Abstract
Background: Previous research has reported that creative sector professionals can be impacted by career-related issues, particularly regarding mental health. The screen sector (film/ TV drama, unscripted TV, games, animation, and visual effects) has grown exponentially in Northern Ireland (NI), a location distinct for; religious culture, political discourse, and legislation, all of which historically, and currently, impact the NI LGBTQIA+ community. No previous research has been conducted permitting in depth insight exploration into the mental health and wellbeing related experiences of NI LGBTQIA+ screen sector professionals.Aim: To gain insight into how creative professionals who identify as LGBTQIA+ experience working in the screen sector in NI, and how this may impact mental health and wellbeing.
Methodology: This PhD study was initially designed as a two-tier sequential qualitative project consisting of interviews and a photovoice study with LGBTQIA+ screen sector professionals. However, due to the pandemic and research with a hard to-reach group, participant numbers were low leading to the addition of a NI screen sector survey (completed by eligible professionals irrespective of their sexuality/gender).Therefore, to fully answer the research question the following methodologies were implemented: a systematic review, in-depth semi-structured interviews (n=9) with LGBTQIA+ screen sector professionals from NI, a photovoice study (n=4) with LGBTQIA+ screen sector professionals (from NI and UK), and a NI screen sector wide survey (n=63). The survey was informed by the previously conducted interviews
Results: Systematic review – Eligible papers (n=3) report on the experiences of 184drag queens and one comedienne, no research was found reporting on creative professionals with roles not connected to sexuality. Findings related to mental health which was positively connected with career and negatively connected with LGBTQIA+ identity across the lifespan, working experiences were mostly positive, and high levels of resilience were reported. The review is restrictive as this area is significantly under researched, and demonstrates a strong need for future research.
Interviews – Following initial interpretive phenomenological analysis (IPA) and thematic analysis (TA) data from participants (n=9) provide three thesis chapters. The experience of being LGBTQIA+ in NI (IPA) reported on participants experiences of acceptance and non-acceptance, locational comparisons, concerns within LGBTQIA+ groups, the role of legislation and politics regarding alleviating shame and increasing visibility. The experience of working in the screen sector in NI (TA) reported on working conditions, experiences during Covid-19 and lockdown, disclosing LGBTQIA+ identity in the sector, LGBTQIA+ representation, and experiences of sexism, male dominance, sexual harassment, and sexual assault. The impact on mental health and wellbeing of NI screen sector professionals (TA) drew from findings within the previous qualitative chapters to specifically reported on the mental health impact of being LGBTQIA+ in NI, being a screen sector professional in NI and specifically a LGBTQIA+ screen sector professional in NI, as well as LGBTQIA+ onscreen representation impact on mental health and wellbeing. Insights gained from in-depth exploration of the lived experience offer support for systemic models of mental health including ecological systems and minority stress theory.
Photovoice – Photovoice contributions (n=8) from contributors (n=4) provide visual images with related captions conveying experiences of being a LGBTQIA+ screen sector professional. Findings support and reflect finding from the previously conducted interviews.
Survey – Questions were asked in light of interview findings relating to working in the screen sector in NI and the aspect of LGBTQIA+ representation within the sector. Mental health measures were informed from previous creative and entertainment industry surveys. The survey was completed by screen sector professionals in NI, irrespective of sexuality and/or gender identity enabling insight into the experiences and views of the wider workforce - permitting group comparisons to be made and discussions on intersectionality. The sample (n=63) included 19% (n=12) LGBTQIA+ and 81% (n=51) cisgender heterosexual professionals. Findings suggest that LGBTQIA+ professionals have higher rates of anxiety than their cisgender heterosexual professional counterparts. A higher percentage of LGBTQIA+ professionals also reported on emotional problems interfering with their screen sector professional role, consequences of which they perceive impacting both personal and work-related social activities.
Conclusion: Findings suggest there are extensive and varied mental health and wellbeing impacts associated with being a screen sector professional in NI generally, and detrimental impacts are compounded when considering the intersectional aspect of LGBTQIA+ status. Recommendations include consideration of bespoke mental health support for screen sector professionals as well as the implementation of key strategies which acknowledge the intersectional needs of their vast and varied creative employees.
Thesis is embargoed until 31st March 2026
Date of Award | Mar 2024 |
---|---|
Original language | English |
Supervisor | Susan Lagdon (Supervisor), Jolene Mairs Dyer (Supervisor) & Stephen Baker (Supervisor) |
Keywords
- screen industries
- screen sector
- screen sector in NI
- creativity and mental health
- creative professionals
- LGBTQIA+ professionals
- LGBTQIA+ workforce
- mental health
- mental health and wellbeing
- equality diversity and inclusion
- lived experiences
- intersectional research
- qualitative research
- quantitative research
- photovoice
- mixed methods research.