Abstract
Reflecting on international film and media training in the current epoch, we inevitably navigate within the framework imposed by a global monoculture. Even the terms and categories of this discussion—“film” and “media,” “training” and “education”—carry complex distinctions and connections that are ultimately caught up in the multiform contention of power relations between different parts of the world. Over the last ten years, I have been involved in several small-scale initiatives bringing new filmmakers from the south together for short series of workshops to develop and strengthen their projects. Inevitably they begin by negotiating existent str uctures and domina nt ideas of f i lm production both w ithin their cultures and outside of them. Both filmmakers and their eventual audiences are unavoidably influenced by the modes of representation that are part of a cultural industry that has spread across the world, but was manufactured elsewhere. Part of the process of training is to define and strengthen the direct speech of indigenous voices in film and other media that may take or leave elements of an imposed monoculture.
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Notes
Mervyn Kurlansky and Jon Naar, text by Norman Mailer, Watching My Name Go By (London: Mathews Miller Dunbar, 1974).
Julian Stallabrass, Gargantua (London: Verso, 1996), 141.
Ryszard Kapuscinski, The Other (London: Verso, 2008).
Edward Said, Orientalism (London: Routledge & Kegan Paul, 1978); Culture and Colonialism (London: Chatto & Windus, 1993).
Scott Robert Olson, Hollywood Planet, Global Media and the Competitive Advantage of Narrative Transparency (London: Lawrence Erlbaum Associates, 1999), 30.
Brian Winston, Technologies of Seeing (London: BFI, 1996), 43.
Quoted by Lee R. Bobker, Elements of Film (New York: Harcourt Brace & World, 1969), 157.
Noël Burch, Theory of Film Practice (London: Secker and Warburg, 1973)
and Bruce Block, The Visual Story (Oxford: Focal Press, 2008).
Price Waterhouse Coopers, Global Entertainment and Media Outlook: 2006–2010 (New York: PWC, 2006).
Jean-Pierre Filiu, The Arab Revolution (London: C. Hurst & Co., 2011).
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© 2013 Mette Hjort
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Stoneman, R. (2013). Global Interchange: The Same, but Different. In: Hjort, M. (eds) The Education of the Filmmaker in Africa, the Middle East, and the Americas. Global Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137032690_4
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DOI: https://doi.org/10.1057/9781137032690_4
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-44120-4
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