END THIS DISCRIMINATION

Why can’t we enjoy TV like everyone else?

BLIND and deaf people are demanding the Government deliver on promises to make on-demand TV content accessible.

The Government was given the power to regulate video on demand (VoD) services and set minimum levels for subtitled, audio described and signed content in 2017.

But four years later, the law still has not been put into action.

Sonali Rai, audio description manager at the Royal National Institute of Blind people, said: “We urgently need the Government to take action and ensure that blind and partially sighted viewers have access to the same programmes as their sighted peers. ”

Robert Geaney, head of campaigns at the Royal National Institute for Deaf people, added: “Four years is more than long enough to have delivered on the commitments ministers made in 2017, and we call on the Government to act as quickly as possible now Ofcom have made their final recommendations. ”

Ofcom’s recommendations would provide for 80% of on-demand content to be provided with the option of subtitles, 10% with audio description and 5% with signing, with exemptions for small providers.

Asurvey conducted by RNIB found that around 90% of respondents use audio description when watching VoD services. Of those asked, only 58% said they’d seen changes to the provisions ofAD on these services over the past five years, with one in five seeing no change in recent years.

Reece Finnegan, 25, has been blind since he was a young teenager. He said: “When audio description is done well, it genuinely transforms my viewing experience. Unfortunately, there are still so many shows that have no such option. ”

Michelle Hedley, 49, who has severe to profound hearing loss, said: “Imagine TV was a world where all content was broadcast without sound.

And then at a time dictated to you, only a small proportion of programmes would have sound. That’s what it’s like for those of us who are deaf or have hearing loss. Your freedom of choice and access is taken away. ”

SHAME BEHIND

999-line to be signed

DISABLED workers in UK television face “consistent difficulties” , with many driven out of the industry as a result.

DEAF people have won an 18-month battle to get the emergency 999 phoneline available to them in sign language.

Telecoms regulator Ofcom say providers will be compelled to offer deaf people free 24/7 access to the emergency phoneline via a video relay service (VRS) on both an app and website. The industry now has one year to prepare and to make the service available.

Ignorance by senior professionals in television of their legal obligations is causing serious damage to the careers of disabled workers, a new study shows.

Three out of four people felt being disabled had impacted on their career choices in the industry, according to research by the Sir Lenny Henry Centre for Media Diversity.

The report was produced by KateAnsell, a disabled journalist, writer and executive producer with over 20 years’ experience of working for major broadcasters including the BBC and Channel 4.

The award-winning filmmaker said: “What’s striking is the consistency of the experiences described and the simplicity of some of the solutions. It’s crucial that the industry acts upon what it is being told. ”

More than half of respondents have been working in the industry for over 10 years in a variety of roles, including news, current affairs, factual and entertainment programmes.

Key findings include: n 80% felt being disabled had impacted on their career progression, or was likely to in future. n 84% said they had access needs or required reasonable adjustments some or all of the time. n 51% reported practical issues such as being unable to drive or physically use equipment, working hours, additional requirements such as BSL and support workers, as barriers to employment or career progression.

One respondent claimed: “There is little understanding of the EqualityAct. ”

All except one of the interviewees agreed, saying they felt employers didn’t understand their legal responsibilities toward disabled people.

Marcus Ryder, from the Sir Lenny Henry Centre, said: “This work is a necessary and timely contribution to the debate of how we increase diversity and inclusion in the television industry with respect to disabled people.

“It demonstrates a shocking basic lack of understanding of people’s legal rights, which is holding people’s careers back.

“The report also illustrates the ethos of the Centre, that empowering people from underrepresented groups to undertake the research and devise policies to overcome structural policies is the best way to progress.

“I sincerely hope the industry takes note of the issues raised in the research and implement the simple and practical policy recommendations contained within it. ”

‘Ignorance is causing serious damage to careers’

n THE Sir Lenny Henry Centre for Media

Diversity is a newly established research centre, bringing together the expertise of media professionals and academics.

n Tel. 0121 331 5719 n www.bcu.ac.uk/media/research/sir-

lenny-henry-centre-for-media-diversity

Racism is a stain on our industry, says Sir Lenny

THE CAMERAS

SIR Lenny Henry has declared racism a stain on the British entertainment industry, as a major new study revealed the level of prejudice faced by actors.

The award-winning actor and comedian was speaking out as research showed prejudice, stereotyping and “racial ceilings” were all still common.

More than half of actors from ethnic minorities said they had directly experienced racism in the workplace, a survey by Sir Lenny’s Centre for Media Diversity found.

Out of 1,300 actors questioned, nearly two out of every three said they felt unable to turn down auditions that stereotype ethnicities.

Sir Lenny said: “The fact that the majority of respondents had directly experienced racism in the workplace should be a stain against the entire industry. ”

The report’s author, Dr Jami Rogers, added: “The experiences of overt racism in this report are, frankly, horrific and the actors’ comments expose the grim reality they sometimes face when all they are trying to do is earn a living from an art form they love. ”

Believed to be the largest survey of British actors on diversity and the auditioning process, its key findings include: n 79% feel roles continue to stereotype their ethnicities. n 64% have experienced racist stereotyping in an audition. n 55% have experienced racist behaviour in the workplace.

Actors also revealed specific issues around hair and make-up, and an inability to speak up against racist practices encountered while working: n 71% have experience of hair and make-up departments unable to cater to their heritage, hair or skin tone. n 61% feel “largely” unable to turn down an audition for a stereotypical character. n 66% feel “generally” unable to discuss issues openly with a director.

Recommendations include:

n The need for an independent third-party reporting body that actors can access confidentially and anonymously if needed. n Active involvement from people of colour in substantive roles, with the power to actively engage in anti-racist practices, including the avoidance of stereotypes in writing and casting. n Ensuring appropriate levels of competency for hair and make-up artists.

The research suggested that stereotypes in casting briefs lead to discriminatory behaviour at auditions, often managed by allwhite panels of directors or producers.

Code words were used in conjunction with stereotypes ofAfrican-Caribbeans, with actors being told to “play it more sassy” , and “street” .

In other examples, actors of various ethnicities were asked to “do a MiddleEastern accent” , to sound “moreAsian” , or Eastern European actors were repeatedly auditioning for the role of a prostitute through lack of other opportunities.

The survey responses suggest securing an audition can be challenging for actors from different communities, with Gypsy actors unable to secure representation from agencies, Hispanic actors not recognised as an ethnicity, and ignorance around the many complexities ofAsian ethnicities and nationalities.

In his foreword to the report, Sir Lenny adds: “Every time we see a great actor like Thandiwe Newton, Idris Elba or David Harewood leave these shores to find opportunities denied to them in the UK, it is a painful reminder of why casting is so important. ”

Dr Rogers said: “This survey has revealed how much work the entertainment industry has to do to fix the systemic inequalities that affect performers of all minority ethnic communities. ”