Hollywood Films Are 支配するd by Straight White Men, and New Oscar 支配するs May Not Help
By Brent Lang
LOS ANGELES (Variety.com) - If you watched a movie in 2019, chances are that it was a story about a straight white man made by a filmmaker who was also straight, white, and male.
A 調査する of the 最高の，を越す 100 highest 甚だしい／１２ダースing movies from USC Annenberg School for Communication and Journalism, 設立する that only 32 featured 主要な or co-主要な characters were from underrepresented racial and 民族の groups, a modest 増加する from 27 films in 2018.
Forty three of the 100 biggest box office 攻撃する，衝突するs had a 女性（の） in a 主要な or co-主要な 役割, a slight bump from 39 in 2018. However, only three of these movies films had a 主要な or co-主要な 役割 filled by a woman over the age of 45, 示唆するing that studios struggle with ageism when it comes to casting actresses. More than 65% of speaking 役割s or characters with 指名するs were played by men, while just 34% were 女性（の） parts -- that's a gender 割合 of 概略で two men to every 1 woman appearing on 審査する.
Other underrepresented groups fared worse and were 事実上 erased from the movies that Hollywood produced last year. Only 2.3% of characters were shown with a disability, while 1.4% of all characters in the 最高の，を越す films of 2019 were from the LGBTQ community.
Only four characters in the 最高の，を越す 600 highest 甚だしい／１２ダースing films between 2014 to 2019 were transgender, and these characters appeared on 審査する for two minutes in total. As the 熟考する／考慮する 公式文書，認めるs, that means that over hundreds of hours of content, transgender characters were only on 審査する for 概略で the length of a trailer.
The status quo on 審査する doesn't appear to 反映する a country that's becoming ますます diverse. In 2019, there was no meaningful 増加する in the number of 黒人／ボイコット, Hispanic/Latino, or Asian characters from 2018 or, even さらに先に 支援する, in 2007. Fifteen of the 最高の，を越す 100 movies 欠如（する）d any 黒人／ボイコット speaking characters, 44 had no Hispanic/Latino speaking characters, and Asian speaking or 指名するd characters were 行方不明の a ltogether from more than a third of all movies 調査するd.
"There doesn't seem to be a real 政策 or 過程 of creating an ecosystem of 傾向 onscreen," said Stacy L. Smith, one of the 報告（する）／憶測's authors and the 創立者 of the USC Annenberg 傾向 率先. "It's remarkable how 抵抗力のある to change the 産業 is. When you look at the whole ecosystem, things really 港／避難所't budged."
Perhaps that has something to do with the composition of the people calling the 発射s behind the scenes. Of the 1,447 directors 責任がある the highest 甚だしい／１２ダースing films over 13 years, 4.8% were women, 6.1% were 黒人／ボイコット, 3.3% were Asian, and 3.7% were Hispanic/Latino. A mere 13 women of color have directed a 最高の，を越す-甚だしい／１２ダースing film across 1,300 movies and 13 years.
Concentrating on the highest-甚だしい／１２ダースing films rather than smaller, 独立した・無所属-焦点（を合わせる）d 生産／産物s is instructive, because it helps illustrate what 肉親，親類d of 事業／計画（する）s major studios and, by 拡張, their 法人組織の／企業の parents are choosing to 支援する.
The 報告（する）／憶測 comes at a time when social 司法（官） movements around the country and the world are putting 圧力 on マスコミ 複合的な／複合企業体s to diversify their 全労働人口s and to 財政／金融 more stories featuring 黒人／ボイコット protagonists, 同様に as films about women, the LGBTQ community, and other groups that have 歴史的に been overlooked.
It is also 存在 解放（する）d on the same week that the 学院 of 動議 Picture Arts and Sciences, the group behind the Oscars, 発表するd new 傾向 必要物／必要条件s for best picture 競争相手s. Beginning in 2024, 適格の films will need to 会合，会う two of four 基準s -- these 範囲 from having two or more department 長，率いるs who are 女性（の）, LGTBQ, 無能にするd or part of an underrepresented racial or 民族の group, to having at least 30% of the cast 構成するd of actors from at least two of those four underrepresented 部類s.
It may be an important signal of the 学院's 意向s to 支持する／優勝者 a more diverse 始める，決める of movies and moviemakers, but as a practical 事柄, it may not do much to make 雇うing more equitable or to fundamentally alter the types of stories that 居住させる cinemas. After reviewing the data, the 熟考する／考慮する's authors 設立する that 95 films out of the 100 最高の，を越す-甚だしい／１２ダースing movies of 2019 would 会合，会う one 基準, while 71 would 会合，会う the second 始める，決める of 基準.
"It's fair to say that the 産業 has already met the 基準 輪郭（を描く）d by the 学院 so this doesn't move us さらに先に in the conversation or alter 接近 and 適切な時期, it 反映するs the status quo," Smith said.
"These 基準s aren't aspirational or transformative, which is what would be necessary to move 傾向 今後 in this 産業. My 関心 is that the 基準s create 誤った hope that things will change when they 反映する 商売／仕事 as usual."
