The Association of Ukrainian Women in Belgium cordially invites you to the series of #Ukrainian film screenings in #Brussels, Belgium. From Wednesday, February 14th, to Wednesday, May 8th, Comité belge du Réseau européen de solidarité Ukraine is organizing a Ukrainian film festival at the Université libre de Bruxelles. Six movies have been selected, showcasing the diverse landscape of Ukrainian cinema. This includes two classics from the sixties produced in Soviet Ukrainian studios, two recent fiction films, and two recent documentaries. These films aim to immerse viewers in the Ukrainian perspective, providing insight into the strength and tensions within Ukrainian society. They also seek to explain that the current war is not just about territorial conquest by Russia but is also a conflict aimed at dismantling a society perceived as an existential threat by the Kremlin due to its diversity. Each film screening will be followed by a discussion, and when possible, filmmakers will participate via video conference. Additionally, concrete solidarity projects with Ukraine will be presented. All screenings take place in auditorium AZ1.301 (Building A on Franklin-Roosevelt Avenue), with free entry. A voluntary contribution will be requested, and the entire amount will go towards concrete solidarity projects in Ukraine. The films will be shown in their original language (Ukrainian or Russian) with French subtitles. The initiative received funding from the ULB Cultural Commission and was supported by the Dovjenko Center in Kyiv. More details at: https://lnkd.in/eBaQke33
Union des Femmes Ukrainiennes en Belgique’s Post
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I provide African film industry intelligence and strategic consultation, with news, project tracking, data, expert insights, and analysis on various aspects of the film sector across African countries.
#Russia #Egypt #Ethiopia #SouthAfrica: I have no idea what these exchanges could mean going forward, especially regarding African participation. However, I continue to keep a close watch on BRICS activity in the context of "film industry" (my focus), especially as more African countries join the intergovernmental organization. Regarding African participation, the BRICS countries, which already included South Africa (the "S" in the acronym), added Egypt and Ethiopia to their ranks as of January 2024. And more African countries want to join. But what does it all mean? 🤷🏾♂️ As I shared here last month, representatives from the BRICS nations convened to discuss joint film productions and developing national film distribution networks. While no concrete plans were announced during the plenary, these are all noteworthy developments. The BRICS Film Festival kicked off Friday, April 19, 2024, in Moscow, Russia, as part of the Moscow International Film Festival. The festival is hosted annually by a different BRICS country and features films representing its member states. Florence Masebe, a South African actor and festival jury member, said, "We get to exchange and know each other better and understand each other's preciousness and values better when we get to watch each other's stories." Ethiopian producer Yirgashewa Teshome, also a festival jury member, added, "The BRICS Film Festival will make a difference for sure among the BRICS countries." In the grand scheme for African BRIC countries, action in this context could mean pooling resources, widening access to foreign markets, pushing back against American and European entanglements, and inspiring regional cooperation, which could only bode well for the continued development of their local film industries, and spur economic growth. It also could mean absolutely nothing at all! Here's video coverage of the opening day press conference via Africa News.
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I provide African film industry intelligence and strategic consultation, with news, project tracking, data, expert insights, and analysis on various aspects of the film sector across African countries.
African Cinemas: Continuum, Change, and the Politics of Labeling... - Mulling over this excerpt from a Metrograph interview with Mati Diop regarding her 2019 debut #ATLANTICS. Specifically, what an "African film" is or should be. - It raises questions and invites deeper engagement, especially when juxtaposed against her uncle, pioneer Djibril Diop Mambéty's 30-year-old statement, "It is good for the future of cinema that Africa exists," and his call for African filmmakers to "invent "culturally distinct film languages. - To be clear, I'm not pitting them against each other, but appreciating the continuum and evolution of African cinemas through their contributions, especially as relatives. Also, she mentions being inspired by him. - Note that Diop's African and European heritage might influence her viewpoint. Her reluctance to categorize ATLANTICS strictly as African cinema could reflect her identity. - Also, the generational difference between them is necessary for understanding. Mambéty's experiences under colonial rule and in the subsequent post-colonial landscape deeply influenced his work. - Ultimately, Diop's perspective opens up space for filmmakers to present stories that are not bound by heritage but are enriched by them. - It allows for a global cinema landscape where the focus is on storytelling's universality. - And maybe most importantly, it underscores the need for African filmmakers to break free from labels and expectations, drawing from experiences and influences freely, without needing to fit into a predetermined "African film" construct. - Diop's approach seems to mostly align with Mambéty's vision for African cinema pushing boundaries and challenging expectations. - Even his idea of authentic African film languages could imply a synthesis of elements. Diop's suggestion of a blend of different traditions could be seen as a step towards this. - That said, labeling a film as "African" or not is inherently political - a long, multifaceted discussion that encompasses issues of identity, authenticity, cultural preservation, funding, and the global marketplace. File this one under #LaboratoryOfTheFuture. Read the full interview here: https://lnkd.in/ghW9HCmr
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Every time it seems that external circumstances are pulling the emergency brake on the development of Ukrainian cinema, Ukrainian artists, against all odds, find the strength and means to keep moving the train forward. Neither COVID-19 nor the large-scale war has stopped Ukrainian art, whose "time has come." This was once again demonstrated by the 15th Odesa International Film Festival which became not just a significant film event, but a declaration, a symbol of our people's resilience and perseverance. The executive producer of SPACE Production, Kateryna Laskari noted that this year at the Odesa International Film Festival, the significance of the Ukrainian retrospective in the festival program was particularly striking. In her opinion, this indicates that we all have a demand not only for the development of contemporary cinema but also for active self-identification through art: "An absolute blossoming of love for domestic cinema and the study of its history! One might think that Oleksandr Dovzhenko, Kira Muratova, and Serhiy Parajanov would be thrilled. It is very painful that our process of identification and its sharp activation are partly due to the terrible war that consumes so many of our best people, including film artists. This harsh reality is depriving our cinematic tradition of many talented and promising individuals right before our eyes. At the same time, it forces us to value every story, every frame created today by our filmmakers, filled with pain, love, and a desire for a better future." No matter how difficult each new day is, Space Production gladly welcomes all events that indicate this movement and continues uninterrupted filming both in Ukraine and abroad. #SPACEproduction #filmproduction
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We are witnessing a global process of decivilization, desensitization and dehumanization in which, through a new international order, the reset and reversal of human moral foundations is pursued in reality, the final goal being the justification and impunity for g......e , crime, torture and robbery. The first culprits are the politicians, the international institutions that have largely lost their credibility, but the most guilty are those who should act according to a deontological and moral code, namely those trained, educated and employed in the mass media, culture and education. The latter are the ones to blame for the current state of affairs.
This world is really broken. The Toronto International Film Festival will still screen the russian propaganda film “Russians at War” by russian director Anastasia Trofimtseva. The screening is scheduled for September 17. After numerous protests, the TIFF has canceled the screening of the russian film aimed at whitewashing the russian occupiers. Nevertheless, they still justified the original plan by saying that the film “deserves a place in the festival program.” The organizers showed no remorse, saying that: "When we select films, we're guided by TIFF's mission, our values, and our programming principles. We believe this film has earned a place in our festival's lineup, and we are committed to screening it when it is safe to do so." The whole story just shows that there are many morally bankrupt people in this world. People, who would have sided with Hitler and Nazis, people who would justify genocide and war crimes. This world is really broken.
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My #BlackHistoryMonth ... Title: Shaping African Identity: The Role of British Colonial Films in #Kenya (1920s-1950s). "The #Colonial Film Unit (CFU), established in 1939, aimed to produce propaganda films that encouraged British support during World War II (Smyth, 1979). The CFU's role was to manage the production of films that portrayed the Empire favorably during military and colonial campaigns in East and Central Africa (Smyth, 1979). The #British Empire's trusteeship approach differed from South #Africa's strict, prejudiced governance (Burns, 2000). The censorship of narrative films played a pivotal role in managing the British Empire's image and shaping the identity of its imperial subjects in East and Central Africa (Smyth, 1979). The Cinematograph Protection Act of 1927 imposed a quota on #American films and instituted censorship in African colonies to control the portrayal of white colonials and Africans (Smyth, 1979). The South African approach departed from censorship guidelines, leading to experiments on how Africans identified with #narrative films (Burns, 2000). In today's interconnected world, a nation's brand image is critical for shaping its identity domestically and internationally (Yang & Klyueva & Taylor, 2012). The British Empire's political, social, economic, and security approach to narrative films indicates that image management is not merely a public relations issue (Hansen, 2010)."
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SAT-7 TÜRK’s first ever feature-length film, 𝒀𝒂𝒌𝒂𝒎𝒐𝒛, which marks the 100th anniversary of the Greek-Turkish population exchange, has won the Jewel Award for best drama at the CEVMA (Christian European Visual Media Association) awards. Ümit Teymur, acting Executive Director of SAT-7 TÜRK, said the team was “delighted” with the award and the impact the film is making: "𝒀𝒂𝒌𝒂𝒎𝒐𝒛 is about events that happened a hundred years ago, but its contemporary themes of forced migration, discrimination, and human suffering speak to audiences today." Read the exciting news here: https://lnkd.in/edz8w4Eb #SAT7TÜRK #winner #drama
SAT-7 TÜRK’s First Feature Film Wins Award - SAT-7 USA
sat7usa.org
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PRODUCTION COSTS OF A RUSSIAN SPONSORED PROPAGANDA DOCUMENTARY “Russians at war” "Russians at War" runs 2 hours and 9 minutes (129 minutes). Based on the above numbers, its budget could loosely be estimated between $753K - $1.29M.” #accounting #fiscalresponsibility #film #production #documentary #transparency #filmfestival #toronto #Torontofilmfestival #taxes #journalism #facts #funding
Why did a film 'humanizing' Russian soldiers in Ukraine get thousands of dollars in Canadian funding? I asked Canada's Culture Ministry about public funds going to the "Russians at War" documentary. They deferred to the Canada Media Fund. The Canada Media Fund deferred to TVOntario, the latter of which didn't respond to my request for comment... basically, a lot of finger-pointing going on when it comes to accountability. My latest for The Kyiv Independent.
Outrage erupts over Canadian tax dollars funding ‘Russians at War’ documentary
kyivindependent.com
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66 experts from the European children's film industry as well as representatives from film and cultural policy bodies will meet in the German city of Erfurt to explore new strategies and policies aimed at strengthening the production, marketing and distribution of children’s film in Europe. The fourth edition of KIDS Regio Forum takes place 27-28 June under the patronage of both the European Parliament and the President of Eurimages - Council of Europe, Catherine Trautmann. The opening keynote is being delivered by Rikke Flodin, who will unveil key results of the new "Keeping Up With Children as an Audience" report. A joint project by KIDS Regio and Will & Agency / PUBLIKUM, this comprehensive qualitative study conducted over 12 European territories will provide valuable insights into the world of young cinema-goers. The findings will serve as a basis to positively shape the future of European film.
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There is a common denominator that unites Amr Gamal's films "Ten Days Before the Wedding" and "The Exhausted ones", which is the presence of the wounded city of Aden in his two movies. It is still too early for the war in Yemen to become part of the history, in the sense that we can talk about it in the past tense. Therefore, we find Amr Gamal’s tendency for the place to play a fundamental role as a living witness to the sequences of the war in Yemen. My last article on Khuyut in English
The Exhausted Ones, an Overview of the City and its People | Khuyut
khuyut.com
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📣🆕ENC Analysis is out 👉🏽 “Film festivals and cities: A view for south-eastern Europe” by Dr. Eleni Sideri, ENC Academic Council Member and Assistant Professor at the Department of Balkan, Slavic & Oriental Studies of the University of Macedonia. In this ENC analysis, Dr. Sideri examines how film festivals in the southeastern European periphery contributed to the transformation of #Thessaloniki🇬🇷, #Sarajevo🇧🇦 and #Tbilisi🇬🇪 into regional film centers. The paper studies the ways film festivals, especially film markets, became a tool for cities to address economic and political challenges raised within the framework of #Europeanization 🇪🇺 but also, how the past through cultural memory seems to entangle with these changes and become an important factor for the transformation of these cities. Read the paper here 🔗 http://bit.ly/48Cw9nI
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