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I start this discussion in this chapter with an outline of the key points within the #metoo debate, looking at what, according to various scholars, has and has not been achieved since the hashtag went viral in 2017. This overview constitutes the context for the subsequent analysis and critical evaluation, which will look at how the press conceptualised #metoo, and how it shaped some of the wider discussions about the hashtag. In Chapter 11, it will focus on whether (and how) the widespread use of #metoo after 2017 affected the representation of violence against women in the British press compared to the previous years.

Creative Industries in Canada is a foundational text that encourages students to think critically about creative industries within a Canadian context and interrogate the current state and future possibilities of the industry. While much of current creative industries literature concerns the United Kingdom, the United States, and Asia, this text captures the breadth of how Canadian industries are organized and experienced, and how they operate.This ambitious collection aims to guide students through the current landscape of Canadian creative industries through three thematic sections. “Production” collects chapters focused on how national discourses and identities are produced through creative industries and the tensions that exist between policy and media. “Participation” explores how we engage with these industries in different roles: as consumer, creator, policy-maker, and more. “Pedagogies” explores how education impacts inclusion and visibility in creative industries.Truly intersectional, Creative Industries in Canada provides students with practical industry knowledge and frameworks to explore the current state of the field and its future. With a broad application to many undergraduate programs, this text is a must-read resource for those pursuing media studies, arts management, creative and cultural industries studies, communications, and arts and humanities.

Traditionally, partner dances occur between a woman and a man, following rather conservative gender roles and rules. However, as a result of international lesbian, gay, bisexual, transgender, intersex, queer, asexual, allies and more (LGBTIQA+) activism, some social dancing events and competitions have made space for gender and sexual diversity. This chapter focuses on the Rainbow and Same-Sex dancing scene in Finland and its potential and challenges for transgender inclusion. We draw on data collected during the first author’s ethnographic and participatory action research study on trans-inclusive sport spaces and the second author’s experiences as a professional dance teacher and Rainbow trans dancer at both same-sex and mainstream dance competitions. Our findings reveal that the Rainbow dancing movement has helped make dancing more accessible and inclusive for members of the trans community through challenging traditional cis- and heteronormative dance roles and the men-lead/women-follow paradigm. Yet, certain challenges for trans-inclusion persist, such as the transphobic politics and rules of national and international dance associations. In concluding this chapter, we provide recommendations for enhancing access and positive experiences of trans people in dance, DanceSport and sport in general.

Through the lens of personal experience, this chapter provides an exploration of the oft-concealed practices and hypermasculine ideals in dance education. Commercial, concert, and academic dance pedagogy continues to create and perpetuate homophobia that restricts the definition of “boy dancer” to the point of creating a false scarcity and competition to be the most cis-heteronormative male possible. Alterio argues this environment contributes to the perpetuation of discrimination against LGBTQIA+ dancers, the exclusion of non-cis boys, and lack of innovation in the field. Recommendations are offered to those interested in pushing the boundaries of performance and gender identity and a call for institutions to support this work.

Theatrical dance remains widely perceived as an unconventional activity for boys and young men in many Western contexts. This chapter focuses on professional male dancers’ pathways into recreational, pre-professional dance and assesses the various obstacles encountered and the sources of encouragement available to continue dancing and to pursue a dance career. Data analysis challenges the assumption that homophobia and hierarchies among boys, men, and masculinities have been erased. The chapter argues that wider systems of inequality, oppression, and power persist. These continue to affect boys and young men, influencing their choices and the possibilities to transgress gender norms.

This chapter provides a contextual account of the rise of #MeToo as an global gender-equality campaign supporting those affected by sexual transgressions. Originally articulated by African-American civil rights activist Tarana Burke in 2006, the slogan ‘me too’ was meant as a rallying cry to support young minority ethic survivors of sexual abuse. Years later, social media would turn Burke’s motto into a byword for the global #MeToo movement. The chapter chronicles the events surrounding #MeToo’s inception, including Hollywood producer Harvey Weinstein’s sexual exploitation scandal in 2017, and The New York Times and The New Yorker exposés of his serial offending within the film industry. It also examines the narratives of countless survivors and #MeToo campaigners, including high-profile cases such as those of Rose McGowan, Alyssa Milano, Mimi Haleyi, Jessica Mann and Zelda Perkins. The chapter then critically considers the growth and international significance of #MeToo as well as its inherent shortcomings.

Since the inception of jazz, the lives and experiences of women-in-jazz have been inadequately documented and archived, which has led to a lack of female representation in the jazz community. During the recent resurgence of the #MeToo Movement, many women-in-jazz bravely shared stories of sexual discrimination and harassment. As the jazz community continues to address the gender disparity, women’s stories need to be centered in order to address current realities of women-in-jazz. By documenting the experiences of women-in-jazz in higher education as students, educators and performers, sexual discrimination and harassment must be considered as contributing factors of the gender disparity in jazz.

Michael L. Siciliano draws on nearly two years of ethnographic research as a participant-observer in a Los Angeles music studio and a multichannel YouTube network to explore the contradictions of creative work. Creative Control explains why “cool” jobs help us understand how workers can participate in their own exploitation.

Ni’Ja Whitson turns a piece that was originally commissioned as a keynote lecture for the 2020 Collegium for the African Diaspora Dance (CADD) conference, Fluid Black: Dance Back. This chapter is a hybrid text that centralizes Black Transgender and Nonbinary experiences in a conversation of futurity in African Diasporic spirituality, dance traditions, and performativities. Furthermore, Super Fluid/Super Black interrogates beingness through an exploration of astrophysics and global attempts at Black erasure to uncover new strategies of collectivizing under physical, metaphysical, and cosmic bodies that dismantle cisheteronormativity at their core.

With the announcement of allegations of sexual harassment and sexual assault against beloved comedians, we ask, “Can one separate the art from the artist?” Comedians are supposed to bring audiences joy and laughter; however, this role is challenged when there is incongruity between the comic persona and the real-life misdeeds of comedians. We explore the rise of the #MeToo movement and the role of comedy in exposing as well as masking allegations against Bill Cosby, Louis C.K., Al Franken, and Aziz Ansari. Guided by disposition theory and disengagement models, findings reveal factors of race, gender, and personal relationships appear to influence comedians’ assessment of fellow comedians accused of sexual misconduct. Audience members also appear to experience moral disengagement.

In October 2017, the British Film Institute declared that it would commit to specific targets for gender equality and diversity in key production roles on films with support from the Film Fund. This decision by the BFI to set targets, arguably, did not come just from their own diversity and inclusion goals. Activist film-makers had previously called for targets for the Film Fund, especially for women directors. This chapter will give an accounting of the current state of gender (in)equality in the UK industry by: outlining new research that has clarified the stagnant inequality in the UK film industry; articulating the key role of a network of activist groups (that include researchers, professional and campaigning bodies, exhibitors and film-makers) to bring attention to the problem; putting pressure on the film industry and public bodies; and summarising institutional responses to that pressure since 2016, with a critical analysis of the potential and limits of the BFI’s relatively recently implemented diversity and equality targets.

Sweden has been hailed for its recent success in increasing the number of female directors, scriptwriters and producers. Published reports, panel discussions and a vast number of press conferences on the pressing matter of gender equality within the industry together with a 5050 quota have all put the Swedish film industry—and its CEO Anna Serner—on the map. However, the last couple of years has disclosed several scandals regarding sexism and discrimination in the Swedish film industry—just as in other national film industries. This paper sets out to discuss how female film workers (e.g., directors, actors and producers) understand and negotiate their experiences of male dominance within their work context. Based on a series of interviews with women working in Swedish film from the early 1960s until today, we analyze similarities and differences in experiences as well as how these experiences are explained by the interviewees. Their stories are analyzed by using feminist institutional theory to understand how policy, funding schemes and other institutional aspects are intertwined with their experiences. The paper sets out to analyze three themes: (1) comments and suggestions during production and post-production regarding female protagonists; (2) experience of gender trouble in the process of fundraising; and (3) strategies used by the interviewed filmmakers to produce a more women-friendly environment during productions.

There has been a global surge in music festivals over the last decade, especially in Europe. In the UK, it is estimated that more than 3.5 million people attended the 230 music festivals in 2015 (Time Out, 2015; UK Festival Awards, 2016). Despite a body of research indicating higher levels of crime, particularly acquisitive and violent crime in spaces with similar characteristics (e.g. nightclubs, pubs and gigs), there have been no previous studies examining the occurrence or nature of crime at music festivals. This chapter brings together conceptual developments across the social sciences to shed light on the underexplored subject of gender and safety at music festivals, a leisure location of growing interest to social scientists and of significant growth within the events industry. This chapter presents data from the first UK study to explore safety and crime at music festivals and raises questions regarding the distinctive features of commercialised music festivals, the extent to which they can be considered transgressive or countercultural spaces and what might be the distinctions, if any, of gendered sexual violence within such spaces.

A video game is an interactive digital entertainment that you “play” on some type of electronic device. The medium has existed in some form since the 1950s, and since that time, has become a major worldwide industry, spawning technology battles and being birthed in new iterations that become ubiquitous parts of modern life. This chapter will look at the development of video games from the beginning, through the golden age, and into the era of the console wars. Further, it will point out the enormous revenues video games make, and show how the #metoo movement and unions are working to change the face of the industry.

Following revelations about sexual abuse in theatre and other entertainment industries in autumn 2017, this chapter explores the conditions which allow or