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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.
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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.
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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.
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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.
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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.