La commissaire Diane Gistal et la cinéaste Nadia Louis-Desmarchais abordent la question des représentations des corps noirs au cinéma et en arts visuels. Cet épisode est une invitation à penser autrement l’universalité et d’un appel au repos.
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représentativité | representation
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.
La série suit l’histoire des porteurs noirs du quartier de la Petite-Bourgogne à Montréal, à l’époque de la prohibition, dans les années 1920. Le travail de cette main-d’œuvre, largement composée d’hommes noirs, consistait à porter les bagages et à pourvoir aux besoins de la clientèle – principalement blanche – des entreprises ferroviaires de la métropole.
Des amateurs de jeux vidéo afro-descendants aimeraient une plus grande présence de la diversité dans les jeux. Ils souhaitent notamment avoir accès à plus d’éléments visuels leur permettant de personnaliser les protagonistes noirs, qui sont, pour l’instant, généralement limités à certains stéréotypes ou clichés.
Although Canada’s media establishment may claim things are better, where are the opportunities for Indigenous film and TV creatives this year and next? It’s still a tough slog as a producer or filmmaker to receive funding, get opportunities to be employed in higher and mid-level positions where the decisions are made, or to have any control. There are success stories, but many Indigenous filmmakers in documentary, film, and TV are struggling to get the support they need from the major Canadian funding bodies.
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.
A dozen of Brazilian directors have announced the launch of the Brazilian Filmmakers Collective with the aim of creating a hub for filmmakers from the South American country living and working abroad as a way to share resources, opportunities and promote creative enrichment.
Two thirds (64 per cent) of Latinx consumers surveyed feel the media plays a big role in helping change stereotypes and negative opinions different groups have of each other. The study – which covers topics including how Latinx viewers perceive the amount and quality of Latinx representation in scripted entertainment and news coverage – underscores that mainstream media still has a way to go when it comes to fulfilling the mandate to be more inclusive of Latinx and other diverse communities.
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.
Para crear una representación auténtica del pueblo zenú, los creadores trabajaron en estrecha colaboración con artistas y artesanos zenúes.
Canadian film and TV is currently grappling with crucial questions about racism and equity. Creators from under-represented communities have formed a collective voice that is louder than ever. In response, funders and broadcasters have instituted new programs and allocated money to increase the amount of BIPOC (Black, Indigenous, and people of colour) led production in Canada. This work is just beginning, but the needle is slowly moving.
Professeur de théâtre au secondaire et militant autochtone, Xavier Watso vient de se faire donner les moyens de ses ambitions par TikTok Canada et l’Institut national de l’écran. Son nom s’est glissé parmi une liste de 30 créateurs et créatrices de contenus autochtones à travers le pays qui suivront un programme d’accompagnement pour développer leur présence en ligne.
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