Netflix, FWD-Doc and Doc Society have launched the Disability and Inclusion Toolkit in the UK, which is an American version to follow.


A recent report from the USC Annenberg Inclusion Initiative, Analyzing 126 US-based movies and 180 series released on Netflix in 2018 and 2019, revealed that only 5.3 percent of stories were led or co-led by characters with disabilities, compared to 27.2 percent of the U.S. population living with Obstruction. Netflix isn’t the only media company that has a lot of work to do both on screen and behind the scenes when it comes to embedding. Streamer has teamed up with FWD-Doc: Documentary Filmmakers with Disabilities and the UK Doc Association to launch Toolkit For Inclusion & Accessibility, a new resource for the UK industry.

The 62-page document includes “a wide range of practical advice to help filmmakers create change through development, production, mail, distribution, and display” as well as information on “How to bestise captions, audio descriptions, and language-based film critics. Journalists should use them when writing about disability on … the screen , ” Daily screen reports.

“There are different ways in which the toolkit can be used and we hope people find it a really powerful document to research,” said Lindsay Dryden, producer of the “Disorders” chronic fatigue syndrome document and an author of the toolkit. FWD-Doc’s founding member added, “It can be used individually, or by production companies and larger teams.”

The document contains information and resources relevant to both documentary and fictional filmmaking, and includes “Latest Figures on D / Deaf and Disabled in Film” as well as “Tips and Reflections from dozens of D / Deaf and Disabled Filmmakers from the FWD-Doc Community.” Spotlight on the Crip Camp case study, one of the most popular documents of the year. Directed by Nicole Newnham and Jim Lieberecht, and The title of the Academy Award shortlisted A greeting to a ramshackle summer camp for teens with disabilities that helped spark a revolution.

“Often stories from our community are told by people outside of society, not with them,” Liebrecht said. “But if we can’t make those movies, or do the work, then this will only continue to make PWD underrepresented.” He asserted, “When you have a very real story – not just about disability, with whatever story – it gets highlighted. It’s better entertainment. It sounds more honest, people have not taken advantage of our society and looked at us as makers to feed the industry with these stories … We told some.” Time that’s good business, there’s money in there, he added, citing Apple’s recent $ 25 million acquisition of “CODA” by Sundance’s “CODA.” The coming-of-age story of a teenage girl who is also the only aural member of a deaf family. She won the top three American Drama Awards for the festival.

The source notes that the disabled “make up more than 20 per cent of the UK population, with a purchasing power of £ 274. [or about $382] A billion dollars a year. ”Dryden noted,“ If you forget about a fifth of your audience, you’re forgetting some creative opportunities. Jim and Nicole put it really beautifully in the same toolkit. We spend all this time, energy and love crafting our story. But what if we handed the caption, which is part of our storytelling, to someone else? Or, instead of describing what a piece of music does, the caption just says “music”. I think accessibility opens up additional layers of storytelling. This is what we are all here for. “

LeBrecht said the emergence of “Crip Camp” has been supported by the dedicated work of Netflix, which has released assets including the script for the film to deaf-blind audiences, and from Obamas’ production company, High Ground, detailing the daily screen.

“We heard a little bit from the movie folks that there was a“ Crip Camp Effect ”- it really made people stop and think about a note, and this validates this important story.“ It’s an incredibly exciting moment. ”The filmmaker hopes the group will help The tools in giving people who want to be more inclusive give disabled filmmakers and the disabled audience an idea of ​​how to get started. ”People say,“ We ​​need to do a better job. But how do we do it? I don’t know anything about providing access ”… well. , They now have 62 pages. The information is there, if you are not sure about the captions or audio description, this document can help, ”he explained.

Dryden hopes to update the document annually “with progress made and as technology evolves.”

“I would like to update the toolkit with the upcoming UK-backed main film that could be a powerful case study like“ Crip Camp, ”Dryden said.“ I would like to update the toolkit with a photo of a wheelchair user climbing onto the stage at an awards ceremony, because Slope is provided by default. That would be an amazing update. “

The US version of the Toolkit is under preparation.

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