and felt the lack of diverse talent in leadership roles,within film and TV in particular,undermined the authenticity of industry efforts to enhance diversity a

195、nd inclusion.Wider evidence suggests that limited social networks and the absence of sponsors,who often provide mentorship,advocacy and advice to enable the success of those from more privileged backgrounds can inhibit progression of marginalised groups.These relationships are often predicated on sh

196、ared tastes,interests and leisure pursuits and hence disproportionately benefit those who have cultural affinity with those already in senior positions(Friedman&Laurison,2020;Brook,et al.,2020).Given informal hiring practices in the Screen Industries,the lack of networks and sponsorship act as a sig

197、nificant constraint for those from marginalised backgrounds looking to progress in the sector(Buzzeo,et al.,2016;Brook,et al.,2020).3.3 Summary:the barriers to getting in and getting on in Film,TV&Games While we have sought to identify key points of disadvantage over the life course,there are some c

198、ommon themes that emerge at multiple stages,relating to three Cs:Capital;Chances and Confidence:CapitalCapital:the underlying causes of many of these issues lies in disparities in the financial capital(money),social capital(networks)and cultural capital(cultural references or behavioural norms)of yo

199、ung people from disadvantaged backgrounds relative to their counterparts.ChancesChances:a particular premium is placed on these capitals in the Screen Industries,because of their spatial concentration in urban centres;the structure of work in the industry,pay and precarity;work conditions;and workpl

200、ace practices.Some degree of upfront investment can often be required to develop a portfolio or back a new project,where returns are far from guaranteed.Its a high-risk game,where the stakes are high,pay-outs are rare and the deck is stacked in favour of the privileged.“I think authenticity is reall

201、y important when it comes to promoting diversity and inclusion because theres a lot of brands where you sit back,especially in advertising,you learn about Black washing,whitewash washing,pink wash.You want to make sure that the brand are actually what they say to be but I dont know if you can really

202、 fix that unless theres more people in those high positions that are not white.And then you also have to wonder how do you get more people in those high positions?”HarperHarper Confidence:Confidence:many young people from disadvantaged backgrounds may opt out of pursuing opportunities in the Screen

203、Industries because of a sense that these jobs are not for people like me or in anticipation of(very real)obstacles they may face in securing and progressing in work in the sector.So,if young people from disadvantaged backgrounds are to benefit from the opportunities created in the UK Screen and Game

204、s industries in the years ahead,significant and sustained action will be needed to address disadvantage across the life course.This will need to include both interventions that directly address the barriers faced by individuals;and that seek to drive systemic change addressing employer practices and

205、 industry norms that lie at the root of inequality.Our assessment of the barriers and our discussions with disadvantaged young people point to a range of potential levers for supporting access and progression in good jobs in the Screen Industries:Early life:Early life:creative learning,resources and

206、 extra-curricular clubs in schools;better information and advice on careers;employer inspiration activities;and positive diverse role models speaking with students in schools,colleges and universities;PostPost-16 Education:16 Education:Further and Higher Education outreach schemes,scholarships and b

207、ursaries;strengthening vocational pathways,including through Apprenticeships;short courses and mentoring to enhance soft skills;work experience,traineeships and placements;Transition to work:Transition to work:paid internships/industry placement schemes;flexible financial support;project-based fundi

208、ng schemes;resources for employers to promote inclusive workplaces;Progression in work:Progression in work:ongoing mentoring and support to enable young people to thrive in work;and flexible funding,training and professional development opportunities to enable progression.Improving young peoples acc

209、ess and progression in work in Film,TV and Games,Final Report,November 2023 2828 Barriers to access and progression:Key TakeawaysBarriers to access and progression:Key Takeaways Young people,people of colour and those from socio-economically disadvantaged backgrounds are currently significantly unde

210、rrepresented in many parts of the Screen and Games Industries.In Post-Production(inc.Animation and VFX)and Computer Games,just 6%of the workforce are under the age of 25,compared to 12%across all industries.In Film and TV Production,ethnically-diverse talent comprise 6%of the workforce half the aver

211、age across all sectors.In the Screen Industries,just 28%of workers are from socio-economically disadvantaged backgrounds compared to 40%of the wider workforce.While this partially reflects the time it can take to develop a creative portfolio and establish a career in these roles,the research identif

212、ies significant barriers faced by disadvantaged young people:twelve points of disadvantage that start early in life,continue in education,inhibit transition to work,and undermine career progression.The underlying causes of many of these issues lies in disparity in the financial,social and cultural c

213、apital of individuals and the structural features spatial pattens of employment,recruitment and working practices which are distinct to the Screen Industries.For disadvantaged young people to access and thrive in good jobs in the Screen and Games Industries significant and sustained action will be n

214、eeded,including interventions that address individual barriers and that drive systemic change.The research identifies a range of priorities for action,including:enhanced opportunities for creative learning;better careers information and positive role models;university outreach and bursaries;apprenti

215、ceships and short courses;work experience and paid internships;flexible financial support;ongoing mentoring and support;and resources for employers.4.4.Mapping the landscape of supportMapping the landscape of support Given the significant barriers faced by disadvantaged young people in getting in an

216、d getting on in the Screen and Games Industries,significant action will be needed by Government,Industry and wider stakeholders to promote access and progression in work.This chapter presents the findings from our mapping of the complex landscape of support in the Screen Industries,exploring both th

217、e organisations and interventions that aim to enhance diversity and inclusion in the sector.4.1 Key organisations leading on diversity and inclusion in the Screen Industries The landscape mapping identified over 70 different organisations currently delivering diversity and inclusion(D&I)intervention

218、s in the Screen Industries.These organisations ranged from trade bodies and associations,to charities,not for profits,educators and social enterprises,through to the Public Service Broadcasters and some of the largest commercial businesses working in the sector.Many of these organisations are refere

219、nced in the detail that follows in this chapter.This section highlights some of the organisations most active in D&I initiatives across the Screen Industries.British Film Institute(BFI)British Film Institute(BFI)Founded in 1933,the BFI is the UKs lead organisation for film and the moving image.A reg

220、istered charity governed by Royal Charter,it aims to build a diverse and accessible screen culture that benefits all of society and contributes to a prosperous UK economy.Since 2017 the BFIs Future Film Skills Programme,funded by the National Lottery and delivered primarily by ScreenSkills,has inves

221、ted over 20 million in helping to support the development of a skilled and representative workforce across all Screen Industries.However,the BFI National Lottery funding is intended for good cause and is not able to meet the scale of investment required to keep pace with the current and expected fut

222、ure levels of production activity.Instead,National Lottery can help ensure a joined-up approach is taken to improve accessibility to work in the sector and build a workforce that genuinely reflects UK society.The BFI has published a new overarching 10-year National Lottery funding strategy.This stra

223、tegy will run from April 2023 to the BFIs centenary in 2033 and sets out what the BFI wants to achieve as a distributor of funding over this period.The BFI will continue to inform and empower investment in skills and training and help co-ordinate a strategic approach to addressing the skills issues

224、impacting the industry.This includes via their investment in new local Skills Clusters for production across the UK,providing on-the-ground local level training and development opportunities to help underrepresented individuals train for,and progress in,a career in screen production locally.The impl

225、ications of the new funding strategy will be significant for many of the interventions identified in this report.ScreenSkillsScreenSkills ScreenSkills is the industry-led skills body for the Screen Industries film,television(including childrens,unscripted and high-end),VFX,animation and games.In a f

226、ragmented industry where many key workers are freelance,ScreenSkills provides targeted interventions to retain and build the skilled workforce which underpins the UKs screen success.Much of ScreenSkills funding comes from the industry via the Film/High-end TV/Childrens TV/Television/Animation Skills

227、 Funds,along with some BFI National Lottery Good Cause Funding for Skills Bursaries.ScreenSkills supports talent at every level,from new entrants to programmes for mid-career professionals and executives and across the industry,from production accounting to exhibition and grips to writers.It provide

228、s or is developing services to support the finding,nurturing and Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 3030 retention of award-winning talent including careers information,apprenticeships,mentoring,bursaries,training,and quality markin

229、g educational institutions.Into FilmInto Film Launched in 2013,Into Film is the UKs leading charity for film in education.It supports educators to unlock the power of film to deliver transformative learning outcomes for children and young people aged 5-19 in class,extra-curricular settings and in ci

230、nemas.Working with educators,it created a programme that features the UKs only school-specific film streaming service(Into Film+),as well as teaching resources and training,careers information,cinema screenings and a network of extra-curricular film clubs.The core Into Film offering is free for UK s

231、tate schools thanks to funding from the National Lottery(through the BFI),Cinema First and Northern Ireland Screen.UK Interactive Entertainment(Ukie)UK Interactive Entertainment(Ukie)Ukie is the trade body for the UK games and interactive entertainment industry.Founded in 1989,Ukie represents over 2

232、,000 games businesses and works to ensure that the UK is the best place in the world to make,sell and play video games.It works across a wide range of initiatives and activities,from education to policy,from events to investment,helping support the UK games industry.Very active in relation to divers

233、ity and inclusion,in 2020 Ukie launched#RaiseTheGame,a pledge to improve equality,diversity,and inclusivity in the industry.Games companies committing to#RaiseTheGame pledge to make meaningful change and implement initiatives to diversify their workforce,create inclusive and welcoming workplaces,and

234、 reflect diversity in all aspects of their business.British Academy of Film and Television Arts British Academy of Film and Television Arts BAFTA is an independent arts charity.In addition to Awards ceremonies,BAFTA has a year-round,international programme of learning events and initiatives that off

235、ers access to the worlds most inspiring talent through workshops,masterclasses,lectures,scholarships and mentoring in the UK,USA and Asia.BAFTA relies on income from membership subscriptions,individual donations,trusts,foundations and corporate partnerships to support their ongoing outreach work.Cre

236、ative UKCreative UK Creative UK is a not-for-profit organisation that promotes the development of creative companies,which in turn support business across games,film,creative and digital media as well as production services.The company works in partnership with the British Film Institute and was cre

237、ated in 2021 through the merging of Creative England and the Creative Industries Federation.In July 2021,Creative UK launched The UK Creative Industries,the first report of its kind,exploring the power and potential of the UKs creative industries to regenerate places,rebuild the economy,drive innova

238、tion and create jobs in all parts of the UK.Creative ScotlandCreative Scotland Creative Scotland is the public body that supports the arts,screen and creative industries across all parts of Scotland.It distributes funding from two primary sources-the Scottish Government and the National Lottery.This

239、 funding supports a portfolio of organisations across Scotland,helps with the development of individuals,the funding of ideas,new work and projects,and delivers specific activity with partners.Screen ScotlandScreen Scotland Screen Scotland is part of Creative Scotland and supports Scotlands film and

240、 TV industry with funding from Scottish Government and The National Lottery.Screen Scotland works to develop and grow Scotlands screen sector through boosting production,supporting screen businesses,providing training and development,and improving Scotlands screen infrastructure including studio fac

241、ilities.Creative WalesCreative Wales Creative Wales are a Welsh Government agency set up in 2020 to support the development of the Creative Industries in Wales.This includes Film and TV,Music,Games,Animation,Createch,R&D and Publishing.Their team helps to connect people and businesses,provides knowl

242、edge and resources,including information on training opportunities and advice on funding.Ffilm Cymru WalesFfilm Cymru Wales Ffilm Cymru Wales is the development agency for Welsh film.It is dedicated to advancing and sustaining a strong film industry for Wales by providing funding and training to eme

243、rging and established Welsh filmmakers,offering exciting cinematic experiences to audiences across Wales,and developing new skills and career paths through a range of training programmes.Northern Ireland ScreenNorthern Ireland Screen Northern Ireland Screen is the national screen agency for Northern

244、 Ireland,committed to maximising the economic,cultural and educational value of the Screen Industries for the benefit of Northern Ireland.This goal is pursued through three overarching objectives:1.That Northern Ireland will have the strongest screen industry outside of London in the UK and Ireland;

245、2.That this industry will be supported by vibrant and diverse cultural voices;3.And that the sector will be underpinned by the most successful screen and digital technologies education provision in Europe ensuring that the education is within reach and of value to the most socially disadvantaged.The

246、se work with a variety of wider industry bodies,such as Animation UK,the British Screen Forum,Pact,TIGA and the UK Screen Alliance.In addition to national organisations,there is a patchwork of wider stakeholders in cities and regions across the UK providing support to the Screen Industries.Some area

247、s have well established regional film agencies such Screen Yorkshire and Screen South with varying degrees of involvement in D&I initiatives.Major cities such as Manchester,Birmingham,Bristol,and Leeds are experiencing a boom in screen related activity,driven by the allocation and relocation of Publ

248、ic Service Broadcasters(PSB)resources outside of London.Work to diversify the Screen Industries in these cities is largely driven by the PSBs themselves,though a number of independent consultants,social enterprises and not-for-profits have founded recently to service the ever-increasing need for tal

249、ent.London remains the most fragmented landscape,incorporating Film London,educational institutions,trade bodies,Borough Councils,creative businesses themselves and many social enterprises/not-for-profits.Recent work by the Greater London Authority(GLA)through the Mayors Fund for London programme ha

250、s sought to bring many of these actors together in a joined-up approach to support the Screen Industries in the Capital.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 3232 4.2 interventions to enhance diversity and inclusion in the Creative Ind

251、ustriesThe mapping exercise identified a staggering 197 interventions aimed at enhancing diversity and inclusion across the Creative Industries.As shown in Figure 4.1,118 of these interventions included a specific focus on one or more Screen Industries.Film and TV appear to be particularly well serv

252、ed by the high number of D&I interventions currently available,whereas games,VFX,and animation much less so.Delivered by more than 70 different organisations,the majority were small in scale,impacting less than 25 people per year.Of course,the quality of interventions is undeniably more important th

253、an the quantity.Further,the considerable number of interventions can,in itself,act as a barrier to both creative businesses and individual beneficiaries accessing the right support at the right time.Sector focusSector focus No.of interventions Creative industries totalCreative industries total 19719

254、7 Screen industries totalScreen industries total 118118 Focused specifically on:Film and TV 46 TV 21 Film 12 All screen industries 8 Games 16 VFX,Animation,and Games 3 Film,TV,and Animation 1 Film,TV,VFX,and Animation 1 Film,TV,and Games 1 Film,TV,and VFX 1 Figure 4.2 highlights the relevance of eac

255、h of the interventions identified across the Creative industries,44 directly target young people from disadvantaged backgrounds and the Screen Industries.Of those,seven were targeted specifically at young people from low-income backgrounds,11 at young people of colour and 26 were targeted at both gr

256、oups.The highest number of interventions(70)were targeted at the Screen Industries but not specifically at young people from disadvantaged backgrounds,though they would likely benefit indirectly from these interventions.Already being delivered by organisations with in-depth knowledge of the Screen I

257、ndustries,many of these interventions could likely be adapted to increase the focus on and benefit to young people from underserved backgrounds.Another 35 interventions were targeted directly at young people from disadvantaged backgrounds but were not focused on the Screen Industries.While organisat

258、ions delivering these interventions may lack experience of working in Screen,the expertise developed through supporting young people from disadvantaged backgrounds,could in many cases,be transferred to the Screen Industries.The majority of interventions(122)were available UK wide,though it should be

259、 noted that whilst many were technically open to anyone in the UK,the relevant educational setting or workplace were based in major cities,usually London,and did not necessarily offer travel or cost of living support.Instances such as these clearly limit the opportunity for young people from underse

260、rved backgrounds Figure Figure 4.14.1:Interventions by sectorInterventions by sector Figure Figure 4.24.2:RelevanRelevancece of interventions to young people from of interventions to young people from disadvantaged backgrounds and the disadvantaged backgrounds and the S Screen creen I Industriesndus

261、tries to participate.A number of interventions(29)had a specific national focus,related to one of the devolved nations.Another 46 interventions were only provided at a local level,usually a large city,and most commonly London.Analysis across life stages(as used to explore points of disadvantage in t

262、he previous chapter)reveals that most interventions were aimed at the transition to work stage,with 107 interventions(see Figure 4.3),followed by in-work progression and advancement,with 92.The early life stage recorded the fewest interventions,totalling just 29.Transition to work also recorded the

263、highest number of interventions targeting young people from disadvantaged backgrounds(55).Despite the high number of in-work progression and advancement interventions,just 35%were aimed at young people from disadvantaged backgrounds.This is notably lower than the equivalent figures for transition to

264、 work(51%)and post-16 education(49%)and potentially signifies an area of greater need.Just six early life stage interventions were targeted towards those from disadvantaged backgrounds.In the pages that follow,we look in greater depth at the picture of support and key interventions at different life

265、 stages,identifying potential areas for future focus.It is important to note that this does not include all interventions identified through the landscape mapping.2955107926275532020406080100120Early LifePost-16 EducationTransition to WorkIn-work Progress&AdvancementAll InterventionsInterventions ta

266、rgeting disadvantageFigure Figure 4.34.3:Interventions across life stagesInterventions across life stages Source:findings from the landscape mapping.Interventions targeting more than one life stage are double counted in the chart Improving young peoples access and progression in work in Film,TV and

267、Games,Final Report,November 2023 3434 Interventions:Interventions:EarlyEarly-lifelife Despite there being just 29 early life interventions,significantly lower compared to other life stages,many of those interventions are well established,clearly defined and relatively large scale.Unsurprisingly,the

268、majority(20)focus on outreach,aiming to increase awareness and interest in the Screen Industries both in schools and in clubs outside of school.The early life interventions generally have at least one of the three following objectives:Increase awareness of the broad range of career pathways availabl

269、e in the Screen Industries;Build belief and confidence that these roles are open to everyone;Support the development of cultural capital through screen-related activities and experiences.One of the largest,UK-wide and longest-running schemes in the Screen Industries is Into Film,which though not spe

270、cifically targeting young people from disadvantaged backgrounds,is run in schools with a higher-than-average take-up of free school meals.Launched in the same year was Ukies Digital Schoolhouse,which now delivers play-based learning via computing workshops in 89 primary schools across the UK.In Scre

271、en,this is complemented by wider extra-curricular clubs,such as those run by the London Film School,which works with primary and secondary schools,colleges and community groups to provide free and subsidised learning opportunities for young people from all backgrounds delivered in class,online or in

272、 a blended capacity.In post-production,Access VFX has been a more recent addition to the landscape.Several organisations supporting the games industry have also launched early life interventions including Ukie,intogames,and the British Games Institute(BGI).Established in 2014,Into Film is a large-sc

273、ale programme comprised of a range of interventions:-Film for Learning embedding film-based learning in primary schools by upskilling teachers.In 2021-2022,2,600 educators were trained through webinars,3,300 teaching resources were downloaded,and 81,000 pupils reached through educators using the lea

274、rning platform.-Into Film Clubs provide opportunities for 5-19 year olds to watch,discuss,review and make films in both school and out of school settings.5,871 clubs ran in 2021-22-Into Film+the UKs first free streaming service designed specifically for schools and educational settings.Every film co

275、mes complete with curriculum-linked educational resources for all ages and abilities.-Film of the month filmmaking competition that ensures young people aged 5-19 have a place to submit their films,have their voices heard and their stories told.Into FilmInto Film Access:VFX is an industry-led interv

276、ention comprised of 40 leading companies,industry bodies and educational establishments in the VFX,animation and games industries.Access:VFX works to address the lack of diversity in those industries through educational events and online resources aimed at primary school age children and above.In ad

277、dition,their recently launched X-VFX platform offers a space where practitioners of colour can network,and the next generation can tap into for inspiration.Access VFXAccess VFX Sponsored by Ukie,intogames works to improve access to games education for those from underrepresented groups,normalise voc

278、ational routes into the sector and create a talent pipeline from secondary school into work.Key to this is the Games Club Pilot,building a national network of afterschool clubs at key stage 3,that deliver games skills and industry careers enrichment to young people currently underrepresented in the

279、sector.IntogamesIntogames As illustrated in the examples above,employers and sector bodies in the Screen Industries are taking steps to improve outreach and engage with young people of all ages from diverse backgrounds.Digitally-enabled tools and online resources provide an opportunity to do this,ho

280、wever there is increasing recognition that online engagement is not enough on its own,particularly when trying to connect with different diverse groups,which may be hard to reach and/or have limited access to digital technologies.In such a context there is no replacement for face-to-face support thr

281、ough a range of outreach services and personal guidance embedded in the local community(Giles,et al.,2023).This requires enhanced collaboration between local government,schools,colleges,and employers.One early life intervention attempting to do this is the Discover!Creative Careers Programme.Across

282、the wider Creative Industries,various creative sector organisations offer innovative and impactful early life interventions.For instance,Speakers for Schools is a large-scale programme facilitating school talks and work experience opportunities;Saatchi&Saatchis recently launched Upriser programme ma

283、tchmakes creative companies with local UK state secondary schools;and Apps for Good provide free tech innovation courses and education content to schools.Potential areas for future focus Despite a wide range of interventions,many of them well-funded and well-established,there is more work to do to a

284、ddress inequalities in access to culture and to promote awareness of careers in the Screen and Games Industries.Any additional initiatives must complement existing interventions.One opportunity would be to engage networks of industry champions or ambassadors from diverse backgrounds,who can bring ca

285、reers of the future to life,and act as visible role models to instil belief and appetite amongst disadvantaged young people to pursue careers in Film.TV and Games.The British Games Institutes annual Games Careers Week brings together nearly 40,000 people across 32 online events,with the aim of chang

286、ing the diversity profile of the UK games workforce.Another BGI initiative,Pixelheads provides after-school and weekend clubs in schools,libraries,hospitals,and online.The clubs develop childrens understanding of games design,art,narrative and coding with gentle introductions to development techniqu

287、es and accessible technologies.BGI Games Careers Week and PixelheadsBGI Games Careers Week and Pixelheads The Creative Careers Programme was originally a partnership between the Creative UK,Creative&Cultural Skills and ScreenSkills.An integrated industry-led programme of activity,it continues to wor

288、ks to enhance the routes into the sector.Its flagship event,Discover!Creative Careers Week acts as a call to arms for the Creative Industries to open their doors,physically and online,to introduce students from all backgrounds to the various job roles that exist.This years hybrid event scheduled for

289、 November 2023 will see employers lead interactive workshops,tours and talks giving students the hands-on careers experiences proven to make a difference to future decision-making.Key CCP activities have included:400 work experience opportunities supported via a partnership with Speakers for Schools

290、 317 employers engaged as speakers reaching over 72,000 students website for Discover!Creative Careers launched as a key tool and resource for young people along with teachers,parents and guardians to find information about creative careers 250 Enterprise Advisers enlisted to provide support to scho

291、ol leadership 28,000 students participated in immersive employer-led opportunities engagement of over 1,000 creative employers and leaders.the participation of over 120,000 students in recent online Discover!Creative Careers activities.Discover!Creative Careers ProgrammeDiscover!Creative Careers Pro

292、gramme Founded in 2010,Speakers for Schools brings together eminent figures from FTSE 100s,and creative and arts leaders to CEOs and tenured professors,creating a free network of school talks and work experience placements for state school pupils.Speakers for Schools facilitates over 2,500 engagemen

293、ts and placements a year,having reached over a third of all secondary schools and colleges across the UK.Speakers for SchoolsSpeakers for Schools Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 3636 InterventionsInterventions:Post:Post-16 Educat

294、ion16 Education A review of existing interventions aimed at school-leavers reveals a variety of initiatives that seek to address barriers to post-16 education:55 in total.These interventions included:outreach activities,providing information and guidance on career pathways into the Screen industries

295、;financial support for formal education often in the form of bursaries;opportunities to earn while you learn,including initiatives combining class-based learning with work experience,through short courses and Apprenticeships;and educational providers working in close partnership with employers to st

296、rengthen technical education pathways into the industry.Scholarships,bursaries,and free training programmes supporting post-16 education specifically related to the Screen Industries are being provided by the National Film and Television School through its AccessNFTS programme,as well as by organisa

297、tions such as BAFTA,Channel 4,the BBC,Pact,and the London Screen Academy.A key focus of activity has been enabling young people to access careers in the Screen Industries through non-academic routes.The take-up of Apprenticeships in the Screen Industries is extremely low,largely due to implementatio

298、n challenges associated with the project-based nature of Film and TV production.However,in 2021 ScreenSkills,in partnership with Netflix and Warner Bros,launched their Flexi-Apprenticeship pilot.A similar model is also being delivered by Sgil Cymru:CRIW is a 12-month apprenticeship programme servici

299、ng major film and TV productions in North Wales.As with the ScreenSkills approach,the apprentices are employed by Sgil Cymru who manage their placements and training.There are also wider efforts to strengthen vocational pathways into the industry.One well-established example is the NextGen Skills Ac

300、ademy,launched in 2014 to develop new qualifications aligned to the needs of Animation and VFX and delivering training through a network of providers.NextGen Skills Academy,works closely with industry to develop vetted qualifications and new routes to enter the VFX,Games and Animation industries for

301、 students across England.NextGen students study at industry selected colleges for AIM Qualifications Level 3 Diploma/Extended Diploma in Games,Animation and VFX Skills qualification,which sets them up for University,Higher Apprenticeships or starting their career.NextGen developed its programme with

302、 major companies in the industries,such as Blue Zoo,Imaginarium,Framestore,Centroid,Ubisoft Reflections,Microsoft,Sony Interactive Entertainment Europe and MPC.In addition,funding from the GLA through its Mayors Skills Academies Programme has enabled NextGen to provide short courses,bootcamps,employ

303、ment advice,and further training to prepare Londoners for work in the Games,Animation and VFX sectors.NextGen Skills AcademyNextGen Skills Academy In 2021 ScreenSkills,in partnership with Netflix and Warner Bros.,launched their pilot programme for Flexi-Job Apprenticeships,supported by the Departmen

304、t for Culture,Media and Sport.This innovative pilot served as a precursor to the Governments formal flexi-job apprenticeship scheme,designed to flex apprenticeship delivery for occupations operating atypical working patterns to help address the minimum 12-month employment barrier for productions.In

305、this instance,ScreenSkills employed apprentices,organised their training and arranged for them to do industry placements with the participating host employers Netflix and Warner Bros.In 2022,ScreenSkills launched a second flexi-job apprenticeship,this time in partnership with Prime Video,Sky,Banijay

306、 UK,Lime Pictures,and Content Ventures.FlexiFlexi-Apprenticeship PilotsApprenticeship Pilots AccessNFTS,by the National Film and Television school,aims to find,inform and inspire a new generation of film,TV and games talent,including virtual open days;training courses;free masterclasses;online bite-

307、sized courses;and pop-up events across the UK.Helping those from underrepresented groups or disadvantaged backgrounds is an explicit priority,with NFTS working in partnership with other organisations such as the BFI,Ghetto Film School,the Bucks Skills Hub and London Screen Academy.Access NFTSAccess

308、NFTS NextGen has recently extended its offer in London through the NextGen Creative Skills Hub,which has an explicit focus on reaching under-represented groups.Also in London,the Creative Skills Academy is a partnership between Film London,Capital City College Group,Middlesex University and London H

309、igher which aims to encourage under-represented groups to consider a career in the Screen Industries,providing free skills training,employment packages and financial support;and A New Directions Creative Works provides free six-week training programmes,work experience,live briefs and masterclasses f

310、or young Londoners not in full time employment,education or training.Elsewhere in the UK,ScreenWorks helps young people in Northern Ireland aged 14-19 learn more about careers in the Screen Industries,while Screen Yorkshires Connected Campus of ten universities provides students with access to bootc

311、amps,masterclasses,set/studio visits,industry workshops,visiting speakers and pitch reviews,all developed by industry leaders.A sister version of the Connected Campus,specifically for colleges,was launched in January 2021 encouraged and supported by the broadcasters based in the region,including Cha

312、nnel 4,the BBC and ITV.Indeed,skills bootcamps have been run in the Screen Industries for some time,often funded by ScreenSkills and there is scope in future for Screen-focussed Skills Bootcamps being commissioned by the Department for Education.The BFI also has its long-established BFI Film Academy

313、,which features a range of support for young people.Potential areas for future focus It is clear that much work is already in train and the need to strengthen technical pathways,including through Apprenticeships,remains vital.While excellent initiatives have emerged in recent years,they remain relat

314、ively few,often small scale,and concentrated in London.There is scope therefore to roll-out or replicate good practice in other parts of the UK.The joined-up approach being forged in London,which aims to strengthen the local institutional ecosystem,bringing together employers,educators,local governm

315、ent and not-for-profits to support young people from disadvantaged backgrounds in an integrated way,better coordinating skills,careers and employment support for those who need it most,could offer a blueprint for other regions,cities and nations.The BFIs new local Skills Clusters may also offer valu

316、able learnings in supporting underrepresented talent to progress into a career in screen.Further,the majority of interventions identified in post-16 education do not prepare individuals for the type of freelance working pervasive in the Screen Industries.Hence,there is a need for further investment

317、in initiatives that prepare disadvantaged young people for freelance work and enable them to redress imbalances in financial and social capital through financial support and activities that help them penetrate networks that can prove vital in securing employment and commercial opportunities.The BFI

318、Film Academy offers training and resources across the UK to give those aged 16 to 25 the opportunity to learn more about film and filmmaking and consider it a viable career choice.These include industry focused short courses offered across the UK,specialist courses to develop specific technical skil

319、ls,as well as a range of events for young filmmakers online and across the UK.Since 2017,around 5,900 young people have participated in Film Academy programmes.There is also a strong diversity lens to the programme:in 2019/20,around 77%of courses are outside London,25%of the participants were from B

320、AME communities,and 19%in receipt of free school meals.While courses can be chargeable,fees may be waived in support of those in financial need.Bursaries for travel and childcare are also available.BFI BFI FilmFilm AcademyAcademy ScreenWorks,funded by the Department for Communities via Northern Irel

321、and Screen and delivered by Into Film,helps young people in Northern Ireland aged 14-19 learn more about careers in the Screen Industries through hands-on work experience.The programme offers access to industry professionals on 3-5 day work placements across five screen sectors-Film,Television,Anima

322、tion,Gaming and Visual Effects.All ScreenWorks programmes are free,and a travel bursary is available to assist young people in travelling from different cities and towns.Screen WorksScreen Works Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 38

323、38 Interventions:Transition to WorkInterventions:Transition to Work Transition to work is the stage with the most diversity and inclusion interventions:107 in total,more than half of which are in Screen.Typically run by industry trade bodies,social enterprises,or not-for-profits,working in partnersh

324、ip with Screen businesses,schemes at this stage were much more varied than in others,including:short term training,typified by 6-to-12-week programmes often including some work experience;internships,offering short-term paid placements with Screen businesses,but developed and managed by an independe

325、nt third party;and advocacy programmes,working to promote the importance of diversifying entry routes into the industry and often providing best practice guidance to make that happen.ScreenSkills deliver interventions across all life stages though focuses on the post-16 education and transition to w

326、ork stages.Some examples include Trainee Finder,an entry-level placement scheme,and the social mobility initiative First Break.The Public Service Broadcasters provide a number of transition to work interventions,many offering entry-routes and opportunities for young people from disadvantaged backgro

327、unds.Alongside the increased use of Apprenticeships,training schemes and paid placements/internships are now commonplace,with Channel 4s 4Skills talent hub and Content Creatives and BBCs Writersroom each offering a mix of paid placements,coupled with training and wider support.There is a plethora of

328、 transition to work interventions delivered by social enterprises.Three of the most well-established,focusing on young people from disadvantaged backgrounds are Creative Access,MAMA Youth,and the Creative Mentor Network.As with many of the interventions highlighted in previous sections,though notion

329、ally available across the UK,many organisations are London based,as are the majority of opportunities.First Break offers young people from socio-economically disadvantaged backgrounds accessible non-jargon-led industry information,events,hands-on training,paid work shadowing,and one-to-one career de

330、velopment.In 2021/22 four First Break programmes were delivered in partnership with HETV productions,with a total of 100 participants.ScreenSkills ScreenSkills First BreakFirst Break Trainee Finder is an entry-level placement scheme placing trainees on film,childrens live-action TV,high-end TV and a

331、nimation productions.Funded through a levied industry skills fund,contributing productions can claim funding from ScreenSkills for the duration of the trainees time.In addition to placements,they are trained in health and safety,finance for freelancers,carbon literacy,branding,and networking.They go

332、 to industry masterclasses to improve employability and have the opportunity to find a mentor.In 2021/22,407 placements were supported across more than 190 productions,targets of 20%+from Black,Asian and minority ethnic groups and 60%+based outside of London were achieved and exceeded in many cases.

333、ScreenSkills Trainee FinderScreenSkills Trainee Finder Channel 4s 4Skills talent hub includes initiatives such as the Production Training Scheme,which offers opportunities to those currently underrepresented in the TV industry,including disadvantaged young people.Participants are placed in paid roles with production companies,whilst receiving monthly training,boot camps and access to commissioning