EMBED: Post-Lockdown Reopening Recommendations
EMBED: Post-Lockdown Reopening Recommendations March 2021
EMBED: Post-Lockdown Reopening Recommendations March 2021
To support UK reopening following COVID-19 lockdown, EMBED are pleased to share the ‘EMBED Reopening Recommendations Support Service’ created in collaboration with the Disability Collaborative Network (DCN) and the School of Health Sciences University of East Anglia.
Calm with Horses is a film which features Jack, a five-year-old autistic boy, and his parents, Niamh and Arm. As part of the production process, our autistic Campaigns Officer George Stanbury, was one of our staff to provide input to make Jack’s experiences as realistic and reflective of the challenges autistic people may face. Here, … More
In 2019, This Way Up took to Nottingham for the event’s sixth edition, which kicked off with opening sessions reflecting the key themes of the overall conference: Celebration, Resilience and The Future.
The conference featured more talks around inclusion than ever before, and we at Inclusive Cinema captured four of our favourite talks so those who couldn’t make the event could still get the benefit of case studies and insights shared.
The talks below are provided by the following speakers:
Rabab Ghazoul, the Founder & Director of Welsh cultural organisation platform Gentle/Radical, shared her vision of what the future of working with audiences could be. What does ‘outreach’ look like now, and what could it become?
Karena Johnson, Artistic Director and CEO, Hoxton Hall, shared her experience of re-launching Hoxton Hall, a Victorian music hall, and tackling the sometimes uncomfortable issue of diversity. She led a workshop session where delegates were invited to explore their own approach. She spoke about shifting organisational culture, bringing a team with you on a journey and how to manage expectations.
Rico Johnson-Sinclair, Director and Programmer of CineQ Birmingham discussed campaigning for queer, trans, and intersex people of colour’s stories on screen and how he reaches audiences.
Nikki Stratton, Co-Founder & Director, Deaffest looked at the best ways to market to D/deaf audiences. Catherine Downes (Co-Founder, usheru) discussed their work aiming to reach those that start the ticket-buying process but don’t complete the all-important checkout process. With tips and tricks to maximise the potential of your marketing output.
Opening Our Doors was a day of workshops and talks developed by Film Hub Wales, aimed at highlighting inclusivity and equality in film exhibition. The event was aimed at exhibitors seeking to capacity build within their own cinemas. It was a tailor-made day of workshops, case studies and discussions by experts and FAN members for FAN members aimed to boost exhibitor confidence in being more inclusive.
Working closely with Film Hub Scotland, and forming part of their Amplify programme, an Opening our Doors day was delivered in January 2019 to support members of the network in understanding and engaging with diverse communities including low-income, BAME, and disabled groups. The event also referenced programming, and marketing for diverse audiences.
The BFI diversity standards task exhibitors with supporting better inclusion in cinema, such as inclusion for those with additional needs and for those who might feel culturally excluded.
Many of us know about the barriers that are in front of us when we talk about building diverse audiences. We don’t really get the time to consider and talk about our options, our fears, talk to our peers and come up with solutions to improve what we offer.
In this article the author breaks down data about visits to institutions by people from different socio-economic class for us to understand how to make venues more accessible.
In this article Dave O’Brien looks at how to tackle class discrimination in the creative industries.
The social class of cinema audiences is a subject that is not widely discussed. This piece explores exit polls from cinema showings, and talks about the implications of this work.
The 1963 arrival of Billy Liar looked like the beginnings of a more democratic, working-class film industry. So why are we still stuck with polite social realism and sniggery classism?
Just under a third of people in Britain are excluded from mainstream society because they cannot afford to join in cultural activities such as going to the cinema, taking a holiday or buying consumer goods.