"Des échanges intertextuels entre films, oralité et écriture ont caractérisé la production cinématographique des années 1990 et un certain nombre d’études leur ont été dédiées. Moins traitées par la recherche sont les relations entretenues par le cinéma avec la télévision et l’In
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ternet, alors que ces articulations sont omniprésentes dans le domaine de la production et de la réalisation de films en amazigh/berbère. Les articles réunis ici sont donc consacrés à l’imbrication du cinéma amazigh/berbère avec l’ensemble des autres médias et visent à répondre aux questions suivantes : quelle est l’influence des autres médias sur la technique et le sujet des films en amazigh ? L’intertextualité médiatique joue-t-elle un rôle dans l’émergence de nouveaux thèmes ? Quelle est la réception des nouveaux thèmes et films ? " (Description de la maison d'édition)
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"This book examines the emergence of small cinemas of the Andes, covering digital peripheries in Ecuador, Bolivia, Peru and Colombia. The volume critically assesses heterogeneous audiovisual practices and subaltern agents, elucidating existing tensions, contradictions and resistances with respect to
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established cinematic norms. The reason these small cinematic sectors are of interest is twofold: first, the film markets of the aforementioned countries are often eclipsed by the filmmaking giants of Mexico, Brazil and Argentina; second, within the Andean countries these small cinemas are overshadowed by film board-backed cinemas whose products are largely designed for international film festivals." (Publisher description)
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"Mediating Violence from Africa explores how African and non-African Francophone authors, filmmakers, editors, and scholars have packaged, interpreted, and filmed the violent histories of post–Cold War Francophone Africa. This violence, much of which unfolded in front of Western television cameras
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, included the use of child soldiers facilitated by the Soviet Union’s castoff Kalashnikov rifles, the rise of Islamist terrorism in West Africa, and the horrific genocide against the Tutsi in Rwanda. Through close readings of fictionalized child-soldier narratives, cinematic representations of Islamist militants, genocide survivor testimony, and Western scholarship, George S. MacLeod analyzes the ways Francophone African authors and filmmakers, as well as their editors and scholarly critics, negotiate the aesthetic, political, cultural, and ethical implications of making these traumatic stories visible. MacLeod argues for the need to periodize these productions within a “post–Cold War” framework to emphasize how shifts in post-1989 political discourse are echoed, contested, or subverted by contemporary Francophone authors, filmmakers, and Western scholars." (Publisher description)
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"The material challenges of funding, commissioning and distribution that are well known to inhibit production of children’s factual content about other countries and cultures operate in parallel with challenges arising from the moral responsibilities inherent in what Roger Silverstone called “th
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e problem of proper distance”. By that he signified a “moral category” requiring filmmakers to provide “context as well as imagination” and be willing to “recognise the other in her sameness and difference”. “Distance” and “difference” have become at once more significant but also more ambiguous at a time of mass forced migration, in which traditions, religions and cultures from distant places are brought together in physical proximity. Based on input from cross-cultural dialogues, screenings and interviews involving European producers of children’s documentaries, this article explores dilemmas and experiences faced in representing the backgrounds and stories of children who arrived in Europe from Syria, Iraq, Afghanistan and elsewhere in the mid-2010s. It shows the resonance of Silverstone’s thinking by revealing that many practitioners themselves apply notions of closeness and distance, both physically and metaphorically, in their choices about combining the familiar and unfamiliar and co-creating content with child participants." (Abstract)
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"This article examines how documentary film can be employed as visual evidence to create a thick description of environmental injustice among low-social-economic status communities in China. In particular, this article exemplifies the approach with a case study of a 2022 research project on transiti
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onal injustice during China’s phase out coal strategy in the case study of Liupanshui, the largest coal mine in southern China since the 1950s. Drawing upon the author’s environmental documentaries that explored the local struggles and sufferings of environmental injustice in China, the article explores how we can examine environmental injustice via a multidisciplinary approach that combines public policy, environmental studies and documentary filmmaking." (Abstract)
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"This book examines various types of interplay between film and the Bible. The theme of 'Bible on film' is explored through Hebrew Bible epics including The Prince of Egypt and Noah, and Jesus films such as The Last Temptation of Christ and Son of Man. The theme 'Bible in film' is analyzed through f
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ilms including Mary Magdalene, Magnolia, and Pulp Fiction. Films that 'Reimagine the Bible' include Ex Machina and The Tree of Life, and unusual Jesus figures in Pan's Labyrinth, Dogville, and Donnie Darko are explored. 'Film as Bible' considers films such as To The Wonder, Silence, and Parasite. A conclusion explores television shows such as Dekalog and The Handmaid's Tale." (Publisher description)
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"This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop. From 2011 to 2014, curator Antje Ehmann and film- and videomaker Harun Farocki produced an art project of truly global proportions. They travelled to fifteen cities around
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the world to conduct workshops inspired by cinema history’s first film, Workers Leaving the Lumière Factory, shot in 1895 by the Lumière brothers in France. While the workshop videos are in colour and the camera was not required to remain static, Ehmann and Farocki’s students were tasked with honouring the original Lumière film’s basic parameters of theme and style. The fascinating result is a collection of more than 550 short videos that have appeared in international exhibitions and on an open-access website, offering the widest possible audience the opportunity to ponder contemporary labour in multiple contexts around the world." (Publisher description)
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"De nombreux artistes et créateurs émergent dans les pays ACP. Ils nous surprennent par leur dynamisme, mais aussi par leur capacité de résilience et de persévérance, surtout pendant la pandémie de la Covid-19. Les industries culturelles et créatives devraient, dès lors, pouvoir offrir aux
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nouvelles générations un large éventail de possibilités d’emplois et de création d’entreprises locales. En réponse à ces attentes, nous avons conçu conjointement avec le Secrétariat de l’Organisation des États ACP, le programme ACP-UE Culture. Nous nous réjouissons de constater les résultats positifs du nouveau mécanisme mis en place pour la dynamisation des secteurs du cinéma et de l’audiovisuel, avec près de 100 projets déjà soutenus dans toutes les régions ACP depuis 2020. Grâce aux exigences des partenariats Nord-Sud, les liens entre acteurs et opérateurs culturels ACP et européens, mis en place depuis une quinzaine d’années, se consolident. Il en ressort un réel engagement pour renforcer les capacités des artistes, en utilisant les nouvelles technologies dans l’ensemble de la chaîne de valeur et permettre ainsi l’accès de leurs oeuvres à des marchés internationaux." (Avant-propos, page 5)
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"This book traverses the cultural landscape of Colombia through in-depth analyses of displacement, local and global cultures, human rights abuses, and literary and media production. Through an exploration of the cultural processes that perpetuate the "darker side" of Latin America for global consump
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tion, it investigates the "condition" that has led writers, filmmakers, and artists to embrace (purposefully or not) the incessant violence in Colombian society as the object of their own creative endeavors. In this examination of mass-marketed cultural products such as narcostories, captivity memoirs, gritty travel narratives, and films, Herrero-Olaizola seeks to offer a hemispheric approach to the role played by Colombia in cultural production across the continent where the illicit drug trade has made significant inroads. To this end, he identifies the "Colombian condition" within the parameters of the global economy while concentrating on the commodification of Latin America's violence for cultural consumption." (Publisher description)
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"In this industry reflection I draw on my professional interest in Brazilian film production an distribution and my archival research of Brazilian films exhibited in the UK between 1995 and 2019 in order to reflect on the factors which help such productions travel and the challenges which they face.
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During the last twenty-five years, following the so-called renaissance of Brazilian cinema, there has been a constant increase in the number of films shown in Brazilian cinemas but, to achieve financial sustainability, filmmakers had to look abroad as well. While the search for financing and partners in other countries should allow the creation of works that possess storytelling appeal and more inviting identities to circulate internationally, the majority of Brazilian films released on UK screens rely on stereotypical depictions, well-known authors and/or powerful international distribution companies. Brazilian national institutions, such as Ancine, and international festivals, such as BFI London Film Festival (LFF), have helped increase visibility for Brazilian productions abroad but more could be done to foster new directorial voices, release strategies and coproduction partnerships." (Abstract)
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"Wars in films are […] always more than just the staging or presentation of a historical event; they offer an interpretation of these events that usually corresponds with other aspects, e. g. society's evaluation of war per se, or wishes about how specific events related to war should be commemora
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ted within the public conscience. Of course, films can also act as a medium to criticize war, but the functionality of the filmic stagings of collective violence is usually determined by the interaction between producers and the audience of the film. The following chapters try to provide a variety of insights into these relationships, and although they focus on different time periods and aspects related to the semiotics, narratives, and perceptions of war in film, they all circle around certain questions related to war films in general. These are: 1. To what extent do war films present historical events that are already socio-culturally embedded within national narratives, and to what extent do their semiotics support or challenge common views about wars and collective violence? 2. Which conscious or subconscious images or visual semiotics are used within war films to connect the audience to the film and its narrative? 3. How do films create, transport, or intensify the perception and interpretation of wars within societies? To answer these, each of the contributions of the present volume engages with specific war films and connects their respective war-related motifs and narratives with these questions." (Introduction, page 7-11)
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"Die Geschichte des dokumentarischen Films in Deutschland ist mehr als bloße Filmgeschichte. In ihr spiegelt sich auch die Medien-, Mentalitäts- und Gesellschaftsgeschichte. So thematisiert der Dokumentarfilm seit seinen Anfängen im ausgehenden 19. Jahrhundert die politischen, kulturellen und soz
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ialen Auseinandersetzungen und Umbrüche. Die dokumentarischen Formen, ob in Kino, Fernsehen oder im Internet, haben die gesellschaftlichen Entwicklungen aus unterschiedlichen Perspektiven beobachtet, Missstände und Konflikte aufgezeigt und eine Vielfalt filmischer und erzählerischer Innovationen hervorgebracht. Trotz ihres Anspruchs, wirklichkeitsgetreue Abbilder der Realität zu vermitteln, standen sie im Laufe der Jahrzehnte aber immer wieder auch im Dienst von Werbung, Manipulation und Propaganda." (Verlagsbeschreibung)
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"This report examines the Israeli film industry from the perspective of gender. Over the past twenty years, there has been a growing involvement of women in the Israeli film industry. Since the establishment of Israel and up until the year 2000, women directed a mere 7% of screened Israeli narrative
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features. However, as shown in this report, over the last two decades this gap has been growing smaller, and the ratio of films directed by women between 2013 and 2018 stands at 21%. With that said, the positive change in the growing numbers of female-directed narrative features is not reflected in some of the film-related professions, and the gender-inequality within the Israeli film industry is still quite large. In recent years, a few reports and research papers have examined the evident gender-inequality in the allocation of budgets as well as in the gender-biased division of labor in the film industry of the Western-world. However, such research regarding the Israeli film industry hasn’t been published to date. This report joins existing research, allowing a comparison between gender-related aspects of the Israeli film industry and equivalent industries worldwide." (Introduction, page 5)
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"The global film industry has witnessed significant transformation in the past few years. Regions outside the US have begun to prosper while non-traditional production companies, such as Netflix have assumed a larger market share, and online movies adapted from literature have continued to gain in p
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opularity. How have these trends shaped the global film industry? This book answers this question by analysing an increasingly globalised business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry such as production, distribution, and screening, this study takes a 'big picture' view encompassing the transnational integration of the cultural and entertainment industry as a whole, and paying more attention to the coordinated development of the film industry in the light of influence from literature, television, animation, games and other sectors." (Publisher description)
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"Este libro es –nunca mejor dicho– el resultado de una memoria selectiva. Sus 19 títulos dan cuenta de un ciclo que cierra una etapa inicial del Seminario Pensar lo Real como espacio de reflexión en torno a ‘lo documental’. Estuvo inspirado en el espíritu de Pensar el documental, un encue
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ntro sin duda iniciático, organizado por el Ministerio de Cultura de Colombia en 1998. El encuentro que tuvo como invitados a Patricio Guzmán, Anne Baudry, Nicolás Philibert, Óscar Campo y Marta Rodríguez, entre otros destacados cineastas, tuvo el mérito de impulsar la creación de Alados y, a su vez, de la mano de lo que es hoy una asociación pionera de documentalistas en América Latina, abrió paso a lo que sería durante estas dos décadas1 el largo proceso de consolidación de una Muestra Internacional Documental de Bogotá - MIDBO." (Descripción de la casa editorial)
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"[...] This article focuses on how human rights festivals across the world have creatively and resourcefully resisted and adapted to Covid-19. It analyses the impact of this crisis on festival organisations within their contexts and on the global outreach that was possible thanks to the connections
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of the Human Rights Film Network (HRFN). The findings in this article are based on a survey that collected testimonies of how HRFN members responded to Covid-19 between April and November 2020 as well as from a global virtual meeting that was organised in July 2020 as an opportunity to ‘bring us closer together at this time of difficulty and uncertainty, allowing all members to meet, share ideas for online activities to work more closely and collaboratively in the future’. As producers of human rights film festivals who are members of the network and who attended these live meetings, we experienced firsthand the conversations that emerged, the reactions from fellow festival producers, as well as the importance of having such spaces to share concerns and advice. These reports help us understand how human rights festivals across the world have experienced this crisis within their geographic contexts and to ask questions such as: What was the impact of such emergencies on festival organisations in different contexts? What role did creativity, resistance, community solidarity and social networks play in the different local contexts? And finally, what was the role of the HRFN and its global outreach, in terms of connections, solidarity, and sharing of knowledge?" (Pages 275-276)
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