Go Back to China marks return of film director Emily Ting, inspired by her stint in the family business

The Los Angeles-based director and producer recalls how being pushed into the family’s toymaking business in Hong Kong put her moviemaking dreams on hold – but not for too long

For full article, please visit SCMP

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Dialogue with Filmmakers 2019: Jewel Maranan 

Jewel Maranan 
Dialogue with Filmmakers 2019: Jewel Maranan 
與紀錄片導演對話:珠慧瑪拉婻
Speaking for the silent from a small town near Manila
以影像展現菲律賓小鎮中的噤聲底層
Jewel Maranan is an independent documentary filmmaker and producer from the Philippines. She started working for independent documentaries in 2008, tackling conflict situations in Manila. Throughout the years, she has developed a deep interest in the ways by which history inches through ordinary life. Jewel is an active participant in efforts to help develop Southeast Asian documentary through the SEA DocNet, a network of documentary professionals in Southeast Asia.
Her 2011 production TONDO, BELOVED: TO WHAT ARE THE POOR BORN? is a geopolitical exploration of life before birth in the smallest home in the seams of Manila’s premier international port. 6 years later, Jewel fixed her critical eye on the lives in the shadow of Tondo’s ever-engulfing port and finished her latest work IN THE CLAWS OF A CENTURY WANTING (official selection to 43rd Hong Kong International Film Festival). It is a filmic symphony of increasing everyday violence in the aspiration for a global city.
菲律賓獨立紀錄片導演及製作人珠慧瑪拉婻,2008年起從事獨立紀錄片工作,關注馬尼拉社會中所發生的衝突事件。多年來,她對歷史如何漸次地影響人們日常生活產生濃厚興趣。她亦致力發展東南亞紀錄片,積極參與由歌德學院所創立的SEA DocNet,透過此協助紀錄片工作者的網絡,鼓勵多元創作、挖掘被遺忘的當地文化。
2011年作品《貧者為誰而生》展現馬尼拉湯都的兩個平行時空:全球化下的繁忙貨櫃港口,以及港口邊緣掙扎於生存線上的棚屋人家。六年後她再次以貼近局內人的視角潛行湯都貨櫃區,完成《魔爪下的日與夜》,入選本屆香港國際電影節。菲律賓官僚於火災後劃定十米遷移線,離地政策令居民不屈發聲。藉着捕捉四個貧窮家庭的生活,瑪拉婻除了展示生死相接之日常,更提問湯都主權誰屬。她對生態的敏感觀察,有層次地介入天地意象,識穿全球化反自然而行的昇平謊話。
Date: Thursday 21 March, 2019
Time: 7:30pm
Venue: Studio Room 303, Chong Yuet Ming Cultural Centre, The University of Hong Kong
Guest Speaker: Ms. Jewel Maranan
Moderator: Ms. Ruby Yang (Project Director of Hong Kong Documentary Initiative)
Language: Lecture in English
Registration: http://bit.ly/2GKsL1y
Dialogue with Filmmakers 2019: Programme Details

2019 Diversity Report: Women & POC Make Progress But Are Still Largely Underrepresented

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UCLA’s College of Social Sciences has released its latest Diversity ReportOnce again, the study reveals women and people of color are making strides on both sides of the camera, but overall, remain dramatically underrepresented. In other words, progress has been steady but far too slow.

Written by Dr. Darnell Hunt, Dr. Ana-Christina Ramón, and Michael Tran, the 2019 Diversity Report analyzed gender and racial representation in the top-grossing 200 films of 2017 and the 1,316 broadcast, cable, and digital platform television series from the 2016-17 season.The study considered film and TV leads, directors, writers, creators, and other key Hollywood roles.

Overall, women made gains in seven of the 12 key positions considered, including films leads and film directors. Women held steady as digital scripted leads and broadcast scripted creators, but lost ground as films writers, cable scripted leads, and digital reality/other leads. While they comprise slightly more than half the population, women made up only 32.9 percent of film leads, 12.6 percent of film directors, and 12.6 percent of film writers. Only 22.2 percent of broadcast scripted creators in the 2016-17 season were women, and 22.7 percent of cable scripted and 34.8 percent of digital scripted creators. On the small screen, women represented 39.7 percent of broadcast scripted leads, 43.1 percent of cable scripted leads, 42.8 percent of digital scripted leads, 23 percent of broadcast reality/other leads, 28 percent cable reality/other leads, and 29 percent digital reality/other leads.

 

For the details of the report, please visit Women and Hollywood

Call for Submissions: “Animating LGBTQ+

Representations: Queering the Production of Movement”
Special Issue of Synoptique: An Online Journal of Film and Moving Image Studies
At the heart of animation is movement, and the expression of movement is negotiated differently across media. How then do LGBTQ+ communities reappropriate the specificities of animation, comics, videogames, and other forms of visual representations that rely on putting bodies into motion? How does animation support the emergence of social and political movements from within, between, and outside media production spaces? Since 2010, studies of LGBTQ+ representation in animation have steadily increased in number. From queer readings (Halberstram 2011), to media histories (McLelland, Nagaike, Suganuma, Welker 2015), to queer media makers (such as bisexual, non-binary creator Rebecca Sugar and other queer animators like Noelle Stevenson and Chris Nee), animation production has become a vital site for the study, performance, and persistence of queer media practices. Although much conversation has been devoted to queer readings of texts in transmedia movements, the people, circuits, and institutions of queer animated media production have attracted significantly less attention.

By focusing on the “politics of movement,” we intend to grasp the convergence of 1) common techniques of animation in and across multiple media platforms, 2) means of mobile image production both amateur and industrial, and 3) social agendas in queer communities using the motion of images to negotiate their representation and place in society. While this issue will brush up against the various transmedia (narrative-based, Jenkins, 2008), media mix (image-based, Steinberg, 2012) and cross-media (toy-based, Nogami, 2015) models and their cultural geographies across the globe, our central aim here is to expand the knowledge and visibility of LGBTQ+ sociopolitical projects evolving conjointly with the creation and circulation of animated images. Producing movement in, across, and outside of media extends the synchronization of images to networks of commodities, territories, and peoples. Although an important amount of scholarship tends to address this question as the “queering of texts,” we seek another point of view coming directly from the creation of moving images itself. Such production practices are also imbricated in and respond to geo-political and cultural contexts. How then does the movement in between frames, vignettes, illustrations, and memes (to name a few examples) initiate social action (be it just to produce pornography for marginalized communities or to create conventions for amateur artists and publics to meet)?

This issue of Synoptique: An Online Journal of Film and Moving Image Studies will focus on queer media practices and the politics of movement. When animating LGBTQ+ images, media creators are also mobilizing queer practices, communities, and identities. Therefore, we are particularly interested in analyses and testimonies that examine sites of queer media production and their animation techniques, strategies, and practices. We encourage contributions that examine the interactions of animation within media related to animation, such as comics and videogames, as forms of queer movement often overflow and interact throughout multiple media platforms (Hemmann, 2015). We also invite submissions of artwork either from queer-identifying artists and practitioners, or pieces that explore queer movement, embodiment, and existence. Interviews, manifestos, essays, and other forms of writing on animated movement in queer media making are warmly welcome, as are multimedia contributions.

Suggested topics include, but are not limited to:

– The industrial or amateur structures of LGBTQ+ images production
– Movement in LGBTQ+ pornography and erotika
– Queer movement in comics, visual novels, videogames, etc.
– The strategies and places of queered images (“Queer” Media mix, Marketing, Festivals, and Conventions)
– Animated media production of the Global South (such as Brazilian Netflix show Super Drags)
– Distribution networks for LGBTQ+ animated series (TV, platforms, VOD)
– LGBTQ+ representations in animated media emerging from manga including both more mainstream (Boy’s Love, Yuri) and subcultural (so-called Bara or Gachimuchi) productions
– Local LGBTQ+ communities and their struggles expressed through moving images
– Queer movement across comics and animation
– Decolonizing sexualities
– Cosplay as queer (re)animation
We use a broad interpretation of LGBTQ+ identity, including Lesbian, Bisexual, Gay, Trans*, Queer/Questioning, Two-Spirit, Intersex, Agender, Asexual, Pansexual, Genderqueer, Genderfluid, Non-binary, X-gender, Genderfuck, etc.

Essays submitted for peer review should be approximately 5,500-7,500 words and must conform to the Chicago author-date style (17th ed.). All images must be accompanied by photo credits and captions.

We also warmly invite submissions to the review section, including conference or exhibition reports, film festival reports, and interviews related to the aforementioned topics. All non-peer review articles should be a maximum of 2,500 words and include a bibliography following Chicago author-date style (17th ed.).

Multimedia works such as digital video, gifs, still images, or more (surprise us!) are also welcome. Works under 8MB may by hosted directly on the Synoptique site; anything larger must be uploaded to an external site (Youtube, Vimeo, etc). Please contact the Synoptique Board for more information on the procedures to submit artworks.

All submissions may be written in either French or English.

Please submit completed essays or reports to the Editorial Collective (editor.synoptique@gmail.com) issue guest editors, Kevin J. Cooley (kevin.cooley@ufl.edu), Edmond (Edo) Ernest dit Alban (ernestedo@gmail.com), and Jacqueline Ristola (jacqueline.ristola@gmail.com), by April 30st. We will send notifications of acceptance by June 30st.

Synoptique: An Online Journal of Film and Moving Image Studies
www.synoptique.ca

CFP: Screening #TimesUp: Exploring Rape Culture in Hollywood Film

CFP: Screening #TimesUp: Exploring Rape Culture in Hollywood Film

Editors: Dr. Lisa Funnell (University of Oklahoma) and Dr. Ralph Beliveau (University of Oklahoma)

Beginning in 2017, the #MeToo movement drew attention to the sexual assault, coercion, and harassment experienced by many individuals and especially women working in Hollywood. Over the last two years, actors have come forward to speak about their experiences, condemning the industry for silencing victims while safeguarding predators. This conversation about sexual conduct and safe working spaces has extended into other fields/industries via the #TimesUp movement as greater awareness is being raised about abuse of power and the victimization of employees. While Hollywood is serving as a microcosm for broader social discussions about sexual assault, coercion, and harassment in the workplace, less attention is being directed towards film content—i.e. the products being produced by said industry. As a global cinema, Hollywood creates some of the most profitable films that are widely screened not only in the United States but also across the world. Culture binds individuals and institutions together, shapes public consciousness, and sends powerful messages about what is to be considered appropriate conduct. Over the last 100 years, Hollywood has played a key role shaping social ideas associated with gender, sex, and power.

A consideration of sexual violence in Hollywood film—be it real, threatened, or suggested—is the focus of this anthology. Sexual assault, coercion, and harassment are so pervasive in Hollywood narratives that they often go unnoticed. For instance, rape revenge is not only an exploitation subgenre but also a storyline featured in horror, thriller, road, and criminalist films. The threat of sexual assault is used as a trope to convey the vulnerability of even the strongest and most muscular female heroes in action films while the depiction of sexual harassment and aggression in relation to class differences and workplaces is a frequent narrative element. Moreover, sexual harassment is often depicted as romantic when a rejected “suitor” continues to pursue/stalk their target. Sexual coercion plays a central role in spy films as agents manipulate, intoxicate, and/or force their informants/targets to have sex with them sometimes secretly filming the encounter. And in some cases, filmmakers with a known history of sexual violence continue to work in the industry and produce films that relay troubling messages about appropriate sexual conduct. These films, tropes, and practices work to normalize and naturalize aspects of rape culture oftentimes at the expense of marginal/minority groups.

We are calling for papers exploring any facet of sexual assault, coercion, and harassment in Hollywood film. Some topics include but are not limited to:
* tropes of sexual violence in specific genres (e.g. rape revenge, action, rom-coms, etc.)
* historical considerations of sexuality and rape (e.g. classical Hollywood, new Hollywood, etc.)
* filmmakers who employ excessive/frequent images of sexual violence
* shifting representations of sexual harassment
* affirmative consent in film
* narratives in which rape is justified (e.g. prisoner on prisoner)
* romanticizing of inappropriate sexual contact (e.g. with minors)
* myth of the artistic genius
* rape jokes/gags in film
* sexual violence against marginal/minority groups (based on race, sexual orientation, class, ability, gender expression, etc.)

Please submit a 250 word abstract along with a brief author bio to Lisa Funnell (lisa.m.funnell@gmail.com) by April 30. Please direct any questions to this email as well.

Call For Papers: Feminist Pedagogies – special issue of MAI: Feminism and Visual Culture

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Calling contributions to a special issue of MAI: Feminism and Visual Culture on *Feminist Pedagogies*

The intersectional feminist and LGBTQI journal /MAI/ is seeking contributions to a special issue on feminist pedagogies. Across the board, feminist research and teaching in Higher Education is increasingly vulnerable to ideological attack. The recent “prank” conducted by Pluckrose, Lindsay and Boghossian to make fun at so-called “grievance studies” systematically works to undermine scholarly work in feminist, queer, critical disability and critical race studies and other fields. This context makes feminist teaching both more vital, and more vulnerable, than ever, as revealed by open letters such as that published in the second issue of MAI. <https://maifeminism.com/collective-letter-in-support-of-fe…/> This special issue aims to explore the place of feminism in the classroom, revealing pleasure and resistance, complaint and celebration.

We welcome contributions that address the strategies, obstacles and opportunities of feminist pedagogy in a range of contexts from classroom discussions and syllabi to faculty committee meetings, screening rooms and activist spaces. Feminist teaching happens everywhere. Contributions might range from conventional academic articles (6000-8000 words) to interviews (1000-3000 words), creative writing (poems, short stories, creative responses, max 3000 words), video essays (5-10 mins with brief supporting statement of 800-1000 words), and photographs, visual/audiovisual or interactive art.

Abstracts should be 200-250 words, and be accompanied by a short bio. Please email abstracts to /MAI /editorial board member Clara Bradbury-Rance (clara.bradbury-rance@kcl.ac.uk <mailto:clara.bradbury-rance@kcl.ac.uk>) by 8th March 2019. Contributors will be notified of the status of their proposal in early April and full submissions will be due by 31st August 2019 (see here <https://maifeminism.com/submissions/> for guidelines).

 

What It’s Like to Be a Female Movie Critic in the #MeToo Era

By Manohla DargisDec. 30, 2018

I didn’t expect everything to change after the allegations against Harvey Weinstein first surfaced, at least not all at once. But when woman after woman spoke out against him, and others accused still more Hollywood men of abuse, it did feel as if the movie world had slightly shifted off its axis. Suddenly, a whole lot of people were listening to what women in the industry had to say, and although much of it was terrible, this attention felt like a relief.

Among other things, this year’s torrent of truth-telling has underscored how much ordinary, unremarkable sexism — not just extreme or criminal behavior — women need to deal with just to get through the day. It’s pervasive. It seeps into your home and work, and shapes monumental and seemingly trivial choices as well as your art and your entertainment. The movies may offer us the promise of fleeting escape, but any woman can tell you that this getaway can feel distressingly, depressingly elusive when a film is in lock step with the worst the world gives us.

Source: The New York Times

#AwardsSoMale: Why Nominations Need to Recognize More Women Directors in 2019 (Column)

By MARTHA LAUZEN

In the 90-year history of the Oscars, the Academy of Motion Picture Arts and Scienceshas failed to nominate even a single woman in the best director category 85 times. The Academy is not alone. The Hollywood Foreign Press Assn. has excluded women from this category in 69 of its 76 years of awarding Golden Globes, and did not nominate a single woman in 2018. We are squarely mired in another year of #GoldenGlobesSoMale and may be on the brink of yet another year of #OscarsSoMale.

For full article, please visit VARIETY