The AI industry does not seek to capture land as the conquistadors of the Caribbean and Latin America did, but the same desire for profit drives it to expand its reach. The more users a company can acquire for its products, the more subjects it can have for its algorithms, and the more resources—data—it can harvest from their activities, their movements, and even their bodies.
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Enjeux à l’international
Over the years, a growing chorus of experts have argued that the impact of artificial intelligence is repeating the patterns of colonial history. Here in South Africa, where colonial legacies abound, the unfettered deployment of AI surveillance offers just one case study in how a technology that promised to bring societies into the future is threatening to send them back to the past.
«Some Pixar films are made for a universal audience,» reviewer Sean O’Connell tweeted along with a link to his review of the movie in CinemaBlend. «The target audience for this one feels very specific, and very narrow. If you are in it, this might work well for you. I am not in it. This was exhausting.»
After the murder of George Floyd almost two years ago, as racial reckonings across America exploded with unprecedented candor, I watched from my post-newsroom life in Dubai. Many sectors sought to address the Trump era’s theater of indignities with a renewed commitment to inclusion and justice. Within mainstream journalism, I was deeply moved by how many stories other reporters of color began to share about their own newsroom exclusions: ambitions interrupted, gaslighting, lack of mentorship, and narrowed expectations. Perhaps these were not acts of physical violence—but they were an extension of structural privilege and entrenched white supremacy. The stories were familiar and resonant. Editors, hiring managers, and recruiters pledged to do better, and some followed suit. But prescribed solutions can become a new kind of entrapment. In mainstream film writing, for example, diversity hires like myself are in danger of becoming the new desired and desirably diverse critics.
En France, le célèbre roman d’Agatha Christie «Dix petits nègres» a été renommé en 2020 »Ils étaient dix», bien des décennies après les Américains et les Britanniques. «On ne peut plus rien dire» se sont offusqués certains. Alors… censure liberticide et insupportable ou régulation nécessaire ?
Visibility doesn’t necessarily equate to progress. A recent UCLA study found that while Black, Latinx, and Asian people were “approaching proportionate representation” as the leads on cable and streaming scripted shows during the 2019-2020 TV season, their numbers were still shamefully scant as writers, directors, and showrunners. Representation isn’t just about having one mirror, but many. It’s about nuance in all aspects of production. The abundance created by streaming has led to some 500 original scripted series premiering each year, many of which allow for greater access to Black experiences. But that impact is wasted without creators who can imbue those stories with intricacy, pulse, and an earned perspective. That is what Black viewers are owed—a heightened, multidirectional portrait of Black life on TV on their terms.
The idea of change looks different for different people. For independent filmmakers, especially those who are struggling, a constructive change means more funds and opportunities for those who have been historically left out. To those previously and currently in positions of power, change could mean reform, or making minor structural tweaks rather than building foundations from scratch. It could also mean projecting a semblance of change, because real change would be far too risky for the status quo.
Le système de financement du cinéma africain est-il obsolète ? Claude Forest, enseignant-chercheur en économie et sociologie du cinéma, explique au micro de Marie Sorbier comment le cinéma africain est financé, et par qui.
Lundi, le collectif 50/50 a présenté la première étude universitaire sur la représentativité dans le cinéma français. Principal enseignement : le grand écran hexagonal est loin d’être un reflet de la société française. En cause : la surreprésentation des personnages masculins cadres, hétérosexuels, blancs et urbains dans des proportions qui ne correspondent pas à la réalité. Le cinéma doit-il forcément refléter le réel ? « Pas forcément », nous dira notre invité, Harold Valentin, producteur, notamment, de la série «Dix pour cent» – pour qui l’existence même de cette étude doit néanmoins permettre d’éveiller les consciences et redonner plus de places aux femmes et aux personnes non-blanches.
Selon l’étude dévoilée par le Collectif 50/50 et réalisée par des universitaires sur une centaine de films français, 81 % avaient un personnage principal « perçu comme blanc », 7,5 % un personnage principal « perçu comme arabe », 7,2 % « perçu comme noir » et seulement 1,5 % « perçu comme asiatique ».
Les émissions télévisées qui reflètent la diversité raciale et ethnique croissante des États-Unis trouvent la faveur des observateurs de l’industrie et des téléspectateurs, selon une étude de la saison télévisée 2019-2020 publiée mardi.
The media mirrors this societal oversight — disability representation lags far behind every other marginalized group. In the U.S. today, one in four people (26 percent) have a disability and yet only 3.1 percent of characters on-screen are disabled. In children’s television representation is even worse – less than one percent.
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https://coalition.media/category/enjeux-linternational/
