i'm sloane & i like to look at things and read things and go places that may or may not exist.
50% of the profits of multinational film companies accrue from the screens of the Third World. Thus each of our countries unknowingly contributes substantial finance to the production of films distributed in Paris, New York, London, Rome, or Hong Kong. They have no control over them, and reap no financial or moral benefit, being involved in neither the production nor the distribution. In reality, however, they are coerced into being “co-producers.” Their resources are plundered.
The United States allows less than 13% foreign films to enter its market - and most of these are produced by European subsidiaries controlled by the US majors. They exercise an absolute protectionism.
Most important is the role of the cinema in the construction of peoples’ consciousness.
Cinema is the mechanism par excellence for penetrating the minds of our peoples, influencing their everyday social behaviour, directing them, diverting them from their historic national responsibilities. It imposes alien and insidious models and references, and without apparant constraint enforces the adoption of modes of behaviour and communication of the dominating ideologies. This damages their own cultural development and blocks true communications between Africans and Arabs, brothers and friends who have been historically united for thousands of years.
This alienation disseminated through the image is all the more dangerous for being insidious, uncontroversial, “accepted,” seemingly inoffensive and neutral. It needs no armed forces and no permanent programme of education by those seeking to maintain the division of the African and Arab peoples - their weakness, submission, servitude, their ignorance of each other and of their own history. They forget their positive heritage, united through their forefathers with all humanity. Above all they have no say in the progress of history.”
— Med Hondo, Mauritanian film director, “What is the cinema for us?” (via followmyv0ice)
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2:32 pm 14 notes
Pastoral: To Die in the Country
dir. Shuji Terayama
2:30 pm 18 notes
O Dragão da Maldade Contra o Santo Guerreiro
dir. Glauber Rocha
4:30 pm 296 notes
Vive L’Amour (Tsai Ming-Liang, 1994)
Tsai Ming-Liang carefully places his characters in front of open doors and towering windows, but they always come head-to-head with the inevitable fact that they cannot escape their emotional and physical loneliness.
1:20 pm 408 notes
Mest (Revenge) (Ermek Shinarbaev, 1989)
In the beginning of the 40’s, hundreds of thousands of Koreans that had lived in the Russian Far East since the XIX century were forcibly displaced overnight according to Stalin’s orders. They were regarded as traitors and public enemies. Women, children, old people, were sent away with no explanation. The Korean diaspora, with a population of over a million, has been a forbidden topic for many years. Revenge is the first film telling the story of their tragedy. (Ermek Shinarbaev, May 2010)
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in the mood for love (2000)
you notice things if you pay attention.
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In the old days, if someone had a secret they didn’t want to share… you know what they did? They went up a mountain, found a tree, carved a hole in it, and whispered the secret into the hole. Then they covered it with mud. And leave the secret there forever.
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Millennium Mambo (Qian xi man po) (2001)
dir. Hou Hsiao-hsien
12:04 am 61 notes
Director: Lucile Hadzihalilovic
Stars: Marion Cotillard, Hélène de Fougerolles, Zoé Auclair, Lea Bridarolli & Bérangère Haubruge
Really into Benoît Debie’s cinematography, very much like Mark Lee Ping Bin’s.
11:37 pm 969 notes
Film Antidote is born out of disillusionment with the limited, rather homogenous interaction of film and film spectatorship as well as a yearning to interact with genuine fans of lesser-talked/known cinema. The website is an “antidote” to the typical privileged views dominant in cinema (white, male, cis, heterosexual, etc.) by presenting a prism of views from various ethnicities, nationalities, socioeconomic backgrounds, etc. We strive to highlight nonwestern cinema (cinema not from US/Canada/Australia/New Zealand/Western Europe) and western cinema featuring people of color that does not fall into racial stereotyping, preferably done by people of color.
While we do not act like we are the end-all solution to how film is treated, it is a challenge to the rigid formalism of how film analysis and critique is presented by creating a more open-ended format to how film analysis can be presented. This can be accomplished via various ways such as written dialogue discussions, audio, video, and even poetry.
The website is about fostering a sense of community and creativity within the realm of a love for film. Not just with the contributors but with readers, accomplished by comment section, email (email@example.com), twitter, and our tumblr which we encourage all to utilize.
Every month will feature a different theme ranging from diaspora to alienation to the concept of what a home is, as well as regular columns exploring directors/movements/etc. by contributors. Every so often there will be dialogue discussions between the contributors that tackles a broad topic: the first will be on unpacking and questioning the film canon.
We hope that this endeavor will be enriching, productive, and inspiring for many and expands the boundaries in which we as humans interact with cinema.
Really excited to be apart of this!!
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Throw Away Your Books, Rally In The Streets (Shuji Terayama, 1971)