As a film critic who hails from a working-class background myself, I can wholeheartedly endorse James Graham’s passionate plea for more representation of underrepresented voices in television, particularly those from working-class backgrounds. His MacTaggart Lecture at this year’s Edinburgh TV Festival was not just a call to action, but a clarion call that resonated deeply with my own experiences and struggles.
As the highly-anticipated second season of James Graham’s critically acclaimed drama series Sherwood premieres on television this coming Sunday, the talented writer and screenplay creator has passionately advocated for increased portrayal of the working class in the small screen.
At this year’s Edinburgh TV Festival, Graham delivered the esteemed MacTaggart Lecture, discussing data indicating that merely 8% of individuals employed within the television industry originate from a working-class background. He delved into reasons behind this disparity and proposed strategies to address it.
Graham observed that the depicted figure signified “the smallest proportion of individuals from economically disadvantaged backgrounds on TV in over a decade, probably even longer.”
Later, he discussed a cycle of “prosperity and decline,” as the industry experienced its peak several years back and is currently facing a “slowdown” or “shortage,” producing very little.
Later on, he contended that this incident disproportionately affected underserved communities and expressed his belief that “in matters of social class, I often find myself less sensitive to the underrepresentation,” possibly due to a “British unease about discussing wealth.”
Graham further clarified his viewpoint on what constitutes “working class,” remarking that: “We possess an instinctive skepticism sensor, a built-in bull***t detector, especially when – let’s address the obvious issue – it involves white men advocating for diversity. I believe this is accurate. A cautious skepticism, fueled by empirical evidence.”
Yet, he further added, “There’s no need for you to validate, for instance, your sexual orientation as being gay, or your racial identity as black. Similarly, I fervently pray that once a disability is disclosed, it is accepted and acknowledged.”
As I reflect on my personal journey, I can’t help but acknowledge the rich tapestry of social classes that this film masterfully portrays. It’s high time we, as an industry, establish a universal standard and blueprint to ensure equitable representation, bridging the gap between the diverse strata of our society.
He continued: “When I completed my last three diversity monitoring forms following a wrap on a production – I was asked to indicate my race, my gender, my sexuality, and my disability status on all of them. Only on one did it ask for my parents’ occupation.
“This category of representation has the greatest gap between the composition of the nation and that of our industry. However, it’s the only substantial one not routinely incorporated into most standard measures of diversity.”
In simpler terms, Graham suggested that we should include “class” as a regular and distinct feature when filling out diversity surveys within our industry, similar to what other organizations are doing.
It would be beneficial for it to not just be an ideal, but a tangible aspect within key film industry organizations such as BAFTA, where they’ve already demonstrated measurable advancements, when considering both membership and award nominations.
I expressed: “I’d be thrilled to have the backing and knowledge of professionals within the TV and movie world to secure the necessary funds for construction, and maintain its operation – a commitment to transformation, as well as a truly beneficial asset.”
It brings me joy to announce that the TV Foundation, which is the charitable organization that owns the Edinburgh Television Festival, also supports this initiative and will play a significant role in its coordination. This aligns well with the work they’ve already been doing.
“There’ll be an announcement going out after this lecture about that launch.
I’m eager to ensure that all discussions we have are welcoming and compassionate, as it’s important to remember that one’s socio-economic status at birth isn’t a matter of personal choice for anyone, regardless of whether they come from a privileged or underprivileged background within our sector.
As a movie enthusiast, I firmly stand by the principle of equal opportunities. I refuse to accept that the realm of cinematic representation is an exception where injustice thrives unchallenged. This is more than just a story; it’s about breaking down the barriers that have kept certain voices silent for far too long.
Having a character on screen that resonates with my life experiences can make me feel understood and validated. It’s like finding a mirror reflecting my own journey, struggles, and emotions. When I see someone who looks or sounds like me, it creates a sense of connection that goes beyond the screen. It’s comforting to know that someone out there has gone through similar experiences and can empathize with me. This shared experience adds depth to the character and makes the story more relatable, which in turn enriches my own life.
“There is a catharsis there for audiences. A validation.”
Apart from being recognized for his theatre work, Graham has also penned scripts for various television productions like X+Y, Brexit: The Uncivil War, The Crown, Quiz, and The Way.
In recent times, notable figures such as Louis Theroux, Emily Maitlis, Jack Thorne, and David Olusoga have delivered the Mactaggart Lecture.
The second season of Sherwood premieres over a special two-part episode starting from Sunday, 25th August at 9 PM, airing both on BBC One and BBC iPlayer, and continues the next day, Monday, 26th August at the same time.
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2024-08-21 21:34