Now in its sixth year, B3 Media is looking for artists for its 2019 edition of TalentLab – an innovative creative development programme aimed at BAME artists, writers, creative producers, and filmmakers in the UK who are ready to take their careers to the next level.
They are calling for applications from individuals with a strong story to tell, and a track record in film, visual arts, theatre and digital storytelling. B3 Media is hoping to find 20 candidates with ideas to participate in a series of development labs in September 2019. From this initial group, up to 6 projects will be commissioned. The selected filmmakers and artists will receive mentorship and development support between October – November 2019 with an opportunity to present their work at B3 Futures creative showcase in central London in November 2019.
TalentLab is supported by ScreenSkills using National Lottery funds awarded by the BFI as part of the Future Film Skills programme, and the University of Nottingham’s Horizon / Mixed Reality Lab. B3 Media is a leading media arts network that understands the importance of representative storytelling. TalentLab helps diverse artists take their careers to the next level by transforming raw ideas and stories into outstanding projects capable of garnering widespread acclaim through a programme of workshops and bespoke support. The programme also enables participants to gain greater exposure and recognition in their fields via carefully curated networks with a list of industry mentors.
(closing date for applications is Midday Tuesday 27th August)
Recent industry reports by Directors UK and ScreenSkills have highlighted ongoing challenges with increasing ethnic representation in creative fields, particularly media. Directors UK notes that no major broadcaster made a significant improvement on diversity from 2013 to 2016 while only 2.2% of UK television programs were made by BAME directors. ScreenSkills (formerly Creative Skillset) 2012 Census found that just 5.4% of the creative and cultural workforce come from BAME backgrounds making up over 10% of the population. By nurturing BAME talent, B3 is helping to remove those barriers and create new role models for the next generation.
Big Picture Film Club recently held its latest Big Picture Talks event featuring none other than investigative journalists, Ben Zand ( BBC’s World’s Most Dangerous Cities) & Seyi Rhodes (Channel 4’s Unreported World).
You can watch parts 1-7 of the event where both of our guests discussed a variety of topics, from their biggest challenges to ethics when making a documentary.
“The middle class were invented to give the poor hope; the poor, to make the rich feel special; the rich, to humble the middle class.” ―Mokokoma Mokhonoana
Class – it could be argued that it is still as divisive a topic now as it was 100 years ago. Although there have been momentous breakdowns in barriers, there is still an evident divide between those who have and those who have not.
People often have a skewed perception of those in a ‘class’ outside of their own. People who consider themselves ‘working-class’ often see the more affluent members of society as out of touch snobs. While the upper classes can still look down on those in a much lower socio-economic bracket to themselves; It is important to realise what role the mainstream media has in perpetuating these stereotypes. To see classism in all its glory, you only need to indulge in daytime television.
The Jeremy Kyle Show. It’s air time of 9.25am would make it seem like family friendly viewing. However, just watching one episode will show you a patronising host who sneers at those who cannot get their point across as eloquently as he deems suitable and an audience that revel in the mockery. It’s hardly a healthy starting point for breaking down class divides.
Surely film can offer a more diverse level of representation? That depends entirely on who you ask. Although most offerings have a very limited, primarily white, depiction of class divides, there are still those films which will be analysed and debated for years to come. Sadly, it is often for their realism.
This is England
Shane Meadows’ This is England is now studied at A-level, degree and Masters level. And rightly so. Based a great deal on his own adolescent experience, Meadows is perfectly able to present the multi-faceted aspects of working-class life. Even Combo, the violent, racist thug is shown to be a juxtaposition of the aggressive rhetoric he preaches during brief moments of vulnerability.
This is England sees Shaun Fields (a thinly veiled pseudonym for Shane Meadows) desperately craving a sense of belonging while the death of his father leaves him vulnerable to negative male role models. This microcosm is set within the bigger picture of a town ravaged by the reign of Thatcher, something that many towns – including my own – have never fully recovered from.
While showing the Skinhead subculture in a more favourable light than it had often been presented, Meadows also highlights the bubbling racist undercurrent that was taking hold in these forgotten towns and cities. It is impossible to ignore how pertinent this theme is when we are now leaving the EU because we are apparently overrun with outsiders stealing our jobs and the American President is still hell-bent on building his wall. The agonising scene of Combo beating Milky, the only black character, almost to death while hurling racist slurs is even more uncomfortable due to the fact that this is still happening. While Combo represents a small, albeit dangerous, group there is also a definite sense of community in This Is England; social mobility is resisted rather than strived for. Shaun’s growth and understanding is the primary focus but Meadows does not shy away from how his social class influences this journey.
“While both are about people living in poverty, Loach is didactic, and even propagandist, in a way that Meadows rarely is. His politics can be found not in a straightforward message, but rather in his sympathetic, complex, rounded view of working class lives.” – David Buckingham, This is England: Growing up in Thatcher’s Britain
I, Daniel Blake
I, Daniel Blake is a film that stays with you long after you’ve watched it. Ken Loach’s most successful film at the box office presents social realism at its most harrowing and makes no apologies for it. The idea that it was an example of propaganda was felt by Ian Duncan Smith, the former Conservative Work and Pensions Secretary. This was the same person who was “looking to make it harder for sick and disabled people to claim benefits” according to leaked documents.
Daniel Blake is approaching his 60s and has been deemed unfit to work by his doctor, yet he is forced to go through an uncompromising and often demeaning social system which forces him to look for work. The desperate lengths that both Daniel and single mother Katie are driven to are unbelievable, upsetting and disgraceful. While this is a work of fiction, I, Daniel Blake portrays the everyday reality for many people living in poverty. It is by no means an easy watch but it is a necessary one.
While these are two productions offer an insight into social class in Britain, they can not be seen as sweeping generalisations, much like Downton Abbey cannot be the one true depiction of the wealthy members of society. However, with nepotism still being a huge issue within the film industry, it is unlikely that we will see a more varied, colourful spectrum of experiences until people from those backgrounds are given the opportunity to share them.
Many, more uplifting stories, are out there but have to rely on the support of established film industry members to reach a mainstream audience. Fighting With My Family is just one example. Written and directed by Stephen Merchant, he discussed the theme of social class in this article with The Guardian.
Layered in hidden messages, the story begins on three friends as they embark on a new venture in podcasting. A humble setting for conversation quickly yields tension-filled exchanges between the friends, opening a sequence of events that reveal secrets in their respective relationships.
Starring: Ashley Bannerman (The Infiltrator, Turn Up Charlie); Gia Ré (Eli); Michael Akinsulire (Killing Eve); Stephanie Levi-John (The Spanish Princess); CJ Beckford (Victoria).
Story: Olan Collardy and Leon Mayne Writer / Director: Leon Mayne Producer: Charlotte Toon