The question of how to tell untold or undertold stories, and how to capture the perspective of the underrepresented, haunts film festivals these days—and it should. Not only does this unasked question mark the genre’s origins and run through its history, but it surges into the present with issues of racial reckoning.
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Décolonisation de l’audiovisuel
IDFA is partnering on an ongoing industry discussion about “decolonising documentary and shaping new perspectives on its cultural ethics”.
A l’occasion de la 39ème édition du festival Jean Rouch, grand rendez-vous du film ethnographique du 13 novembre au 6 décembre, l’anthropologue Jean-Paul Colleyn nous explique les évolutions intrinsèques à ce cinéma de l’observation.
A growing number of filmmakers, writers, musicians and journalists now argue that certain truths can only be understood by those who have experienced them. Even though I am a Mexican-Egyptian female documentarian and am sympathetic to the reasoning behind such ideas, I cannot accept this new approach, which has created an increasingly difficult professional environment for those of us who do not agree.
Société de jeux à impact social basée au Kenya.
We support the development of nuanced and contemporary stories that shift stereotypical and harmful narratives within and about Africa. Through research, grant-making and advocacy we aim to build the field of narrative change-makers by supporting storytellers, investing in media platforms and driving disruption campaigns.
The colonial era never really ended – from the borders that restrict our movement to the languages we speak, the imperial conquests of bygone centuries are hard-coded into our lives. Here we encounter powerful films that provoke change to outdated power relations in our societies, culture and minds.
Video activism can be a helpful tool in the frame of Native Americans’ struggles for self-making and sovereignty, reversing the trend established historically first by the European settlers, and then by the American ‘mainstream’ population, whose aim was to erase and assimilate Indigenous peoples. Indigenous media, such as Fourth Cinema or video productions broadcast on platforms like Youtube, are used as political tools by Native Americans. However, the essay also means to highlight the limits of such tools, whether the latter are theoretical, or practical.
Stories of Decolonization is a multi-film interview-based documentary project that shares personal stories in order to explore accessible understandings of colonialism and its continued impact on those living on the lands now called Canada. It also explores notions and actions of decolonization.
This article describes the collaborative, consensus based filmmaking process of a diverse group with Indigenous and settler identities who are engaged in creating the Stories of Decolonization film project.
This interview explores the significance of Paper Rocket Productions—an independent film company co-founded by young Indigenous filmmakers in Northern Arizona, USA.
https://clas.osu.edu/sites/clas.osu.edu/files/Tuck%20and%20Yang%202012%20Decolonization%20is%20not%20a%20metaphor.pdf
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