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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

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

#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.

🌟 Youth are the driving force of creativity and innovation in European Creative Industries, especially in reshaping the film industry! Their diverse perspectives need authentic spaces for expression and validation. Let's strengthen pre-industry initiatives, empowering young creators from all backgrounds to challenge norms and redefine the industry. By engaging youth in decision-making, we ensure relevant, dynamic storytelling, fostering a robust and future-oriented European film sector. Read the latest policy brief from university of Vienna researchers on the engagement and inclusion of young people in the European film industry at #Reboot website and the link below 🎥 https://lnkd.in/dJxdzyTh #YouthInFilm #EuropeanCreativeIndustries #InnovationInFilm #NewPublication #YouthEngagement #RebootInsights European Commission Universität Wien Katharine Sarikakis Angeliki Chatziefraimidou Gentiana Ramadani Janina Jüngst

🎥 Reboot @rebootefi - Meet the Hellenic Foundation for European & Foreign Policy (ELIAMEP) Team! "The evolution of the Union’s action in the audiovisual sector testifies to its efforts to promote the competitiveness of European film and uphold cultural diversity. This reflects a sophisticated understanding of the Union’s role in the audiovisual field, namely one that recognizes that competitiveness and cultural diversity can be complementary and mutually enhancing rather than opposing forces." - Evangelia Psychogiopoulou ℹ️ #REBOOT project focuses on the European Film industry, aiming to connect the existing strengths, identify and overcome weaknesses and plan for future competitiveness in the fields of policy, practice and experience. 🔗 You can find further information on the project here: https://lnkd.in/dXgvgP5q #filmindustry #Europeanfilmsector #competitiveness

🎬 This was hands down my favorite moment from last year. I mean, how often do you get to immerse yourself in a foley session, right? Sound is such a crucial component in cinema, check chapter 8! #FoleySession #SoundDesign

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

 📣🆕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

Mid-Year Insights from 30,000 ft: "The State of African Cinemas" Based on the "Expectations for 2024 and Beyond" piece I published on January 2, where are we, six months into the new year? [Akoroko Premium subscribers received a more thoughtful piece on this earlier in the week] Assessing the vast cinematic *experiment* across the African continent, halfway through 2024. A macro perspective... 1. There is indeed evidence of growth and increased global interest in African cinemas: participation in major international film festivals, as new film festivals with an African focus, continue to launch globally; various international collaborations and partnerships; new initiatives. However, this growth is gradual rather than dramatic. 2. Challenges remain especially in key areas like comprehensive, sustainable financial support, widespread infrastructure development, and efficient distribution networks, where there are even any. So, while progress is being made, major obstacles remain. 3. The future does appear promising, with ongoing initiatives in education, increased government support, and international collaborations. However, continued support, investment, and adaptation to a rapidly evolving environment (particularly technological) are crucial. 4. The pace and extent of change vary across different aspects of the industry, and across countries. Rapid changes in how media is consumed, and, more importantly, the accessibility problem, add to this uncertainty. 5. The idea of "change" as essential, is reflected within the framework of the "Laboratory of the Future" concept I've integrated as an overarching theme and aligns well with the overall picture. The spotlight now on Africa and the African Diaspora is evident. However, there isn't a clear indication of a transformative shift in any industry sphere. Any evolution within the African film and television ecosystem will likely continue to be gradual and uneven, across different regions and sectors. And I wouldn't expect much to change during the second half of the year. In essence, maintain a holistic view, play the long game... and subscribe!