The idea of taking such a broad concept like « authentic inclusive representation » and turning it into a mathematical variable of sorts is slightly eyebrow-raising. To use a recent real-world example, some may have found the depiction of the scene-stealing limo driver Karun (Harish Patel) in « Eternals » to be cloying and stereotypical to the extreme, while the majority of viewers were wholly unbothered by such comedic relief and praised him (along with the casting of Kumail Nanjiani as Kingo) for the increased diversity in the superhero movie.
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Enjeux mondiaux
La diversidad sería un recurso para darle mayor verosimilitud a su historia y su universo, ¿entonces por qué un grupo considerable lo siente como si estuviera forzado? A pesar que los prejuicios sustentan dicha postura, sería reduccionista reducirlo a ello, más aún cuando la propia industria cinematográfica es responsable de dicha percepción.
Shows and movies that attempt to lift up marginalized communities without thinking about intersectionality are only perpetuating different systems of prejudice and oppression.
Challenging direk Daryll, The T-Zone asked why he decided to cast Ella in this riveting starring role instead of maybe giving an aspiring Aeta actress an opportunity of a lifetime? Wouldn’t she deliver a more authentic portrayal of Angel, especially amid this growing global call for more representation in cinema?
When storytellers develop narratives, characters, and worlds that support well-rounded depictions of race, they create standout content that will reach wide audiences and inspire generations of viewers to live and breathe the social harmony for which our society hungers.
Making diversity a non-negotiable aspect of our business makes complete and total sense. Aside from prioritizing authenticity being the right approach, it is also good for business.
La tercera película de la realizadora argentina Julia Solomonoff es un desgarrado e intimista poema sobre la dificultad de un inmigrante latino por integrarse en los círculos artísticos de Nueva York, al tratar de participar en una película cuyo rodaje se pospone.
De nationalité française mais appartenant à deux, voire trois minorités (Gitans, Kabyles, Maghrébins), ce « gitan-beur » comme le nomment certains se revendique inclassable, sinon « méditerranéen » mais avant tout déraciné, c’est-à-dire nomade, ouvert à l’Autre et dans la Relation. Ce parti-pris identitaire explique le choix de ses personnages en marge, que ce soit les Roms, les chômeurs, les prostitués, les immigrés, les sans-papiers.
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