BIPOC TV & Film is a grassroots organization and collective of Black, Indigenous and People of Colour in Canada’s TV and film industry. From writers, directors, producers and actors to editors, crew members and executives, our members are a mix of emerging, mid-level and established industry professionals. BIPOC TV & Film is dedicated to increasing the representation of BIPOC both in front and behind the camera.

Recognizing a scarcity of platforms in Canada that celebrate Black talent in the arts, entertainment, and sports, Canadian actors and brothers Shamier Anderson and Stephan James founded The Black Academy. The organization is dedicated to breaking down barriers of discrimination and combating systemic racism in Canada. By honouring, celebrating, and showcasing established and emerging Black talent, The Black Academy will elevate and inspire Black talent in both the Anglophone and Francophone communities across the country for generations to come. A permanent, year-round, and national operation, The Black Academy is a division of the not-for-profit B.L.A.C.K Canada. The division was launched in 2020 and is based in Toronto.

The Canadian Centre for Diversity and Inclusion (CCDI) is a made-in-Canada solution designed to help employers, diversity and inclusion/human rights/equity, and human resources practitioners effectively address the full picture of diversity, equity and inclusion within the workplace. Founded and run by experienced diversity and inclusion practitioners, CCDI’s focus is on practical sustainable solutions that help employers move toward true inclusion. Effectively managing diversity and inclusion, and human rights and equity is a strategic imperative for all Canadian organizations that wish to remain relevant and competitive.

The Indigenous Screen Office’s mission is to support and develop Indigenous screen storytellers and Indigenous stories on screens, and increase representation of Indigenous peoples throughout the screen industries

The Racial Equity Media Collective advocates for creators in Canada’s film, television and digital media industries who identify as Black, Indigenous and people of colour. Established in 2019 by a volunteer group of working creators, the REMC’s mission is to remove barriers to access and increase the production, export and sustainability of BIPOC content.

Born from the vision of Chief Dr. Robert Joseph, Gwawaenuk Elder, Reconciliation Canada is leading the way in engaging Canadians in dialogue and transformative experiences that revitalize the relationships among Indigenous peoples and all Canadians. Their model for reconciliation engages people in open and honest conversation to understand our diverse histories and experiences. They actively engage multi-faith and multi-cultural communities to explore the meaning of reconciliation.

RespectAbility is a nonprofit organization that works collaboratively with employers, elected officials, policy makers, educators, self-advocates, nonprofits, faith-based organizations, philanthropists and the entertainment and news media to fight stigmas and advance opportunities. Led by diverse people with disabilities and allies, RespectAbility knows that people with disabilities and their families have the same hopes and dreams as everyone else.

To provide an anonymous and safe reporting environment for Canadians of Asian ancestry experiencing anti-Asian attacks. To consolidate public resources in an accessible format to victims. To utilize reported data for actionable change.

Women in View is a national not-for-profit organization dedicated to strengthening gender representation and diversity in Canadian media both on screen and behind the scenes. We do this through a range of initiatives that seek to generate awareness, promote talent and spark dialogue across the full spectrum of production, policy and artistic arenas.

The Annenberg Inclusion Initiative is the leading think tank in the world studying diversity and inclusion in entertainment through original research and sponsored projects. Beyond research, the Annenberg Inclusion Initiative develops targeted, research-based solutions to tackle inequality.

The Creative Diversity Network shares, discusses and profiles the work that the UK broadcasters are doing around the diversity agenda, both independently and collectively. All of the UK broadcasters are members of the Creative Diversity Network as well as long-term stakeholders.

The Diamond Reports present data from a ground-breaking system which provides long term diversity monitoring for the UK TV production industry. Three reports have been released to date: (1) The First Cut presents data collected by between its launch in August 2016 and July 2017; (2) The Second Cut presents data from programmes transmitted between August 2017 and July 2018; and (3) and The Third Cut presents data from programmes transmitted between August 2018 and July 2019.

Diversity Arts Australia (DARTS) is Australia’s national voice for ethno-cultural and migrant racial equity in the arts, cultural and creative industries. Their work is underpinned by a human-rights ethic, social justice principles, and the belief that a truly diverse spectrum of creative expression and participation is fundamental to a democratic, inclusive and sustainable creative sector, and society.

RespectAbility is a nonprofit organization that works collaboratively with employers, elected officials, policy makers, educators, self-advocates, nonprofits, faith-based organizations, philanthropists and the entertainment and news media to fight stigmas and advance opportunities. Led by diverse people with disabilities and allies, RespectAbility knows that people with disabilities and their families have the same hopes and dreams as everyone else.

Funded by a UNESCO grant and led by Diversity Arts Australia in partnership with Western Sydney University (WSU) and BYP Group, this is the first research of its kind to put a clear figure on what cultural and linguistic diversity—or lack thereof—looks like in the creative sector at the leadership level. This report responds to a gap in knowledge measuring cultural and linguistic diversity amongst the leadership of 200 of Australia’s leading arts, cultural and screen organisations, funding agencies and award judges, including the board members and executive staff.

The Sir Lenny Henry Centre for Media Diversity is a newly established research centre, bringing together the expertise of established media professionals and academics. The Centre believes that accurate representation of all sections of society in all layers of the UK media is vital. Involved in the Centre are Sir Lenny Henry, Professor Diane Kemp (the Centre’s Director), Marcus Ryder and Marverine Duffy, all leading figures in the efforts to increase diversity and inclusion in the UK media industry.

This is the sixth in a series of annual reports to examine relationships between diversity and the bottom line in the Hollywood entertainment industry. It considers the top 200 theatrical film releases in 2019 and 1,316 broadcast, cable and digital platform television shows from the 2016-17 season in order to document the degree to which women and people of color are present in front and behind the camera. It discusses any patterns between these findings and box office receipts and audience ratings.

The Canadian Centre for Diversity and Inclusion (CCDI) is a made-in-Canada solution designed to help employers, diversity and inclusion/human rights/equity, and human resources practitioners effectively address the full picture of diversity, equity and inclusion within the workplace. Founded and run by experienced diversity and inclusion practitioners, CCDI’s focus is on practical sustainable solutions that help employers move toward true inclusion. Effectively managing diversity and inclusion, and human rights and equity is a strategic imperative for all Canadian organizations that wish to remain relevant and competitive.

Just because a film numerically has a cast that includes more members from a variety of backgrounds, it may not actually reflect true diversity in its storytelling. To determine if there is true diversity in storytelling—what we call Authentically Inclusive Representation (AIR)—it is necessary to examine both: (a) if there are individuals from diverse backgrounds (in terms of race/ethnicity, gender, sexual orientation, and their intersections) on the screen and behind the scenes; (b) if such diversity is present, whether the characters and story on screen reflect genuine aspects of the culture being portrayed (i.e., instead of relying on and reinscribing stereotypes or tropes). The result of our research was finding that a movie that lacks AIR can indeed cost a distributor big-time at the box office.

The Diamond Reports present data from a ground-breaking system which provides long term diversity monitoring for the UK TV production industry. Three reports have been released to date: (1) The First Cut presents data collected by between its launch in August 2016 and July 2017; (2) The Second Cut presents data from programmes transmitted between August 2017 and July 2018; and (3) and The Third Cut presents data from programmes transmitted between August 2018 and July 2019.

The Indigenous Screen Office’s mission is to support and develop Indigenous screen storytellers and Indigenous stories on screens, and increase representation of Indigenous peoples throughout the screen industries

The Racial Equity Media Collective advocates for creators in Canada’s film, television and digital media industries who identify as Black, Indigenous and people of colour. Established in 2019 by a volunteer group of working creators, the REMC’s mission is to remove barriers to access and increase the production, export and sustainability of BIPOC content.

A previous edition of the Ruderman White Paper on the Employment of Actors with Disabilities in Television found that 95% of top TV show characters with disabilities are played by non-disabled performers. The imperative for diversity is already widespread in many corners of the industry and we assert that disability is of course a part of diversity. Having laid the groundwork for this assertion, in this White Paper the Ruderman Center moves from conversation to a call to action.

Since 2004, the Geena Davis Institute on Gender in Media, a project of Mount Saint Mary’s University, has advocated for greater inclusion in entertainment media through cutting-edge research and advocacy. The Institute is moving the needle on intersectional gender representation by working directly within the industry, with a particular focus on children’s entertainment. This report analyzes representations of gender, race, LGBTQ+ individuals, and people with disabilities in popular entertainment media in 2018. We examine characters in children’s television shows, children’s films, and popular films. Here are our key findings.

Funded by a UNESCO grant and led by Diversity Arts Australia in partnership with Western Sydney University (WSU) and BYP Group, this is the first research of its kind to put a clear figure on what cultural and linguistic diversity—or lack thereof—looks like in the creative sector at the leadership level. This report responds to a gap in knowledge measuring cultural and linguistic diversity amongst the leadership of 200 of Australia’s leading arts, cultural and screen organisations, funding agencies and award judges, including the board members and executive staff.

This is the sixth in a series of annual reports to examine relationships between diversity and the bottom line in the Hollywood entertainment industry. It considers the top 200 theatrical film releases in 2019 and 1,316 broadcast, cable and digital platform television shows from the 2016-17 season in order to document the degree to which women and people of color are present in front and behind the camera. It discusses any patterns between these findings and box office receipts and audience ratings.

WIVOS 2021 includes an analysis of two funding cycles: film projects financed by Telefilm Canada between 2017-2019 and scripted English language television series funded by the Canada Media Fund (CMF) between 2017-2019. In this Report, the definition of women includes cisgender and transgender women, and there are also data points where non-binary people have self-identified.

The 5th Women in View On Screen Report finds that women – especially women of colour and Indigenous women – remain significantly under-employed on Canada’s publicly funded film and television productions. But the study – which examined more than 5000 contracts issued between 2014 and 2017 – also finds that women’s creative leadership is the key that unlocks gender balance and greater diversity.

The Canadian Centre for Diversity and Inclusion (CCDI) is a made-in-Canada solution designed to help employers, diversity and inclusion/human rights/equity, and human resources practitioners effectively address the full picture of diversity, equity and inclusion within the workplace. Founded and run by experienced diversity and inclusion practitioners, CCDI’s focus is on practical sustainable solutions that help employers move toward true inclusion. Effectively managing diversity and inclusion, and human rights and equity is a strategic imperative for all Canadian organizations that wish to remain relevant and competitive.

Just because a film numerically has a cast that includes more members from a variety of backgrounds, it may not actually reflect true diversity in its storytelling. To determine if there is true diversity in storytelling — what we call Authentically Inclusive Representation (AIR) — it is necessary to examine both: (a) if there are individuals from diverse backgrounds (in terms of race/ethnicity, gender, sexual orientation, and their intersections) on the screen and behind the scenes; (b) if such diversity is present, whether the characters and story on-screen reflect genuine aspects of the culture being portrayed (i.e., instead of relying on and reinscribing stereotypes or tropes). The result of our research was finding that a movie that lacks AIR can indeed cost a distributor big-time at the box office.

To help you introduce the best practices for inclusion and diversity in your business, CMF Trends has developed a list of regional, national and international resources that provide support, training, resources and/or tools. This list builds on the resources provided in the Diversity & Inclusion Toolkit for the Interactive Digital Media Industry published by Interactive Ontario.

GBA+ is an analytical process used to assess how diverse groups of women, men and non-binary people may experience policies, programs and initiatives. The “plus” in GBA+ acknowledges that GBA goes beyond biological (sex) and socio-cultural (gender) differences. We all have multiple identity factors that intersect to make us who we are; GBA+ also considers many other identity factors, like race, ethnicity, religion, age, and mental or physical disability.

As a non-profit organization, HR Tech Group exists to support a strong and diverse technology employment sector. Free to all organizations from every sector, the HR Tech Group’s Diversity & Inclusion HUB provides resources and tools to help employers create inclusive culture. Use this D&I resource hub to learn and apply what resonates for your organization.

Project Implicit is a non-profit organization and international collaboration between researchers who are interested in implicit social cognition – thoughts and feelings outside of conscious awareness and control. The goal of the organization is to educate the public about hidden biases and to provide a “virtual laboratory” for collecting data on the Internet.

The Diversity & Inclusion Toolkit for the Interactive Digital Media Industry provides interactive digital media (IDM) companies with pragmatic and actionable advice for enhancing their talent management strategies with the goal of improving team diversity while fostering an inclusive culture. The strategies in the toolkit are tailored to the unique needs of the IDM sector to help leaders attract and retain top talent from diverse backgrounds. Through implementation of these strategies, IDM companies will increase employment opportunities in the sector for talent currently underrepresented due to gender, ethnicity, sexual orientation, class, religion, age, ability and other identities.

This highly anticipated guide provides cultural principles, key findings from a national consultation process, and best practices for filmmakers, production companies, and funders when depicting Indigenous content on screen, and how communities can be collaborative partners.

To provide an anonymous and safe reporting environment for Canadians of Asian ancestry experiencing anti-Asian attacks. To consolidate public resources in an accessible format to victims. To utilize reported data for actionable change.

Web Content Accessibility Guidelines (WCAG) is developed through the W3C process in cooperation with individuals and organizations around the world, with a goal of providing a single shared standard for web content accessibility that meets the needs of individuals, organizations, and governments internationally. The WCAG documents explain how to make web content more accessible to people with disabilities.

WCT GPS (Gender Parity Scorecard) features a unique assessment tool that queries participants about practices inside their companies that foster inclusion. This assessment tool produces a scorecard that illustrates how the participant’s employer’s practices compare with leaders in gender diversity and inclusion. And it offers recommendations and actions employers can take to improve. WCT GPS also includes a library of resources that WCT recommends.

Access Reelworld bills itself as the most complete Database of Black, Indigenous, Asian, South Asian, Middle Eastern, Latin American communities in the Canadian entertainment industry. It contains talent from all aspects of the screen-based industries – in front of and behind the cameras. Use this database to find above the line talent, below the line talent, applicants to sit on your Board of Directors, or hire for your non-profit arts organizations, and your productions companies.

Film in Colour is an online tool intended for users to discover and hire Film/TV industry professionals of colour, including Directors, Writers, Producers, Editors, Crew, Executives, Curators, Comedians, and a wide array of other Film/TV industry roles for all levels of experience. The website also serves as a place for members to showcase their work, share their experiences on a private forum, and find job opportunities via the Open Calls board.

HERe is a Canadian female film crew directory. This initiative strives to connect productions with skilled women in underrepresented technical positions. Their goal is to become a user-friendly resource in diversifying the film workforce with a growing roster of female technicians. HERe collects profiles and provides a list of potential candidates in various departments for collaborators to connect with across Canada.

HireBIPOC.com is the definitive and ubiquitous industry-wide roster of Canadian BIPOC creatives and crew working in screen-based industries. All self-identified BIPOC working in all areas of the industry, across all experience/education levels, are encouraged to join.

The Indigenous Screen Office’s mission is to support and develop Indigenous screen storytellers and Indigenous stories on screens, and increase representation of Indigenous peoples throughout the screen industries.

Out On Set is a database for North American LGBTQ+ film & television crew and creative talent. It is a joint initiative created and developed by OUTtv and Inside Out to connect production companies, agencies and networks to queer and trans talent within the screen industry. Out on Set intends to increase LGBTQ+ hires in all elements of production, from the writers’ room to post-production, eliminate barriers to access and employment opportunities for LGBTQ+ crew and creatives, and connect queer storytellers with the teams they need to bring their projects to life.