Perilous Journeys

Professionals Belonging to Minoritized Groups in Contemporary Italian Cinema And TV

Abstract

The debate surrounding gender equality and Diversity, Equity, and Inclusion (DEI) in cultural and creative industries has intensified globally. Yet, progress remains slow, often resulting in what is termed “precarious diversity”. This article presents the methodological framework and comprehensive findings of the E|Quality project (2024–2026), an interdisciplinary research initiative conducted by the Università Anonima 1 and the Università Anonima 2. The project employs a multi-level, mixed-methods approach to examine the persistence of exclusionary dynamics within the Italian cinema and television sectors across three relational dimensions: off-screen (labour structures), on-screen (representation), and in-front-of-screen (audience reception). The study first examines the regional funding landscape from 2017 to 2025, revealing a gradual yet uneven integration of DEI principles. A systematic review of 219 funding calls shows that while 77% include DEI-related criteria, these measures often focus on a narrow range of variables – primarily binary gender and age – and frequently adopt punitive “sanctioning” models rather than rewarding proactive inclusion. Furthermore, an institutional analysis of the top 95 Italian production companies reveals limited formalisation of DEI; only 31% have adopted formal documentation, with initiatives largely driven by international corporate groups responding to market pressures rather than by a deep-seated cultural shift within independent firms. Regarding off-screen hierarchies, a longitudinal analysis of 12,820 television episodes (2000–2023) shows a stark and persistent gender gap, with women accounting for only one-third of the workforce. Beyond raw headcount, women work 12% fewer episodes than men, indicating reduced employment continuity. The data reveals that while technical “below-the-line” roles show marginal growth, creative “above-the-line” positions remain stubbornly resistant to change. Paradoxically, as roles gain prestige and economic value, they become harder for women to access, as recruitment continues to rely on informal, male-dominated networks and precarious work arrangements that disadvantage those with caregiving responsibilities. On-screen, the project utilised automated speech recognition to measure female visibility. The results confirm that narrative genres function as formulaic systems with distinctive gender dynamics: comedy is the most accommodating to female dialogue (up to 61%), while crime dramas and dramas exhibit extreme marginalisation, with female speaking time as low as 5%. Although focusing on female protagonists can override these patterns, it does not automatically guarantee parity in speech distribution. In conclusion, the Italian audiovisual industry remains characterised by exclusionary logics that operate across systemic, organisational, and narrative levels. The limited effectiveness of current policies stems from a partial understanding of exclusion mechanisms and a lack of inclusive culture within production routines. To move beyond “performative washes”, the article argues for a shift toward structural changes that embed DEI within the very creative and organisational fabric of the industry.