The 50/50 Collective, engaged in a fight for equality, parity and diversity in the film and audiovisual industry, unveiled the first figures of its Cinégalités study carried out on 115 French films released in 2019.
On Monday 6 December, the 4th Assises of the 50/50 collective who presented the first results of a study entitled “Who people French cinema?” carried out in the company of Maxime Cervulle, professor in information and communication sciences at the University of Paris 8, and Sarah Lécossais, lecturer in information and communication sciences at Sorbonne Paris Nord University.
The corpus analyzed for this study (which you can find here) is made up of the 100 films with the largest budgets and the 100 films with the most admissions in 2019 (i.e. before the introduction of the parity bonus). Which amounts to 115 films, in which glaring inequalities were observed.
The survey shows that a small proportion of characters are perceived as non-white. Indeed, 78% of the characters are perceived as white (81% for the main characters). Of all the characters in the films, 9% are seen as black, 9% are also seen as Arab and only 2% are seen as Asian. The remaining 2% correspond to other origins.
In addition, only 6% of the main characters are women perceived as non-white, while one in two main characters is a man perceived as white (49%). A lack of representation of ethnic diversity which is also accompanied by stigmatization because 11% of characters perceived as non-white commit crimes, against 4% of characters perceived as white.
The study also looked at gender issues and here again, French cinema is fishing. 38% of the main characters are cisgender women while they represent 52% of the French population. Regarding transgender characters, they are quite simply at 0%.
Unsurprisingly, the proportion of women falls when we look at the results by age group. Notably, among 50-64 year olds, where only 12% of the main characters are cisgender women. On the other hand, we obtain parity in the 20-34 age group.