TransPerfect Media’s Post

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

#Nigeria: Funke Akindele's A TRIBE CALLED JUDAH—the highest-grossing Nigerian film ever—continues its historic run, set to premiere in nine Francophone African countries on Friday, January 19, 2024. Managed by Canal Olympia Showtimes Cinemas, the film will open theatrically in 13 regions across nine French-speaking African countries. See the graphic below. Why might this expansion be significant? The exchange of films between Anglophone and Francophone African countries, specifically theatrical distribution, isn't a common practice and has been a challenge due to cultural differences, language barriers, and market dynamics. However, in recent years, there has been an increasing interest in cross-cultural distribution as African film industries grow and diversify. The rise of digital platforms and streaming services has also played a role in facilitating wider distribution and access to films across linguistic boundaries. Still, intra-continent distribution systems face challenges. It makes A TRIBE CALLED JUDAH's expansion into Francophone African territories notable. Coincidentally, I discussed this issue broadly in a post early this week (see my profile page).

The second (out of three) part of this article on the intersections between EU funding and cinema. You can find the first part in our TalentLab Zine section in our website. https://lnkd.in/dcnYUA9X

The second (out of three) part of this article on the intersections between EU funding and cinema. You can find the first part in our TalentLab Zine section in our website. https://lnkd.in/dqqp2uYy

"The merit of the film Past Lives, written and directed by Korean Canadian Celine Song, is not its grandiose scale or beautiful scenery, but in its astutely controlled plot and action." Distinguished SFU Professor in the SFU School of Communication, Dal-Yong Jin, writes about the Oscar-nominated film Past Lives, Korean immigrant stories and digital diaspora in cinema for The Conversation Canada. Read more: https://ow.ly/zkca50QvxA3

🎬 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

This is how you do it: translator / subtitler credits 😎 ◾️ Adaptation des sous-titres anglais: Simon John ◾️ English subtitle adaptation: Simon John #translation #subtitling #tav #avt

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

 📣🆕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