In January, Channel 4 announced its year of disability with commitments to boost on- and off-screen representation of disabled people.
The schemes were announced in July 2014 as part of a raft of measures designed to improve diversity, including new targets for on and off-screen representation.
"This is an important step, as this is the first time the broadcasters will be able to provide data on on-screen and off-screen representation which is standardised, comparable and made publicly available on a broadcaster-by-broadcaster basis," said the Ofcom chairman.
He told Radio 4's The Media Show that the BBC was "not being complacent" but admitted it was "difficult to make excuses" for the lack of progress in BAME representation on- and off-screen.
Sure, there have been hints, off-screen trysts and failed promises, but queer representation hasn't exactly been, well, super, given the sheer number of characters who populate the films.
This means characters who are implied to be LGBTQ through subtext or confirmed off-screen from filmmakers don't count toward representation for the purposes of GLAAD's report.
The CBE submission notes there was "no reference to concrete proposals" and concluded: "Over the past year the BBC Trust has demonstrated an increased emphasis on on-screen representation and a declining interest in off-screen employment.
"I hope that with the launch of 2016 as our year of disability we can extend the impact of this Paralympic year right across our schedule and help do something lasting to increase representation of disabled people on, and off-screen".
Philip Davies said he considered recent proposals announced by BBC director general Tony Hall to boost the representation of black, Asian and minority ethnic people on- and off-screen to be racist, when the corporation should be aiming to be "colour blind".
That's why his decision, in "Putty Hill," to maintain his own presence in scenes of interviews with his characters with his actors, who are, in real life, very close to his characters comes off not as improv class or as unwarranted artifice, but as a representation of the authentic continuity of the lives lived on- and off-screen.
That's why his decision, in "Putty Hill," to maintain his own presence in scenes of interviews with his characters — with his actors, who are, in real life, very close to his characters — comes off not as improv class or as unwarranted artifice, but as a representation of the authentic continuity of the lives lived on- and off-screen.
