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That was certainly the motivation for director Emma Holly Jones when she cast Gemma Chan and Sope Dirisu as the romantic leads in her Austen-inspired 2019 short film Mr Malcolm’s List (written by Suzanne Allain), which is set to begin filming as a feature in the summer of 2020.

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. Lucian Msamati in Amadeus at the National Theatre. Photograph: Marc Brenner Lucian Msamati (actor and former artistic director of Tiata Fahodzi)Casting the film as diversely as possible not only expands its audience, it emphasises the universality of its love story beyond its Georgian England confines,” Jones says. “We have an opportunity to completely reimagine the British period drama in a mould hopefully others will follow. More importantly, it’s nice to think that we might make the day of many people who studied the literature, who imagined themselves to be Mr Darcy or Lizzy Bennet, but never saw themselves or their cultures reflected on screen.” 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] Deliovsky, Katerina. “Normative White Femininity: Race, Gender and the Politics of Beauty.” Atlantis, vol. 33, no. 1, 2008, pp. 49–59. [Google Scholar] West, Thomas J. “Mourning the De-Queering of the Disney Villain.” Medium, 11 Feb. 2020, https://tjwest3.medium.com/mourning-the-de-queering-of-the-disney-villain-230964cf8a13. Accessed 27 Jul. 2022. [Google Scholar]

Davies, Jude, and Carol R. Smith. Gender, Ethnicity and Sexuality in Contemporary American Film. 1st ed., Keele UP, 1997. [Google Scholar]

This realisation was something that jumped up and walloped me in the face. A stark revelation that all this time I hadn't been enjoying these dramas in the way that I thought I had. In fact - worse than that, other people had been enjoying it notched up at full capacity, lavishly cloaked in the ardour of it all while I had been served a counterfeit substitute. I know this now because I have experienced the intimate connection, the emotional swell, that comes with a piece of storytelling in which you see yourself. Only now do I understand that I was never truly able to engage with the stories in a romantically involved way - in the way that I have now come to understand other people who see themselves depicted do. 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. Agents fill out their rosters like football coaches fill out a team,” Adachi explains. Talent agents want to ensure that they have a person who can play every ethnicity, or at least look “close enough.” In this sense, racialized actors are judged on the basis of whether or not they look the part, rather than their ability to play the part. This is where mixed-race actors in particular can run into problems: while they may have the lived experience for the roles they want to pursue, this becomes irrelevant if they don’t obviously present as the ethnicity being called for. It’s been a long time coming. We are really excited to see the vision that we’d worked on for such a long time come to life. It’s a 30-second ad but people won’t see the months of hard work that goes into it. And Aicha Therese, an up-and-coming poet who worked with us on the project, did a brilliant job. She really understood the brief.” The Personal History of David Copperfield is released in the UK on 24 January and in the US on 8 May.

The products give her hair a new lease on life, allowing her to “unleash newfound confidence for her big debut”. For Hayek Pinault the “brilliance” of the “Joan is Awful” is that it “keeps making you laugh, making you anxious, blowing your mind, and making you think,” she tells Tudum. Schedeen, Jesse. “Marvel’s Thor and Moon Knight Dilemma: Does the MCU Have Actual Gods?” Imagine Games Network, 9 July 2022, www.ign.com/articles/thor-love-thunder-moon-knight-khonshu-mcu-gods-asgard. Accessed 27 Jul. 2022. [Google Scholar]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.

Rosalind Eleazar and Dev Patel in The Personal History of David Copperfield, directed by Armando Iannucci. Photograph: Allstar/FILMNATION ENTERTAINMENTJob Description: Casting directors are now casting actors to work on scenes filming in the United Kingdom.