Clive James Nwonka
Biographic Data
| ID | 3692793 |
|---|---|
| NAME | Clive James Nwonka |
| GIVEN NAMES | Clive James |
| FAMILY NAME | Nwonka |
| SIGNATURE | NWONKA C J |
| AFFILIATIONS | London School of Economics and Political Science |
| ORCID | 0009-0000-3487-8127 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 13 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Negotiating Black urban screen identities
The popular Black urban filmic and televisual genre is a mode of narrating Black British identity where we observe interactions between a range of social processes that register an impact at the aesthetic level; this being Black urban youthhood as an audio-visual culture and the vernacular expressions of ‘realness’ as its specific cultural value. However, other kinds of audio-visual practices have become central to the way these texts register so…
Black cultural intermediaries
In recent years, the UK screen industries have exhibited a renewed interest in racial difference that can be understood as the outcome of policy interventions into the unequal labour practices within film production and film culture. This has emerged with new modes of Black cultural visibility that have accompanied the increased presence of mainstream, publicly funded feature films. Here, the increasing body of Black filmic practitioners who have…
White Women, White Men, and Intra-Racial Diversity
This article addresses the role of data in measuring diversity in the UK film industry and its mediation of underrepresented identities excluded from the sector. Through a data-led analysis of gender representation across 235 British films made from 2016, this study assesses the impact and success of the interventions made by the BFI Diversity Standards within the film industry, analysing the response data collected by the BFI for film production…
Policing Black Film
The racial unrests permeating across Britain in the late 1970s resulted in a set of political agendas responding to racism to be brought into being though legislation, culminating in the passing of the 1976 Race Relations Act. Crucial to such agendas were strategies for the prevention of black urban uprisings against state authority and the politicisation of black youths against racism. The emergence of politicised black British film during the l…
Introduction
The New Babel
This article traces the evolution of diversity policy in the British film industry and seeks to explore how the under-representation of BAME groups has been defined vis-à-vis shifting political discourses, in particular those emerging from the Conservative-dominated coalition government which came to power in 2010. This also enables an exploration of how various diversity issues have been addressed within the specifically depoliticised language u…
Ann duCille, Technicolored
Analysing the reductive representations of those on the racial periphery of society has been a common feature among books looking at race and television. Such a description, however, is not sufficient for understanding the intentions of black American academic Ann duCille’s Technicolored: Reflections on Race in the Time of TV. Tracing the development of television from its advent during the baby-boom generation and the intimate relationship estab…
Love knows no colour bar
Released in the aftermath of the 1958 Notting Hill riots, Flame in the Streets [Baker, Roy. 1961. UK: The Rank Organisation.] remains a distinctive British film of the 1960s in its examination of the racial prejudices that defined African-Caribbean's antagonous relations with the wider British Society. In Baker's attempt to expose the passive racisms of Jacko Palmer by paralleling his family conflict between his wife and daughter with his industr…
Cultural discourses and practices of institutionalised diversity in the UK film sector
Diversity' is an evolving dimension of discursive debates within publicly funded parts of the UK media. This article considers how representations of racial diversity in cinema were articulated in a particular moment in recent history. It traces the relationship between the broader New Labour neoliberal agenda of the late 1990s and the UK Film Council's (UKFC) New Cinema Fund, the key funding mechanism for supporting black British cinema at the t…
Diversity pie
The objectives of this article are to expand the stock of knowledge on the subject of social exclusion and film diversity policy in the British film industry, through the investigation of the concept of diversity and its dominant expressions in language and practice. Rather than about bringing about structural change, diversity policy under the UK film Council falsely separated exclusion from its broader, socio-political realities and proved deep…
Cultural discourses and practices of institutionalised diversity in the UK film sector
Diversity' is an evolving dimension of discursive debates within publicly funded parts of the UK media. This article considers how representations of racial diversity in cinema were articulated in a particular moment in recent history. It traces the relationship between the broader New Labour neoliberal agenda of the late 1990s and the UK Film Council's (UKFC) New Cinema Fund, the key funding mechanism for supporting black British cinema at the t…
Policing Black Film
The racial unrests permeating across Britain in the late 1970s resulted in a set of political agendas responding to racism to be brought into being though legislation, culminating in the passing of the 1976 Race Relations Act. Crucial to such agendas were strategies for the prevention of black urban uprisings against state authority and the politicisation of black youths against racism. The emergence of politicised black British film during the l…
Ann duCille, Technicolored
Analysing the reductive representations of those on the racial periphery of society has been a common feature among books looking at race and television. Such a description, however, is not sufficient for understanding the intentions of black American academic Ann duCille’s Technicolored: Reflections on Race in the Time of TV. Tracing the development of television from its advent during the baby-boom generation and the intimate relationship estab…
Diversity pie
The objectives of this article are to expand the stock of knowledge on the subject of social exclusion and film diversity policy in the British film industry, through the investigation of the concept of diversity and its dominant expressions in language and practice. Rather than about bringing about structural change, diversity policy under the UK film Council falsely separated exclusion from its broader, socio-political realities and proved deep…
Cultural discourses and practices of institutionalised diversity in the UK film sector
Diversity' is an evolving dimension of discursive debates within publicly funded parts of the UK media. This article considers how representations of racial diversity in cinema were articulated in a particular moment in recent history. It traces the relationship between the broader New Labour neoliberal agenda of the late 1990s and the UK Film Council's (UKFC) New Cinema Fund, the key funding mechanism for supporting black British cinema at the t…
Introduction
The New Babel
This article traces the evolution of diversity policy in the British film industry and seeks to explore how the under-representation of BAME groups has been defined vis-à-vis shifting political discourses, in particular those emerging from the Conservative-dominated coalition government which came to power in 2010. This also enables an exploration of how various diversity issues have been addressed within the specifically depoliticised language u…
Ann duCille, Technicolored
Analysing the reductive representations of those on the racial periphery of society has been a common feature among books looking at race and television. Such a description, however, is not sufficient for understanding the intentions of black American academic Ann duCille’s Technicolored: Reflections on Race in the Time of TV. Tracing the development of television from its advent during the baby-boom generation and the intimate relationship estab…
Love knows no colour bar
Released in the aftermath of the 1958 Notting Hill riots, Flame in the Streets [Baker, Roy. 1961. UK: The Rank Organisation.] remains a distinctive British film of the 1960s in its examination of the racial prejudices that defined African-Caribbean's antagonous relations with the wider British Society. In Baker's attempt to expose the passive racisms of Jacko Palmer by paralleling his family conflict between his wife and daughter with his industr…
White Women, White Men, and Intra-Racial Diversity
This article addresses the role of data in measuring diversity in the UK film industry and its mediation of underrepresented identities excluded from the sector. Through a data-led analysis of gender representation across 235 British films made from 2016, this study assesses the impact and success of the interventions made by the BFI Diversity Standards within the film industry, analysing the response data collected by the BFI for film production…
Policing Black Film
The racial unrests permeating across Britain in the late 1970s resulted in a set of political agendas responding to racism to be brought into being though legislation, culminating in the passing of the 1976 Race Relations Act. Crucial to such agendas were strategies for the prevention of black urban uprisings against state authority and the politicisation of black youths against racism. The emergence of politicised black British film during the l…
Black cultural intermediaries
In recent years, the UK screen industries have exhibited a renewed interest in racial difference that can be understood as the outcome of policy interventions into the unequal labour practices within film production and film culture. This has emerged with new modes of Black cultural visibility that have accompanied the increased presence of mainstream, publicly funded feature films. Here, the increasing body of Black filmic practitioners who have…
Negotiating Black urban screen identities
The popular Black urban filmic and televisual genre is a mode of narrating Black British identity where we observe interactions between a range of social processes that register an impact at the aesthetic level; this being Black urban youthhood as an audio-visual culture and the vernacular expressions of ‘realness’ as its specific cultural value. However, other kinds of audio-visual practices have become central to the way these texts register so…
Sociology (10 works) · Cinema and Media Studies (6 works) · Gender Studies (6 works) · Law (6 works) · Political science (6 works) · Cultural Industries and Urban Development (5 works) · Politics (5 works) · Social science (5 works) · Diversity (politics) (4 works) · Gender Politics and Representation (3 works)