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Victoria Bridges was the Founding Executive Director of GGM UK between 2016 and 2018 and is now serving as the CEO. Victoria is a broadcast producer-director and has made a wide variety of factual programs for all the major UK channels, winning BAFTA Insight, Cable Ace, ECHO, Rory Peck (nominee), and Graz Humanitarian awards. She is also a community filmmaker and participatory video practitioner. She has a Masters in International Communications and Development from City University and a BA from Harvard University.
As the founder of Global Girl Media UK, what motivated you to start an organization focused on amplifying marginalized voices, particularly those of women, in the media?
Victoria:
I got into media because I wanted to lift voices that weren't being heard enough. Initially, I joined the BBC documentary department to pursue this passion. But after working as a freelancer for a bit, I felt disheartened by the limited scope of stories being told. So, I started pitching my ideas to outlets like BBC Breakfast and Channel 4 News. It was fulfilling, but financially challenging, especially after having a child.
That frustration led me to pursue a communications degree at City University. There, I discovered a group empowering communities to tell their own stories through video. I was inspired by this approach, which shifted the focus from telling others' stories to empowering them to share their own experiences and solutions.
Later, a group of women discussing changing female representation in media invited me to become the first executive director of what would become Global Girl Media UK. So I suppose my motivation stems from the feeling of not being able to hear the stories I craved and recognizing the lack of women in editorial positions. I wanted to change that narrative.
What do you believe are the most pressing challenges faced by individuals seeking to enter the social impact industry, especially in roles related to non-profit journalism and storytelling?
Well, breaking into the social impact sector, especially in roles tied to nonprofit journalism and storytelling, comes with its share of hurdles. In many newsrooms and documentary circles, key positions still tend to be occupied by men. This lack of diversity is even more pronounced for women from minority backgrounds. At Global Girl Media UK, we often encounter young women who doubt their own voices, a sentiment I understand all too well from my journey in media. Low self-esteem becomes a significant barrier when you don't see others like you in positions of influence.
The industry's old boys' network perpetuates this cycle, as people often hire those who resemble themselves. People of color remain drastically underrepresented, making it difficult for aspiring individuals to envision themselves succeeding in these spaces. If you can't see it, you can't be it. It's a slow-moving change that needs acceleration.
For young women of color aiming to enter this arena, building a network of supportive peers is crucial. Having mentors and advocates can make a world of difference, both in gaining entry and navigating the industry once inside. Imposter Syndrome also looms large, as many of us grapple with feeling like we don't truly belong. So, ongoing support is essential. These are just a few of the challenges I see facing individuals entering the industry.
Over the years, the British Media has been accused of sexist and impossible standards it sets out for aspiring female media professionals. Can you share your thoughts on the matter?
The British media landscape has long been criticized for perpetuating sexist norms and imposing unrealistic standards on aspiring female professionals. From my experience, many still view women in journalism through a lens of nurturing roles. I had a boss who consistently assigned women to producer or assistant producer roles while reserving director roles for men. This meant men often received recognition and accolades, even though the bulk of the work was done by women. He once told me he believed women were better suited to producing, while men excelled at directing. It didn't matter that I aspired to direct; his perception was fixed.
I was fortunate to have a male role model in a university whose life as a documentary filmmaker inspired me. However, despite some progress, the industry's gender dynamics haven't shifted quickly enough. We see this in the drop-off of women in positions of influence shortly after film school. At graduation, there are equal numbers of women graduating from Film School as men, but almost immediately after entering the industry, we see a drop in women in positions of clout and in roles where they are the ones telling the stories, as opposed to supporting those who do tell the stories. It's a significant issue that demands attention.
Talking about the Gender Gap in Media, what is some advice you would offer to young women and marginalized communities to inspire them to share their stories through digital media platforms?
Victoria:
There are countless avenues for sharing your stories through digital media platforms, and you don't necessarily have to fit into traditional newsroom or broadcast roles. Many of the young women who join our training programs already work in the youth sector or have interests in areas like marketing or advertising. You don't need industry validation to tell compelling stories from your perspective.
While it's vital for our democracy to hear diverse voices, I understand the hesitations about entering an industry that doesn't always embrace women in positions of influence. So, my advice is to be resourceful and acquire diverse skills. Consider lateral moves within industries; for example, I recently learned there's a shortage of production managers in TV. Why not train for that role? The skills you gain—like budget management and timely content delivery—are invaluable and transferable.
Starting at a level or in a position that isn't your ultimate goal can be a stepping stone, but there's a risk of getting pigeonholed. Stay focused, positive, and persistent. Society benefits from hearing diverse voices, and the tide is shifting towards recognizing the need for more diversity. Keep knocking on those doors, get creative, and stay optimistic.
How can aspiring communications and journalism professionals navigate the balance between pursuing impactful work in the social impact sector and also ensuring that their career remains something that they can sustain?
Victoria:
Victoria: Balancing impactful work in the social impact sector with sustaining your career can be a daunting challenge. When I became a parent, I had to pivot my aspirations—I knew continuing to make documentaries wasn't feasible with both my husband and I being documentary filmmakers. I retrained, and I've found that women often can craft patchwork careers that adapt to their circumstances.
For instance, I incorporate my yoga teaching into our digital media training for young, underrepresented women. To me, these pursuits aren't mutually exclusive. It's essential to acknowledge the potential for burnout in the social impact industry and have a backup plan, whether it's another skill set or financial cushioning.
In terms of career progression, it's crucial to allow the process to unfold organically and not rush toward your goals. There are various models within the social impact sector, from working in a grant-funded charity to running a social enterprise with revenue streams. It's essential to be clear about your funding strategy from the outset and strike a balance between your mission, your skills, and financial sustainability. It's about finding that sweet spot between what's needed, what you bring to the table, and where the money will come from. Thinking through these aspects at the start will set you up for success.
Transitioning from the media industry to the third sector, I had the impression it would be easier, but it's turned out to be just as competitive, if not more so. Nonprofit communications, in particular, is a rapidly changing field, making it hard to define what success looks like. It's essentially the intersection of two highly desirable areas—media and social impact—which makes it incredibly competitive.
For me, the appeal was in telling stories and making a difference. But the challenge lies in balancing these aspirations with financial stability. Each person's journey is unique, and there's no one-size-fits-all solution. It's about finding a path that allows you to both pay the bills and pursue your passion for making a positive impact.
What emerging trends do you observe in nonprofit journalism and storytelling that aspiring professionals should be aware of when entering the social impact industry?
Victoria:
It's an excellent question, and I've been reflecting on some emerging trends in nonprofit journalism and storytelling. One significant shift I've noticed is a move away from the traditional charitable model. The funding landscape for charities has become increasingly challenging due to factors like the impact of COVID, the rising cost of living, and government policies that don't prioritize social impact enterprises. As a result, there's a growing interest in establishing social enterprises that generate income, reducing reliance on grants and philanthropy.
Another notable trend is a shift towards empowering beneficiaries to lead organizations. This is a positive change that mirrors what we've seen in documentary filmmaking—moving away from outsiders parachuting in to tell stories towards empowering local voices to share their own experiences. In journalism, we're seeing a similar shift towards allowing communities to tell their own stories, facilitated by training and support.
Within charities and the broader social impact sector, there's a desire among angel investors and funders to see leaders who are closely connected to the beneficiaries they serve. They want leaders who share similar backgrounds and experiences, and who can effectively guide the direction of the organization based on firsthand knowledge. This emphasis on beneficiary-led leadership is an important and promising trend to watch.
What advice would you offer to individuals seeking to break into the social impact sector, particularly those who are interested in nonprofit media and storytelling?
Victoria:
My advice for individuals looking to break into the social impact sector, especially in nonprofit media and storytelling, is to leverage your unique skills, languages, and cultural knowledge. For example, my fluency in French and self-taught Spanish helped me land early jobs in television journalism where those skills were valued.
Every individual brings a wealth of experiences and abilities to the table, so emphasize what sets you apart. In journalism and storytelling, attention to detail is crucial. If you aspire to be a print journalist, ensure your grammar is impeccable. While social media may be more casual, the standards remain high in print journalism and documentary narration.
Consider taking a grammar course to hone your skills, and be open about any areas where you could use support. We've had graduates from our program who are dyslexic, and they've been transparent about their needs with potential employers, receiving the necessary support. Don't hesitate to educate yourself and seek assistance where needed—it's all part of your journey towards making a meaningful impact through storytelling.
Looking ahead, what are some of the hopes and aspirations that you have for Global Girl media? And how do you envision the organization to continue to contribute to the broader landscape of social impact initially?
Victoria:
Thank you for asking about Global Girl Media UK's future aspirations. As part of the broader Global Girl Media organization, which has been operating for 20 years with chapters worldwide, I'm excited about the potential for partnerships. We're currently collaborating with our South Africa chapter on a project, and I envision more partnerships in the future.
Our organization is very much led by our global girls and program graduates—five of whom serve as trustees of our charity. I want to hear their perspectives on our next steps. While we typically run a film festival every two years and hold an academy and ongoing training and mentorship programs, I'm open to evolving our approach based on input from our graduates.
Our next project involves collaborating with an American foundation to conduct insight sessions with our graduates. We want to gather their feedback and insights to determine how we can best support young women from underrepresented communities moving forward. This emphasis on listening to our alumni and adapting accordingly will guide our contributions to the broader landscape of social impact.
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