Union des Femmes Ukrainiennes en Belgique’s Post

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

#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.

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

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

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

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)."

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.

 📣🆕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

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

18 films are selected for our premiere-only section Frontlight, artistically exploring the pressing issues of our time and critically and uncompromisingly examining the truth. 16 of the selected titles are world or international premieres. Some of the selected films reflect on socio-political realities through a wide angle while others shift perspective to inspect the world through a closer cosmos. Find the selection here: https://bit.ly/3rMqPi4