Standard A: On-screen representation, themes and narratives

This standard relates to how the project will address under-representation in the lead and secondary characters, talent or contributors, casting choices, the main and secondary storylines, themes, and narratives and where it is set.

To meet this standard, you must:

• identify where there are unfamiliar characters or themes and narratives that are not frequently portrayed on-screen or are shown from a new perspective.
• describe where there are meaningful and non-stereotypical representations of characters or contributors who are portrayed with nuance.
• detail the perspective of the narrative or theme of the project and how this affects the way in which characters or contributors are portrayed. 

For film projects in development or treatment stages, concessions may be made towards what level of detail can be provided at this earlier phase

Standard A contents

This standard is broken down into the following criteria:

• A1 – Lead roles
• A2 – Other roles
• A3 – Main storyline
• A4 – Other storylines
• A5 – Location
• A6 – Casting decisions (you must meet this criteria)

A1 Lead roles

This criteria relates to characters, contributors or presenters.

Criteria

At least one of the lead characters, contributors or presenters is from one or more under-represented groups.

Guidance

The lead character, contributor or presenter will address under-representation in a meaningful, multi-dimensional, and non-stereotypical way. They challenge a stereotype and/or bring new representation to a well-known story. 

• Scripted (fictional) content: Generally, the main protagonist and or antagonist
• Unscripted (documentary) content: Lead Contributor, Lead Presenter
• Ensemble cast: more Lead Characters might be relevant
• Animated content: Portrayal and design of the lead character

For immersive AR/VR content, we will look at where storytelling by the lead characters, contributors or presenters involves the audience in order to create additional representation.

Examples include but are not limited to those under-represented groups that are rarely seen:

1. on-screen
2. in this type of job, role, genre, narrative
3. in such a storyline or subject matter

A1 addresses the characters written and not the talent hired to play those characters unless it’s contributors or presenters. Where such individuals have not yet been identified, more details outlining intentions or shortlisted individuals should be provided along with the application.

A2 Other roles

This criteria relates to characters, contributors or presenters.

Criteria

Secondary or supporting characters, contributors, presenters must meet one or more of the following targets:

• 50% gender (50 to 50 balance of men and women identifying within the gender binary)
• 40% ethnically diverse (London)
• 30% ethnically diverse (UK-wide)
• 10% LGBTQIA+ (including those outside the gender binary)
• 18% disability (including those with a longstanding physical or mental condition and those identifying as D/deaf or neurodiverse)
• 39% working class background 
• a significant number are based in the UK outside of London and the South East of England

Guidance 

Secondary or supporting characters, contributors, presenters represent diversity on-screen per the criteria and meet the outlined percentages. In addition to meeting the targets, these characters challenge a stereotype and/or bring new representation to a well-known story.

• Scripted (fictional) content: Secondary / supporting characters (indicate where these are non-stereotypical representations)
• Unscripted (documentary) content: Other Contributors, Presenters (need to collect diversity demographics for these individuals)
• Animated content: Portrayal and design of secondary / supporting characters

For immersive AR/VR content, we will look at where storytelling by the secondary and supporting characters, contributors or presenters involves the audience in order to create additional representation

Examples include but are not limited to those under-represented groups that are rarely seen:

• (a) on-screen
• (b) in a type of job, role, genre, narrative
• (c) in such a storyline or subject matter

A2 addresses the characters written and not the talent hired to play those characters unless it’s the contributors or presenters. Where such individuals have not yet been identified, more details outlining intentions or shortlisted individuals should be provided along with the application.

A3 Main storyline

This criteria relates to the main storyline or subject matter.

Criteria

The main storyline, theme, subject matter, or narrative of the film is about an under-represented group(s).

Guidance

Where plot-driven, the main storyline, theme, subject matter, or narrative is about an under-represented group(s). In the event the film is character-driven, it centres on a lead character or contributor from an under-represented group(s). 

Examples include but are not limited to those under-represented groups that are rarely written about for being:

• (a) on-screen
• (b) in a type of job, role, narrative
• (c) in such a storyline or subject matter.

Fresh perspectives and innovative ways of storytelling that challenge a stereotype and/or bring new representation to a well-known story are encouraged. If the film is an adaptation of popular literary works and/or a historical narrative, an unfamiliar interpretation and unexpected approach to its retelling is advised. 

In immersive storytelling, audience interaction and their experience of the narrative will be considered.

If the storyline, theme, subject matter, or narrative has an approach that is not covered above but addresses under-representation in a unique and meaningful way, you should provide additional details with your application.

A4 Other storylines

This criteria relates to other storylines or subject matter.

Criteria

Apart from the main one, there are other storylines, themes, subject matters, or narratives that are about under-represented group(s).

Guidance

Where plot-driven, other secondary storylines, themes, subject matters, or narratives are about an under-represented group(s). In the event the film is character-driven, it features secondary characters, or contributors and/or presenters from an under-represented group(s). 

Examples include but are not limited to those under-represented groups that are rarely written about for being:

• (a) on-screen
• (b) in a type of job, role, narrative
• (c) in such a storyline or subject matter

Fresh perspectives and innovative ways of storytelling that challenge a stereotype and/or bring new representation to a well-known story are encouraged. This includes immersive storytelling, audience interaction and their experience of it. If the film is an adaptation of popular literary works and/or a historical narrative, an unfamiliar interpretation and unexpected approach to its retelling is advised.

If the other storyline(s), theme, subject matter, or narrative is approached in a way that is not covered above but addresses under-representation in a unique and meaningful way, additional details should be provided along with the application.

A5 Locations

This criteria relates to a meaningful setting within the film, or location where you’ll film.

Criteria

• Fictional: the film is wholly or partially set in an under-represented region and/or reflects an under-represented community.
• Animation: relevant representation of how the world or place is portrayed.
• Documentary: filming is outside of Greater London and the South East of England.

Guidance 

Where filming takes place and the where the narrative is set, whether a location within or outside of the UK, or a purely fictional setting. Beyond geography, this relates to communities represented in a film.

• setting is wholly or partially in an under-represented region or community
• animation: The scenes must offer relevant representation, and how the location will be portrayed must be explained in detail
• fictional setting / community: A fantasy, sci-fi or otherwise fictional setting or location that parallels a real-world under-represented community or relates directly to an under-represented place or group
• for documentaries, filming is wholly or partially on location, or in a studio outside of Greater London and South East of England

To meet this, films should be set, wholly or partially, in an under-represented region or community. If partially, the scenes showing the setting should be significant and offer meaningful representation of the place. If outside the UK, indicate how much of the film takes place outside of capital cities or major cities.

Under-represented geographical settings:

• within the UK: 
  • outside of Greater London and is beyond familiar or common depictions — a non-stereotypical portrayal of an area
• outside of the UK: 
  • outside of capital cities or major cities commonly portrayed on-screen
  • a non-stereotypical portrayal of an area
  • a country rarely portrayed on-screen or always represented in one way or in one genre

Location and setting may be defined as the geographical region, such as country, city, town, and studios (documentaries only).

Indicate if the geographical setting or community relates directly to an under-represented group(s) or is generally under-represented on-screen. Provide relevant context on how the setting relates to the storyline, subject matter, and characters or contributors.

For A5, a community may be defined as a group of people having certain characteristics in common.

Whether in the UK or outside of the UK, an under-represented community is a minority group, when compared to more dominant groups in that region. These groups may be related to religious, immigrant, tribal, racial, ethnic, or one of lower socioeconomic status, as examples.

Immersive AR/VR: In line with the above guidance, explain how the intended experience and interaction will have a meaningful setting or use of a location.

Production, location and setting must be approached with due caution around any regional, local, and cultural sensitivities

A6 Casting decisions (mandatory)

This criteria relates to meaningful casting decisions that improve portrayal and representation.

Criteria

Casting choices that address under-representation and challenge tropes and stereotypes.

Guidance

Casting decisions that influence how the characters, contributors or presenters are chosen and portrayed, what group(s) are represented as a result that address under-representation in a meaningful, multidimensional, and non-stereotypical way.

All projects, especially those in development stages, should have an overall casting plan to ensure the above measures are duly considered. Details should include casting decision rationale, and the prominence of the characters, contributors or presenters will be assessed.

Examples include but are not limited to: 

• developing and casting non-actors for authentic representation
• demonstrating street casting for more realistic and authentic portrayals and representation
• a Black or Global Majority actor cast in a role with unspecified ethnicity or initially a white character  
• casting a Black or Global Majority actor in a role that has meaning and isn’t merely tokenistic
• a female presenter for a documentary that has predominantly had men present its subject matter 
• a trans actor being cast in a role not specifically written as trans
• an actor with a disability cast in a role not originally written as disabled
• a lead voice artist from an under-represented group for an animated film project

Also, having cast or hired talent who belong to or identify as the character’s under-represented group may meet A6, where it challenges common casting practices. For example, non-disabled actors are often cast as disabled characters, so casting an actor who is disabled in such a role would challenge this common practice.

Actions to raise awareness and address bias in casting decision-making will be considered, such as training or support materials.

A6 addresses the talent hired, not the characters written. Additional recognition will be given towards casting choices that reflect intentional writing efforts to portray characters from under-represented groups into the original narrative to challenge stereotypes and improve representation.