The result of this paradox is a frustrating Catch-22 for young Person-of-Color cinematographers. They struggle to find opportunities on high-profile POC projects, as those are often given to white cinematographers. Yet, they are also not considered for primarily white productions, reinforcing a racial barrier that limits their growth and experience. This dual exclusion results in fewer chances to build a portfolio that demonstrates their skills across diverse genres and styles, further narrowing their career trajectory. The industry, therefore, perpetuates a cycle of gatekeeping where POC cinematographers remain on the periphery, fighting for visibility and validation in an environment that constantly overlooks them.
In recent years, there has been a burgeoning interest in telling stories from the perspectives of people of color (POC) in both mainstream and independent cinema. This is a welcomed and necessary shift that aims to diversify the narratives that have historically been dominated by white perspectives. However, while stories featuring POC characters and themes are more common, an unsettling paradox persists: POC cinematographers often find themselves marginalized, both in the very productions that celebrate POC narratives and in those that do not. Meanwhile, white cinematographers increasingly helm projects that center on POC stories as well as those with primarily white casts, creating a cycle that limits opportunities for POC cinematographers. This paradox is worth dissecting, as it has significant implications for the growth and development of young POC talent in the film industry.
A Place in the Shadows: But not due to a lack of talent and skill.
The issue at hand is multifaceted. On one side, we see a rising number of high-profile independent films that focus on POC stories, exploring cultural, social, and personal issues unique to these communities. However, these productions often still hire white cinematographers. The rationale behind these hiring choices can be varied: white cinematographers might already have more established names, extensive portfolios, or they might be perceived as a safer choice due to their past collaborations with well-known directors along with camera department experience on other high profile shows and films. Additionally, the hiring network in the industry is notoriously tight-knit and often exclusive, with many opportunities arising from pre-existing relationships rather than open calls or a focus on merit. DP, Shane Hurlburt, ASC most notably acknowledged these practices on his podcast where he explains how he avoids crew contact numbers that do not have a California/New York area code whenever he is crewing up for a shoot in Georgia.
On the other side, POC cinematographers find it difficult to break into these productions. They are often pigeonholed into working on projects that are considered "lower-tier" or less mainstream, even if those projects have POC narratives. Ironically, they are not even given preference on films about their own communities. When it comes to primarily white productions, POC cinematographers are often overlooked in favor of their white counterparts. The reasoning given might include concerns about cultural fit, style consistency, or simply unconscious bias, but the underlying message remains clear: POC cinematographers are rarely seen as versatile or capable enough to handle big-budget projects or those with complex, nuanced storytelling.
Increasing Control Over POC Narratives
While the technical aspects of cinematography may not be race-specific, cultural sensitivity, understanding, and authenticity are crucial elements in storytelling. The growing trend of white cinematographers working on POC films inadvertently perpetuates a cycle where POC perspectives are filtered through a lens that may not fully capture the depth and intricacies of the communities being portrayed. This, in turn, restricts the artistic growth and visibility of POC cinematographers who could bring a richer, more nuanced perspective to these projects.
Breaking the Cycle: Advocating for Inclusivity and Opportunity
The solution to this paradox lies in intentional and systemic changes within the film industry. Producers, directors, and hiring committees need to actively prioritize diversity in their hiring practices, not just in front of the camera but behind it as well. There should be a conscious effort to include POC cinematographers in the selection process for all types of films, not only those with POC narratives or leading talent. This will not only bring authentic representation but also foster a more inclusive and dynamic industry where POC talent can thrive and evolve.
Mentorship programs, networking opportunities, and industry-wide diversity initiatives can play a significant role in elevating POC cinematographers. By creating platforms that allow them to showcase their work, gain experience, and connect with industry leaders, the barriers that currently hinder their progress can be dismantled. It is also essential for established cinematographers, regardless of race, to advocate for their POC colleagues, recognizing that true diversity benefits the art of cinema as a whole.
Conclusion: Toward an Inclusive Future
The paradox of POC cinematographers being overlooked for both high-profile POC films and primarily white productions is a reflection of deeper, systemic biases within the film industry. It highlights the urgent need for change in hiring practices and the cultivation of an environment that values diversity not just as a buzzword but as a principle. As the industry continues to evolve and tell more diverse stories, it must ensure that the storytellers themselves represent the diversity of the narratives being told. Only then can the film industry truly claim to be a space for all voices, fostering creativity and growth without the constraints of race or preconceived notions about capability.
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Carlos Bradley is an Atlanta based filmmaker, and the founder and President of the Society for Cinematographers of Color. His work can be seen on network digital platforms, and in various publications. Be sure to follow him on Twitter and Instagram and reach out — "I love meeting new filmmakers!
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