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Essiedu is best known for his role as Kwame in I May Destroy You. He is also recognized for his work in The Capture, The Lazarus Project, Anne Boleyn, Gangs of London, Press, National Treasure: Kiri, The Miniaturist, Murder on the Orient Express and Men. He has appeared in Royal Shakespeare Company productions of Hamlet and King Lear. Be prepared. Have all the materials you need ready before the casting call to make the most of your time with each candidate. A GOD, A GODDESS, A MAN OF COLOR, A WOMAN OF COLOR: CASTING AND INTERSECTIONALITY IN TROY: FALL OF A CITY While a certain amount of progress has been made with on-screen talent in recent years, and although several entertainment companies are starting to make strides toward diversity and inclusion, our new analysis shows that inequity persists and is deeply entrenched across the film and TV ecosystem. Data on the levels of diversity and representation on-screen have been available for several years. But those numbers alone, as important as they are, tell only one part of the story. We examined in detail the racial complexities and challenges of this dynamic workplace, analyzing the entire film and TV ecosystem—including studios, networks, production and streaming companies, and distributors—through the lens of the individuals who must navigate it: on-screen talent, as well as off-screen writers, producers, directors, executives, agents, crew members, and beyond.

Seven Methods of Killing Kylie Jenner by Jasmine Lee-Jones. Photograph: Helen Murray Jasmine Lee-Jones (writer) Both film and TV still have very little minority representation among top management and boards; film in particular is less diverse than relatively homogenous sectors such as energy, finance, and transport. Fields, Karen E., and Barbara J. Fields. Racecraft: The Soul of Inequality in American Life. 1st ed., Verso, 2014. [Google Scholar] I tried to view it as a business transaction,” Tynan says. As a young actor in Vancouver, image has a major impact on the opportunities that he can access. With red hair and a pale complexion, he’s predominantly called in for Caucasian roles; roles that he’ll take on but that aren’t always fulfilling. Tynan is mixed-race. His father is second-generation Chinese-Canadian and Tynan identifies with both sides of his heritage. However, this isn’t easily communicated through a headshot. Tired of being overlooked for culturally relevant roles, he resolved to dye his hair in the hopes of appearing “more Asian.”Great Expectations was published in 1861, but the story of Pip and the people who encourage then disappoint his expectations takes place over 30 or so years, beginning around 1810. Bashy says his casting as Jaggers is realistic and, looking at this period, it is. Curley, Dan. “Divine Animation: Clash of the Titans (1981).” Classical Myth on Screen, edited by Monica Cyrino and Meredith Safran, Palgrave Macmillan, 2015, pp. 207–18. [Crossref] , [Google Scholar]

Deliovsky, Katerina. “Normative White Femininity: Race, Gender and the Politics of Beauty.” Atlantis, vol. 33, no. 1, 2008, pp. 49–59. [Google Scholar]Radulovic, Petrana. “Figuring Out What Makes a God in the MCU so Gorr the God Butcher Doesn’t Have To.” Polygon, 9 July 2022, www.polygon.com/23200050/mcu-thor-gods-asgard-eternals-moon-knight-explainer. Accessed 27 Jul. 2022. [Google Scholar] As a Mixed-Race woman of colour who grew up in the UK loving period literature and storytelling - perhaps against the odds - I can tell you first-hand that these casting decisions are pivotal. Brooker noted that Paul “had to wrestle with some grim material.” Adding that they “were filming in a heat wave, and I have no idea how he stayed sane.” It should be noted that all of the interviewees were granted anonymity so that they could speak openly about their experiences without fear of potential reprisal.

Johnston, Sarah Iles. The Story of Myth. 1st ed., U of Harvard P, 2018. [Crossref] , [Google Scholar]

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Define your project. Be as specific as possible when describing your project. It will help potential candidates understand what you're looking for and whether they are a good fit. Once Upon A Time’s golden-skinned goddess, Ursula, a CGI mirror image, resists racialization, not unlike the rainbow-hued divinities of Disney’s Hercules. Follow up. After the casting call, take some time to follow up with each candidate. Thank them for their time and let them know whether they are being considered for the role.

The other issue with casting is that the ethnic roles that are available are monolithic and grounded in stereotypes of a particular race, Adachi says. Typecasting is a pervasive issue that still runs deep in the industry. It’s also the reason that Julie Tamiko Manning, an actress from Montreal, quit auditioning for movies early in her career. Why haven’t more producers embraced non-traditional casting when it comes to lead roles? Well, restrictive estates might be part of the story, but a reluctance to challenge audience perspectives and the fact that most producers and directors are white men are likely more important factors. At a time when racial divides in the UK feel especially palpable, film and TV can not only help bridge those gaps but show that our nation’s multiculturalism is not a modern thing. Finally, the industry is demonstrating that period drama is a genre in which racial diversity can be both reflected and celebrated, rather than any group being excluded because of outdated and inaccurate perceptions of our collective history. Is it time to retire the all-white period drama, then? Although “only talent matters” is a catchy mantra, Tran says this approach does not eradicate stereotyping – which may well have played a role in the casting oversights of Normal People. “A lot of people think that Shakespeare is synonymous with ‘white’, and will never think of actors of colour as the leads in those plays. There’s still bias that informs what people think of when they think of ‘leading men or women’ or who looks like a ‘villain’.”Thon, Jan-Noël. “Converging Worlds: From Transmedial Storyworlds to Transmedial Universes.” Storyworlds: A Journal of Narrative Studies, vol. 7, no. 2, 2015, pp. 21–53. Project MUSE, muse.jhu.edu/article/602198. [Crossref] , [Google Scholar] But if it’s the former then perhaps we can hope for a theater that respects the integrity of both new and classic plays while also using them to reflect on urgent contemporary questions of race, gender and sexuality, as in Phyllida Lloyd’s all-female Shakespeare productions. And sometimes even these questions might yield to the excitement of thrilling actors taking on roles written for characters with dissimilar bodies, ethnicities and cultural identities. When Oscar Isaac plays Hamlet this summer, it’s difficult to imagine Shakespeare tsk-ing in his grave.